ullanta
Veteran
Greetings all. Just a brief report... in the last few days I've been capturing an opera using an HVX through firewire to a FCP on a Powerbook, recorded to a Glyph drive on the same firewire bus.
The Opera has 3 hour-long acts; I recorded 6 performances - that's 24 1-hour-long clips, all captured without a hitch. Or a glitch! This is in a ddition to a lot of shorter clips for testing. So, for me, the HVX->FCP on Powerbook has been flawless.
This was at 720p30; FCP removed all the duplicate frames and thus saved the 100Mb/s data from the camera at a rate of 50Mb/s, which is the only way this woulda all worked.
So, I'm pleased! I hope this helps to ease the worries some people have about this workflow.
I'll write later about how the footage came out... the HVX was a "second" unattended camera, set on auto-iris. The opera had drastic lighting, extreme contrast, spotlighting and backlighting in rapid succession... I have to go through the footage! In my tests, Cine-D handled the lighting best, but was sometimes very noisy... it had the mojo and captured the most realistic representation of the complex lighting situations... but I have to see what I can do with the noise in post to see how acceptable it is. The highlights were so bright in almost every scene that the majority of the frame is almost always in the HVX's noisiest range... but crushing it down leaves... well... pretty much nothing! My intention was to take it down to SD (with some reframing) - we'll see if that averages out the noise in any useful way. However, it's the Saru-G5 type noise that seems like it would be helped more by temporal blending than spatial blending... ah, we'll see...
The Opera has 3 hour-long acts; I recorded 6 performances - that's 24 1-hour-long clips, all captured without a hitch. Or a glitch! This is in a ddition to a lot of shorter clips for testing. So, for me, the HVX->FCP on Powerbook has been flawless.
This was at 720p30; FCP removed all the duplicate frames and thus saved the 100Mb/s data from the camera at a rate of 50Mb/s, which is the only way this woulda all worked.
So, I'm pleased! I hope this helps to ease the worries some people have about this workflow.
I'll write later about how the footage came out... the HVX was a "second" unattended camera, set on auto-iris. The opera had drastic lighting, extreme contrast, spotlighting and backlighting in rapid succession... I have to go through the footage! In my tests, Cine-D handled the lighting best, but was sometimes very noisy... it had the mojo and captured the most realistic representation of the complex lighting situations... but I have to see what I can do with the noise in post to see how acceptable it is. The highlights were so bright in almost every scene that the majority of the frame is almost always in the HVX's noisiest range... but crushing it down leaves... well... pretty much nothing! My intention was to take it down to SD (with some reframing) - we'll see if that averages out the noise in any useful way. However, it's the Saru-G5 type noise that seems like it would be helped more by temporal blending than spatial blending... ah, we'll see...
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