Comments on: Why Final Cut Pro specific cameras?

By: Philip

Philip — Fri, 16 Jan 2009 22:19:58 +0000

Peter,

If quality of composition is your primary goal, then I think the HDMI to IoHD to ProRes will give the highest quality.

If convenience (or not buying another Mac) are primary, then work in the EX codec for shooting and convert to ProRes on ingest.

Philip

By: Peter Nodiff

Peter Nodiff — Fri, 16 Jan 2009 20:26:01 +0000

The ‘jist’ of what I’m trying to learn is do I buy a cheap HD cam (with ‘uncompressed’ HDMI out) and an AJA ioHD to capture ProRes into my MBP/FCP? ..OR.. Do I get a JVC HM100 or EX1 and capture to it’s 35Mbps XDCAM EX codec, then transfer to ProRes? Read on..

My camera needs aren’t the issue since my simple shoots consist of cam sitting with a fixed focus (wide lens preferred)on a tripod with plenty of light. The issue is the codec for cleanly compositing: green screen, graphics, motion elements, 2D & 3D animations, and VFX. I’ll be distibuting HD video (1080P) via proprietary HD internet pay per download and onto Apple TV devices for future industrial clients at tradeshows.

The advantage of the second scenario (just EX codec cam, no AJA ioHD) for my application is because Final Cut doesn’t recognize 2 io devices during capture simultaneously, and with my MacBook Pro, I can’t capture video via AJA ioHD and simultaneously capture 12-20 channels audio with a high end Apogee audio interface. I’d need two Macs, and that’s out of budget for now.

The Red Scalet would be my answer if available, but can’t wait for a summer (?) release. Thanks for the help! Peter

By: Philip

Philip — Fri, 16 Jan 2009 16:56:34 +0000

4:2:0 in HD is pretty good for compositing. Even if you convert to ProRes you don’t gain any color, just limit the loss. If the show was color correction heavy, or compositing heavy, I would convert to ProRes on ingest. The workflow isn’t easier but the computer has to work a little less hard with all I-frame over Long GOP.

Philip

By: Peter Nodiff

Peter Nodiff — Fri, 16 Jan 2009 11:17:51 +0000

What about XDCAM EX’s 4:2:0 for compositing? And is Final Cut (& Shake) workflow with compositing and graphics made easier by log & transfer to ProRes?

By: Bill Willins

Bill Willins — Thu, 15 Jan 2009 04:49:29 +0000

Hi Phillip ,
Ok ..you’ll get your hands on these JVC cameras way before we do. First off I love the QuickTime recording concept …. out of the box thinking … finally a manufacturer is thinking more about me and my needs than their own damn self serving proprietary formats. I would love to buy one of these puppies just to send a clear message to Sony & Panasonic. So Phillip .. your mission is clear. Once you get your hands on these …(1) lets take a long hard look at picture quality (2) Manufacturing quality and durability..since we have some lingering JVC doubts . And I personally would need a decent wide angle lens converter for interior architectural work. I look forward to your future reports both here and on your excellent podcasts. Thanks BW

By: Philip

Philip — Wed, 14 Jan 2009 17:23:37 +0000

It would be nice if JVC supported the 50Mbit/sec of XDCAM EX but since Sony do not put it in their “affordable” cameras, I doubt they’ll license it to JVC for an inexpensive camera. Sadly. Maybe in a couple of years.

Philip

By: Edward G Downie

Edward G Downie — Wed, 14 Jan 2009 16:41:54 +0000

I think to shoot in native format of which you edit in is a good idea. I hope JVC is going to come up with 50mbs camera like when they made the Digital S/D9 format which was a answer to DigiBeta at a very good price, I still use them to shoot in 16X9 dock to a Hitachi SK Head not Hi Def but good for use on the internet looking forward to the new camera.

By: Philip

Philip — Mon, 12 Jan 2009 00:50:32 +0000

I’ve seen some nice gear from JVC over the years, but the prejudice is probably deserved in older times.

Philip

By: Don Dulmage

Don Dulmage — Sun, 11 Jan 2009 19:57:45 +0000

But Philip, it’s a JVC. Twice in my considerable life time I have purchased JVC cameras and after a very frustrating time returned them to the dealers. Drop out, tape jam, faulty switches, loose lens mounts. You name a problem and JVC had it. I held the HM100 (not yet a working model) and played with it at the MacWorld FCP meeting. My first thought was what a great idea. No more expensive P2 cards and it is even lighter & smaller than my HVX-200. I could shoot all day on the inexpensive SDHC cards and not have to hire a extra person to keep downloading my P2 cards to hard drives. Then I remembered, It’s a JVC.