Another new XH-A1 owner

Welcome to the club scharky!

Hey Elton,
Is there any way you can document a step by step process on that for idiots like me? :)
 
coffee said:
Welcome to the club scharky!

Hey Elton,
Is there any way you can document a step by step process on that for idiots like me? :)
Click to expand...

I'll put up a tutorial at xlcinema sometime this weekend. Don't worry, it's really not all that complicated.
 
what are people currently using to get true HD with premier pro 2.0? I noticed there are sevral cineform packages...
my a1 hasnt came in the mail yet, im still waiting, just want to be prepared.
 
Hey John, i'm curious to know what your impression of the A1 is. I remember back when the XL2 came out and you weren't too thrill with it but i bought it anyways and was not very happy with it. It's time for me to look for another camera and was wondering if you would stick with a dvx100b or go for the A1.

Thanks John, just curious that all.
 
strancali said:
Hey John, i'm curious to know what your impression of the A1 is. I remember back when the XL2 came out and you weren't too thrill with it but i bought it anyways and was not very happy with it. It's time for me to look for another camera and was wondering if you would stick with a dvx100b or go for the A1.

Thanks John, just curious that all.
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as far as comparing it to the dvx100b, it destroys it. I sold my dvx100b for the a1. My advice, sell your dvx now on craigslist while its still worth a penny.
 
t-h-e-w-h-o said:
as far as comparing it to the dvx100b, it destroys it. I sold my dvx100b for the a1. My advice, sell your dvx now on craigslist while its still worth a penny.
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Thanks for the advice. I just don't want to make the same mistake i did when i purchased the XL2. Would you choose it over the HVX200?
 
Elton said:
He did state that he bought the *Kona LHe* which is meant for FCP and MacOSX. The Xena card from aja is meant for CineForm and Windows. (at least currently. Still waiting on CineForm FCP support)

There are lots of ways to edit in 4:2:2 space with the FCP/Kona combo. I personally recommend editing native HDV 24F to save disc space, then copying the sequences into a superior lossless codec like Sheer (www.bitjazz.com) and doing final grading and QT output from that.
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Yep, that's one workflow. But if you're headed to dvd, then copying into dvcpro hd for better graphics works too.

All I'm really missing is a hi def monitoring solution, though according to the tech at AJA, the downconvert to my sony pvm 14 will be pretty close to accurate in terms of colors, and blacks, so he says. Once I have a look and compare what the scopes say to what my eyes see, I'll start a thread.
 
strancali said:
Thanks for the advice. I just don't want to make the same mistake i did when i purchased the XL2. Would you choose it over the HVX200?
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well, by purchasing this cam you arnt making a mistake. Personally, yes, i would and did take it over the HVX. The price point of the media is what made me make that choice. HVX p2 cards cost way too much. For the price of the HVX and 2 8GB p2 cards (which you will adventually need) you could purchase 2 canon A1's. I dont think the A1 does 720P, i think only 24F at 1080... I could be wrong tho. The hvx does 720P and dont forget it can do 60P so you could slow that down for some really nice slowmo. If you need 720P and 60P then this cam will not work for you, however, if you just want solid HD with great colors, great lense at a great price, then i would say the A1 is for you. Dont forget, if you still want HVX-like slowmo with the canon A1 you can shoot 60i at 1080i, deinterlace it in vdubmod (or something like that) and then import it/slow it down. It will have blended frames but still look much better than slowmo coming from the NLE taking your 24F and copying frames to achieve the slow look.

i have only played with the A1 at frys, mine should be coming in the mail soon. I will be sure to play with it and get some nice test footage going.
 
Have shot a whole bunch with the DVX and loved it (much more than the Sony PD150 I used to shoot with). Thanks to the discussions here and other places last week I traded in my DVX and got the A1. Have only begun to play with it but must admit I am smitten. Just waiting now for the FireStore update to support 24F, and I'll be able to have a tapeless workflow with simultaneously recorded tape backup(!).

Regarding the Kona LHe and FCP, editing in 4:2:2 colorspace, etc., if anyone cares to elucidate for a hopeless neophyte, it would be most appreciated.
 
SamKam said:
Have shot a whole bunch with the DVX and loved it (much more than the Sony PD150 I used to shoot with). Thanks to the discussions here and other places last week I traded in my DVX and got the A1. Have only begun to play with it but must admit I am smitten. Just waiting now for the FireStore update to support 24F, and I'll be able to have a tapeless workflow with simultaneously recorded tape backup(!).

Regarding the Kona LHe and FCP, editing in 4:2:2 colorspace, etc., if anyone cares to elucidate for a hopeless neophyte, it would be most appreciated.
Click to expand...

and likewise if anyone knows how to edit a 4:2:2: colorspace in premier pro 2.0 it would be apreciated.
 
The Kona LHe is a PCIe card, that, when used with fcp, allows for real time external monitoring of hdv, not to mention providing a host of ins and outs and some acceleration.

Poke around www.aja.com for some of their products.

The sheer codec is a codec Elton has discussed extensively elsewhere here, try a search. Basically, if you cut in hdv then convert to sheer, you get 4:2:2 color space, less storage, and faster renders.

Here's a link

http://bitjazz.com/en/products/sheervideo/
 
DrHST said:
The Kona LHe is a PCIe card, that, when used with fcp, allows for real time external monitoring of hdv, not to mention providing a host of ins and outs and some acceleration.

Poke around www.aja.com for some of their products.

The sheer codec is a codec Elton has discussed extensively elsewhere here, try a search. Basically, if you cut in hdv then convert to sheer, you get 4:2:2 color space, less storage, and faster renders.

Here's a link

http://bitjazz.com/en/products/sheervideo/
Click to expand...

so basically that takes my HDV footage captured via firewire from the A1 and converts it to 4:2:2?
 
Well, it doesn't actually add more chroma info than you originally acquired but it does allow you to bypass the HDV codec for final CC, renders, etc. that would otherwise further degrade your original image.

(G chroma sharpen from Nattress does a nice job of filling in chroma gaps however)
 
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