Is the A1 good in off to print to FILM??

Elton said:
The new AJA I/O HD makes it possible to shoot high quality 4:2:2 to a MacBook Pro using the new ProRes codec, (possibly without a RAID too) which is superior to DVCPRO HD. But if you'd even consider doing tethered shooting, I would step up to a G1 and get embedded HD SDI output, otherwise you will need an analog HD to HD SDI converter box because you won't get very long cable runs with analog component from the A1.
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Yes Elton, I have already one in list at B&H, this was to be with the RED'S set up, but I still do not understand if it is better to spend the money tryng to up-rez the XH-A1 with the use of such a box or going directly as you suggested to the G1 insted.

This are the true differences that also interest me.

And also in one or the other the goal is to get the best out of the set up but at a cost that justifis the spending.

Thanks.

Ciao

KETCH ROSSI
 
KETCH ROSSI said:
Yes Elton, I have already one in list at B&H, this was to be with the RED'S set up, but I still do not understand if it is better to spend the money tryng to up-rez the XH-A1 with the use of such a box or going directly as you suggested to the G1 insted.
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All I can say is that I think that converting the analog output from an A1 into a digital signal, whether by going directly into a capture card/box like the AJA I/O HD via component analog (which severely limits tether length) or using an intermediary box like a AJA analog HD to SDI converter, is a bit of a pain and inelegant. It's workable and worthwhile if you want the absolute best picture possible from the A1, but a simple BNC cable connected to the G1 that gives you all you need (video, audio, timecode) is a much better tethering proposition in my book. I mean, it's just one cable, and one with a decent locking mechanism on both ends too. And you can run a cable well over 300 feet with SDI, which means your capture technician can be set up someplace more convenient than right near the action or you can do very long steadicam/dolly shots without the tethering being too much of an issue.

Bottom line: If you have the camera budget, by all means do what you can to get the I/O HD and shoot to a more robust codec like ProRes...but don't be afraid of going with Canon's HDV if you find the tethering alternative to be too much of a hassle. You will still get a reasonably robust image that no one's gonna have a problem with if the artistic vision is there.
 
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Thanks Elton,

I will try to set up some tests with both setup as the A1 to firewire then post to Cineform to up-rez, and then the G1 to HD-SDI.

This way I can see exactly what's involved both as far as cost and workflow on set and off set when editing.

Thanks again for your input.

Ciao,

KETCH ROSSI
 
hey ketch,

if you are doing a test, maybe you can do the A1 through firewire HDV and uprez to cineform NEOHD

and the same image through component directly to cineform NEOHD through intensity or similar card (bypassing HDV compression?)

does anybody know if this test has been done already
 
Hey agwah, yes I posted also in the hope of finding both, if some one has already done this tests mayby wiil get the links and if not mayby some one with the equipment will also offer to test with me, I'm willing to absorbe all the cost plus tryng a litle party wile testing as compensension for the hard work.

Ciao,

KETCH ROSSI
 
I am very close to purchasing this camera myself, do you know how long it takes to convert the ntsc version to a both pal and ntsc compatible camera

i live in NY and have been hired to make a project for a Hongkong presentation, having an american system camera is essential, but this project needs pal standards
 
As far as I know this those not apply to Canon, I see no where that this camera comes in NTSC or PAL, so my believe is that is just a matter of setting the correct frame as I know is different.

I wish I knew more about this.

Ciao

KETCH ROSSI
 
Elton said:
All I can say is that I think that converting the analog output from an A1 into a digital signal, whether by going directly into a capture card/box like the AJA I/O HD via component analog (which severely limits tether length) or using an intermediary box like a AJA analog HD to SDI converter, is a bit of a pain and inelegant. It's workable and worthwhile if you want the absolute best picture possible from the A1, but a simple BNC cable connected to the G1 that gives you all you need (video, audio, timecode) is a much better tethering proposition in my book. I mean, it's just one cable, and one with a decent locking mechanism on both ends too. And you can run a cable well over 300 feet with SDI, which means your capture technician can be set up someplace more convenient than right near the action or you can do very long steadicam/dolly shots without the tethering being too much of an issue.

Elton if is not to much trouble, would it be possible for you to get me some links of exactly what I will need to use the G1 workflow you suggested?

Again if you can/want/have the time, can you also tell me what this will take as far as recording space in to hard drive?

Currently I have the new 17" with 4GB Ram and I chosed the 160GB HD at 7200rpm, is this in off space with uncompressed HD from the G1?

If not may you list options as far as Raid's, please keep in mind that this project must stay in the low figures as I already have 3 RED cameras in order for November/December delivery(aprox.).

I just like to see if I can get to the purchase of the G1 plus the needed hardware to capture Uncompressed HD-SDI, if not as you say I will then just shoot HDV direct to Firestore device and make up for the loss of quality with the shooting freedom of mobility and use that more for added cameras movments free of cables.

Thanks again Elton,

Ciao,

KETCH ROSSI
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ntsc to pal

canon rep called me back right away, yes it is called a pal upgrade (500 USD) and takes a couple of days at the local service facility here in New Jersey

then the camera can do both
 
Yes as I imagined it would because when I purchased this camera at B&H I sow no choices as you see in other cameras.

$500 is no cheap but not to bed.

Good shooting!

Ciao,

KETCH ROSSI
 
agwah said:
I am very close to purchasing this camera myself, do you know how long it takes to convert the ntsc version to a both pal and ntsc compatible camera
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It's just a simple reprogramming of the firmware that adds a new 50hz (25F/50i) option under signal standard. Probably just a matter of minutes hooking up the camera to a computer or plugging in a firmware update via SD card. You have to ship the camera to Canon but you should be able to get it back within days.
 
Elton if is not to much trouble, would it be possible for you to get me some links of exactly what I will need to use the G1 workflow you suggested?
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Your powerbook should be fine. Just add the I/O HD and you can record ProRes HQ through Firewire 800 on the MacBook. ProRes has two quality modes; the first is 8 bit full raster 4:2:2 at around 12-14 MBs. The second is HQ 10 bit 4:2:2 @ 20 MBs. Basic ProRes is about 1 GB per minute. 10 bit is around 1.5 GB per minute. The internal laptop drive might keep up with 8 bit ProRes, but it might not be able to sustain 10 bit throughout the entire disk. Look into external firwire drives that are bus powered--you should be able to record 10bit ProRes with much more capacity to an external 7200 rpm drive.

Understand that capturing to a laptop isn't like recording to a HDV tape, firestore, or even P2 cards ala HVX. There's no start/stop mechanism the computer recognizes because you would be capturing directly into a Final Cut SDI capture window from the live signal coming from the camera. This means that it's necessary to have someone at the laptop dedicated to recording each take and organizing the data within the NLE.

Hope that helps.

Elton
 
Thanks Elton, it sure helps.

The more I have the specificas of each workflow the more easy it will be for me to see wicth one is the best for this shoot, both as quality and economics.

So thanks again Elton for your time.

Ciao,

KETCH ROSSI
 
Ketch, an hvx200 camera package sounds more like what you want if you want 4:2:2 out of a sub 10,000 package. I personally don't think the difference is great enough for 4:2:0 to 4:2:2 to be that big of a deal since you're gonna have RED in less than a year, but to me it makes no sense to spend thousands extra to try and turn the A1 into something it's not meant for.
 
Yes ecking you are correct and more and more i get in to the specs of workflow the more I believe that I must use what I have(XH-A1) and do a simple shoot with no cables running every were and also turning this project in to a camera project instead of a film project.

Thanks for your post.

Ciao,

KETCH ROSSI
 
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