I used the HVX200 in 24p Native to shoot some slo-mo for a 35mm filmTV spot.
The client and I agreed that shooting 35mm film at 60fps to get a good "Bronc Riding" shot could blow out the film budget.
We used a bunch of 4gig P2 cards and a P2-Store and the files were eventually moved to two external drives.
The Ad Agency/Client uses a large Post and Tranfer house. Their editor sent the following message:
I'll see what I can do to use as much P2 as possible. But we've recently had three producers
come through with P2 shot at 24 (23.97). It's been an unpleasant discovery for each.
Both Avid and Final Cut Pro can bring in the footage.
But it can't be viewed on any client monitor (it only shows up on a computer monitor...there
are no screens manufactured that will display 720x1280 @ 23.97).
Once edited, there are no tape machines manufactured that will record 720x1280 @ 23.97.
I assume you discovered that you could not even playback and view the footage in the
camera viewfinder as 720x1280 @ 23.97.
So there is a basic problem here.
Everything needs to be converted to 720x1280 @ 59.98.
Then it can be edited and Master recorded to tape normally.
But the conversion process involves recording it out of the 24 project to a massive QT as 60.
Then opening a 60 project and importing the QT.
On a one minute clip, the process takes 10 minutes to export and another 10 minutes to to
import. Three minutes of footage takes an hour at rate card $200.00. Theoretically, each 30
minutes of footage would take 10 hours and cost $2,000.
I don't know how much footage there is but what I will do is import everything as 23.97.
Then make selects and output only what may be usable as 59.98.
Hopefully 10 minutes worth will only be a half day process.
We've studied the Panasonic website and no where does it explain the workflow for 23.97
specifically.
P2 shot as 59.97 looks great and works well within current post facility environments.
It tapes up more disk space but is user friendly throughout the production/post process.
You have the freedom to shoot at 23.97...it's just time and money. And the film look
probably becomes a mute issue after the image gets jerked around during the conversion
process.
Just thought you'd like to know.
You seem to be very alert to the P2 technology...if everything I've written doesn't make sense
to you...we could be crazy...please let me know. (end of editor's message)
I am a shooter not an editor. Would someone please help me get him ontrack with the P2 workflow?
I did tell him that we viewed footage with the camera during the shoot in 24PN. He has the backup drive, the footage is fine.
The Avid edit system is Adrenaline and he works with Varicam and Cine-Alta footage every day. The P2 footage will just be a few short cuts in the final 35mm spot, which will be released in standard def.
Thanks in Advance
The client and I agreed that shooting 35mm film at 60fps to get a good "Bronc Riding" shot could blow out the film budget.
We used a bunch of 4gig P2 cards and a P2-Store and the files were eventually moved to two external drives.
The Ad Agency/Client uses a large Post and Tranfer house. Their editor sent the following message:
I'll see what I can do to use as much P2 as possible. But we've recently had three producers
come through with P2 shot at 24 (23.97). It's been an unpleasant discovery for each.
Both Avid and Final Cut Pro can bring in the footage.
But it can't be viewed on any client monitor (it only shows up on a computer monitor...there
are no screens manufactured that will display 720x1280 @ 23.97).
Once edited, there are no tape machines manufactured that will record 720x1280 @ 23.97.
I assume you discovered that you could not even playback and view the footage in the
camera viewfinder as 720x1280 @ 23.97.
So there is a basic problem here.
Everything needs to be converted to 720x1280 @ 59.98.
Then it can be edited and Master recorded to tape normally.
But the conversion process involves recording it out of the 24 project to a massive QT as 60.
Then opening a 60 project and importing the QT.
On a one minute clip, the process takes 10 minutes to export and another 10 minutes to to
import. Three minutes of footage takes an hour at rate card $200.00. Theoretically, each 30
minutes of footage would take 10 hours and cost $2,000.
I don't know how much footage there is but what I will do is import everything as 23.97.
Then make selects and output only what may be usable as 59.98.
Hopefully 10 minutes worth will only be a half day process.
We've studied the Panasonic website and no where does it explain the workflow for 23.97
specifically.
P2 shot as 59.97 looks great and works well within current post facility environments.
It tapes up more disk space but is user friendly throughout the production/post process.
You have the freedom to shoot at 23.97...it's just time and money. And the film look
probably becomes a mute issue after the image gets jerked around during the conversion
process.
Just thought you'd like to know.
You seem to be very alert to the P2 technology...if everything I've written doesn't make sense
to you...we could be crazy...please let me know. (end of editor's message)
I am a shooter not an editor. Would someone please help me get him ontrack with the P2 workflow?
I did tell him that we viewed footage with the camera during the shoot in 24PN. He has the backup drive, the footage is fine.
The Avid edit system is Adrenaline and he works with Varicam and Cine-Alta footage every day. The P2 footage will just be a few short cuts in the final 35mm spot, which will be released in standard def.
Thanks in Advance
