Pansonic works in mysterious ways! AVCHD to DVCPRO HD decoder

[bgundu]

I'm sorry to say Brad but the 7D also records to the cards as 4:2:0. The jury is out on wether you can get 4:2:2 through the HDMI or not. But the AF100 can output 4:2:2 through HDMI and HD-SDI.

(Actually, I wasn't sure if you were implying that the 7D can record in higher color space or not. Sorry if you're not)

I too only work virtually on the native files of my DSLR, in Premiere and in After Effects and then I only master to TGA, no compression to deal with and the only compression was in the original. Your post route is wrong if you're downsizing the resolution of the master and recompressing. You've got to think about that. If you can work on the originals, work on the originals.

The AF100 is an interesting camera, 4:2:0, variable fps, interchangable lenses. Not for me. I want to use a higher color resolution and until then I'll use the 7D.

 

[Barry_Green]

Meantime ..I cant really wait til we all get used to this CODEC and get it implemented at the high end... and I dont really want to be a guinea pig either.

Okay -- full stop. Reboot this conversation.

Please detail exactly where you are foreseeing problems with the AVCHD codec. It's been on the market for over two years already. Every major NLE works with it right now. Avid works with it. Apple's NLE's work with it. Premiere and After Effects work with it. EDIUS works with it. Vegas works with it. SpeedEdit works with it. Even iMovie works with it.

Why is the DVCPRO-HD decoder being discontinued? Perhaps because it's not necessary anymore! They offered that tool for the transition time when NLEs didn't support the native codec, but its time is long since past.

If you want answers -- please drop the attitude and instead calmly and clearly elucidate what exact scenarios you are encountering where the AVCHD codec isn't working for you, and we can answer those specific questions. But no more of the "youtube generation" nonsense please. This is an established codec that is extremely widespread in consumer and professional equipment and will only continue to grow.

 

[Shooter]

Thank you Jan and all contributors.

I now look forward to doing my own tests. (Shoot and Post)

I doubt that I will complete them in time for my end of JAN gig because of camera availabilty (one of which I have pre ordered). So the RED it will be.
(Might point out at this stage that the RED rental on this production alone would almost pay for an AF102)

Some one back in the thread mentioned they were dong a shoot ( tabletop food) Mid Jan ...that sounds similar to mine. I really hope you post back how it goes for you. I hope you have time to do some tests and I am keen to see how my areas of POST concern are managed by your selves.

Some one asked why use a $5000 camera on a shoot that I can afford to shoot Red or film. That decision is based on the desire to put the $$$$ on screen. It is art department intensive, no actors, just art and sets and the $$$ need to be spent on screen because that where they show. Keep in mind I would be putting a hired lens set worth $80,000 on this rig plus all accesories and monitors etc...

I am convinced that the AF 102 camera can do the business at the photography end of the equation.

The DVCPRO HD codec has served me well with the HVX 202 . It has produced great results and been very adequate for broadcast TV. Down here we broadcast FHA 16:9. That basically is PAL SD squeezed. For the pixel counters that means the DVCPRO HD codec exceeds the pixels broadcast.. I dont believe it a valuless out dated CODEC at all.

Naturally I wish to avoid degradation at any point in my post to broadcast pipeline. I will work out the best solution and that is likely to be an external device as I see it currently...

Thanx all. You have helped a lot.