Search results matching tag 'HVX200'

3-perf 35mm Film Project and P2 1080 50i problems. Need Help!

Luis Rico — Fri, 23 Oct 2009 16:38:08 GMT

Hi,

I'm the assitant editor of a motion picture in Spain. The film is being shot in 35mm but the director also has shot two scenes with a P2 HVX200E camera for plot and aesthetic reasons.

The editor is cutting the film on a MacPro with Avid MC 3.5.2. I'm ingesting and dealing with daylies with an 2009 iMac and an Avid MC 4.0.2

Our problems started when we found out that all the footage shot by the second unit director with the P2 HVX200E was recorded in DVCPRO HD 1080 50i and NOT in 24p.

We need to put that footage into the editor's project so he can cut and mix both materials and, obviously, everything has to be in 24 fps.

We have tried several options:

-Create a 1080 25p project, export the DVCPRO HD 1080 50i footage as DNxHD 36 and import it in the 35mm 24p project, which alters the footage by repeating one frame (or is by erasing one frame?)...eh...not a solution.

-Create a 1080 25p project, export the DVCPRO HD 1080 50i footage as TIFF sequence and import it in the 35mm 24p project, which looks good and in glorious 24p BUT we lose the sound and the TC.

-Upgrade the editor's MC to version 4.0.2 which can 'mix' different framerates, but that doesn't solves the problem, does it? When need a final cut with a timeline with all footage in 24p in order to conform to a D.I.

Our deadline is approaching and we are a little concerned. I would really appreciate some tips or ideas.

Thanks in advance,

Luis Rico

Re: About to buy P2...what are some issues I should know?

PPavel — Thu, 21 May 2009 10:27:15 GMT

We had the P2 cameras as the tapeless process wasn't any problem for us. We did all the backups on "IT side". For better work we got FS-100. We bought 3 for 2 cameras and that was right as one FS-100 was always on repair. We could play and edit two camera recording in MC in original DVCPro HD without dropped frames. But HVX200 cameras were noisy and we werent happy with the colors even after changing the color profiles. Finally we sold them and got two EX1. The original picture profiles in camera weren't usable for us agian but I managed to find better ones in forums and we are now happy with them. The quality is way better. The editing in native MPEG2 feels a bit lesser responsive in MC but not that much so we doesn't do transcoding for editing process.

Mixed Format and Frame Rate Help! Shooting HVX200 with Home Movies and DVD

Dan Jones — Mon, 22 Sep 2008 23:21:27 GMT

Need a little help... I am editing a doc. that has been shot on a HVX200 at 1080i 24p on
day one, Looked like crap(horizontal lines whenever there is motion) We switched on
day two to 720p at 24p(59.94) and looks good. I had my online meeting today at a post
house and they said shoot 1080pn. My problem is:

We will be mixing footage from the HVX200 home movies,DVD, Digibeta, and Betasp.
for output to film festivals then maybe broadcast.

What is the best format and frame-rate on the DVX200 to use for me (avid mc) and how
can I make all this work on the same time line? And how do I get rid of the artifacts from
the 1080i 24p footage?

DVCPro HD 720p/23.976 Quicktime reference export

GBerge — Wed, 03 Sep 2008 20:26:00 GMT

Anybody come across this problem. I'm trying to export a quicktime reference or a "same as source" quicktime file and all I get is a white screen. The footage is from P2 cards shot on a HVX200. I'm on MC 2.8.4 using a MacPro 3g Quad-Core using Quicktime 7.3.1. Any thoughts or suggestions would be appreciated.

Field Order Question

ingofoertsch — Fri, 18 Jul 2008 11:53:02 GMT

Hi there,

this time ive got an all time favourite question.

Because i cannot figure it out anymore....

In PAL country, i am shooting with a HPX 500 or a HVX 200, in DVCPRO-50 for example.

When i import the P2 mxf files into MC 2.8.3, they are recognized in the bin as DV50 files.

So far so good.

When i later want to export "same as source" i have to export it with the DV50 codec button in the export settings activated.

OK - but what is the field dominance now?

Is it lower field first as in DV 420 or 411?

Or is it upper field first like the most other codecs?

And moreover how is field dominance when i shoot in 1080i DVCPROHD?

Thanks if anyone knows the details about field dominance!

ingo

Looking for reassurance on using DVCPRO50 with AXP 4.8.4

bmedia — Tue, 06 May 2008 14:41:28 GMT

Based on what I've read on the forums here, I think I'm going to be ok with this project, but hoping someone can give me some confirmation and/or any tips on this propposed workflow for a project I'm shooting next month.

I'm hiring a DP in Canada to shoot some footage for me. He'll be using an HVX200 and recording to P2 or a Firestore. I'm considering having him shoot DVCPRO50.

My plan would be to take the footage back here as files (using an external HD or my laptop) and then import that footage into my mac-based AXP/mojo system running 4.8.4. This is doable right? I'm pretty sure I can't capture DVCPRO50 footage (especially since I don't have a deck), but I can import this footage right?

If this is possible, do I need to let the DP know anything specific about how to record the footage onto the firestore (OMF files? etc) so that the import will be an easy process? Anyone have experience getting DVCPRO50 footage from a firestore onto another drive or into an AVID?

Also, on another note. Even thought I can't edit DVCPRO HD on my system. Would it be worth shooting in in HD format and then downconverting it to something I can edit in my system? Any ideas on how to accomplish that?

My fallback is of course to just shoot DV to tape and do it the old fashioned way, but I'd love to be able to work with a little better format if I can.

Thanks in advance for any advice.

HVX200 VFR P2 out to HD1400 via Firewire

floppyd — Mon, 24 Mar 2008 16:36:34 GMT

Octo-Mac / 10.4.11 / QT 7.3 / MC 2.8 / Mojo SDI

Imported some 720p/23.98 (over 59.94) P2 footage from HVX-200. Footage is under/overcranked (Variable Frame Rates)
Imported fantastically into a 720p/23.98 project, properly recognized in the bin as 720p/59.94 with a 23.98 frame rate.

Go to output via Firewire to our AJ-HD1400 - disable Mojo SDI using "DNA" button on Timeline.
Connect 1400 via Firewire. Change Deck Configuration to Firewire on OHCI and it auto-configures the 1400/60. Close/Relaunch application.

Open Digital Cut tool - only options are for Crash Record, when I know this deck supports Insert / Assemble (since I do it all the time in FCP...)
And even if I set it to Crash Record, I get a massive Flamethrower error that ends with 'Failed to Initialize Stream'

Does anyone have a secret recipe to allow MC Soft to output (even assemble edit) to a HD1400 deck?

I know that the deck only records 59.94, but FCP will take a 23.98 sequence and add in the 2:3 / flagged frames to output to tape. It seems the Avid can / will not do this?

If I try to drop these clips into a 720p/59.94 project I get the:

"Clip Frame Rate (23976) does not match Project Frame Rate (59940)" Error.

Now I'm not on Adrenaline, so I don't have the option of transcoding to DNxHD and outputting via HD-SDI, and, frankly, I shouldn't need to.

Has anyone ever sucessfully output variable frame rate footage from a HVX-200 out to tape via Firewire?

I do it all the time in FCP, and I really don't want to have to do this job in FCP, but if Avid won't do the job, then I'm going to have to.

Thanks in Advance, as always -

-Scott

--
Scott Malkie
Thoughtstream Media
Richmond, Virginia

Importing MXF Files (From P2 Devices) Into Avid

DC66STEPS — Mon, 17 Mar 2008 17:20:49 GMT

Importing MXF Files (From P2 Devices) Into Avid

First, determine the following about the footage you're going to ingest and edit: Which format was it shot it in? Was it shot Progressive or Interlaced, 720 or 1080? Which frame rate (23.97, 24, 25, 50, 59.94)?
~~~~~~~~~~~~~~~~~~~
SECTION 1

For Avid Media Composer v2.7 and later
For Avid Xpress Pro v5.7 and later

Importing P2 files is mainly a 2-step process . . . with some rules. The Avid documentation is a bit vague and incomplete regarding this process. You will need to do this if you want your clips to stay online.

Step 1: Clips to Bin
(This is from the Avid Documentation and it is the correct first main step)

To import P2 clips directly from a P2 card or a copy of a P2 card on any accessible drive:

[a] Open the bin into which you want to import the Master Clips. Make sure it is the active window.

[b] Go to: File > Import P2 > Clips to Bin
Then Browse for Folder. The dialog box will open.

[c] Navigate to the P2 volume:
Navigate to the actual P2 card. If you copied the card to another drive, navigate to that drive and then to the folder that contains the Contents folder. Do not navigate into the Contents folder or into other folders in the volume. The Import P2 option imports all the clips on the card.

[d] Click OK

Now, if you stop here, you can edit with your clips. However, if you close out the program and try to come back, your clips will appear "OFFLINE." This is a common "problem" that many seem to encounter.

This next main step is crucial for keeping your P2 clips "ONLINE."

Step 2: Import Media

[a] Select all the clips in that same bin from Step 1.

[b] Go to: File > Import P2 > Media
Avid will now copy all the files (video & audio) from your P2 directories and put them into the video drive(s) that is designated for your Avid. Now your clips will stay online all the time!

CAUTION: HERE ARE THE RULES FOR IMPORTING:
(Even though you may have followed the steps listed above, failure to follow these rules below could result in media that is offline.)

RULE 1
You can only do "Step 2: Import Media" to a single bin once. If you want to import more cards but already did the second step, simply create a new bin to import to.

RULE 2
You must have all other bins (besides the one that you're importing to) closed. It should have that little blue icon next to it in the project window. This also includes sequences. If you do not do this, any other bins that you have open during this second step will result in the clips in those other bins going "OFFLINE."

RULE 3 (this is actually more of a tip)
You can import multiple cards into a single bin. Just repeat Step 1 until you have all the clips you want in that bin, then do Step 2. This is the correct method if you have spanned clips over multiple P2 cards and you want Avid to see them properly.

Your media will now stay online even if you quit, restart or whatever. Just remember to follow these steps and rules every time that you want to import P2 media.

~~~~~~~~~~~~~~~~~~~

SECTION 2

For Avid Media Composer v2.6.6 and earlier (that supports P2/MXF) For Avid Xpress Pro v5.6.7 and earlier (that supports P2/MXF)

The method described in this section also works for later versions of Avid but is generally not the preferred method.

[1] Copy the MXF files into the Avid MediaFiles/MXF/1 folder on your designated video hard drive's root level. Pay close attention to the folder name in red (if it reads anything other than this, you will not see any files appear in your Media Tool - an incorrect folder name is a common mistake). The MXF files to copy are only the ones located in the VIDEO and AUDIO folders (under CONTENTS) that were created in the original P2 directory structure. Always do this while Avid is not running.

[2] Start Avid then create your project (likely a 720p/23.976 project).

[3] Go to Media Tool and then search only for Master Clips on the video drive that you transferred the MXF files to. Once found, simply drag them into your bin. The Master Clips in your bins can be renamed however you wish and the name change will be reflected in the Media Tool window.

[4] Edit.

~~~~~~~~~~~~~~~~~~~

Notes:

As you read these notes, keep in mind which version of Avid you are using (Section 1 versus Section 2 of this tutorial) . . .

With the inclusion of the MXF format in Avid HD products, a new folder called Avid MediaFiles was created. This is separate from the original and still present OMFI MediaFiles folder. HD footage can only be captured in the MXF file format. You can select this format for capture in the Media Creation Tool from the Tools Menu. On the Media Type tab, select MXF for the video format. For MXF audio, select the PCM (MXF) file format from the Audio Project Settings.

In the Avid MediaFiles folder, there is a separate MXF folder. Avid Technologies structured it this way to reserve the option to support other media formats in the future. Inside the MXF folder are folder(s) that/will contain the actual MXF media. If you’re a Unity client, you will see multiple MXF folders – one for each system. If you’re only using local storage, then you’ll see a folder simply labeled 1.

You cannot just take the whole CONTENTS folder that was created by the HVX200/P2 and drag it into the Avid MediaFiles/MXF/1 folder. You need to drag the video (from the VIDEO folder) and the audio (from the AUDIO folder) into the folder labeled 1.

You’ve already "imported" MXF files after you copy them to the Avid MediaFiles/MXF/1 folder. Avid doesn't make another copy of the MXF files. Avid works with the native MXF files. So again, no copies are made or files harmed in the process of using the Media Tool which is simply for browsing the online files and associating them with your particular project.

If the Avid MediaFiles directory structure does not already exist on your Avid video drive, you can create it manually. However, as stated in Step 1, you must create it exactly as it appears here (Avid MediaFiles/MXF/1) and it must be placed in the root directory of your designated Avid video drive.

The Media Tool will still import the MXF files if you create and utilize folders beyond 1 (such as 2, 3, 4, etc.). Hence, you might actually want to assign a unique number to each P2 card imported. In fact, if you don't, you'll likely run into organizational issues. Again, you can minimally keep track of things by creating these other folders (2, 3, 4, etc.) for each P2 card transfer and still be able to use Media Tool to import from each folder. Do not try to eliminate the number names of these folders. Keep them labeled numerically and sequentially or else the Media Tool will not recognize them and hence will not load your MXF clips.

However, you do have one other welcomed option [NOTE: You can do this only after Avid builds and indexes your MXF directories' database files.] If you want more conventional names for these folders, you may do so and are encouraged to do so as this will help keep you even more organized, especially for lengthy projects. You can go with a naming structure such as:

Avid MediaFiles/MXF/1.YourProjectNameHere-Day1-Card1

Avid MediaFiles/MXF/2.YourProjectNameHere-Day1-Card2

Avid MediaFiles/MXF/3.YourProjectNameHere-Day1-Card3

Avid MediaFiles/MXF/4.YourProjectNameHere-Day2-Card1

Avid MediaFiles/MXF/5.YourProjectNameHere-Day2-Card2

. . . etc.

As long as the folder name contains number dot whatever, you should be fine when using more conventional names for your P2 Card folders on your video drive. That way you can see where all your clips came from. Plus, you can rename the clips to whatever you want within Avid itself.

This process was tested with certain versions of Avid (listed above) that were available at the time of this writing (see the last edited date of this sticky post). Other versions may vary in this process or even be unable to import MXF files. For example, with the release of Avid Xpress Pro HD v5.7, there are some major improvements in the P2(MXF) workflow from versions that came before it.

The Panasonic HVX200 is just one example of a P2 device. Other P2 devices should work roughly the same way.

~~~~~~~~~~~~~~~~~~~

I compiled the above from various sources to make it as easy and informative as possible. Many thanks to Avid and various members of the Avid User & DVXUser community.
~~~~~~~~~~~~~~~~~~~
In addition to this tutorial, be sure to check out Avid's official P2 tutorial here:
http://learn.avid.com/content/tutori.../tutorial.html

And Volume II of the HVX BootCamp DVD Series:
http://dvxuser.com/articles/hvxdvd/