2 hvx 200 shoot with 4 firestores what is transfer time of firestore to mac

2 hvx 200 shoot with 4 firestores. Firestores are 100gb models. Transfer will be done with macbooks 2.0 2gb ram, macbook pros 2.xx 2gb ram, and a possible powerbook g4 ????processor, ??ram. How longshould it take in your experiences to transfer a pretty full drive 80-99gbs hypotheticallt ro any of these machines.
Thanks.

No we did not have a shortage of HD space we had two cpu, 4 firestores for a couple hr concert. The firestores ended up taking 1.5 closer 2 hrs to download. We lost 1 camera for 20-30 minutes due to lack of firestore space.We probably would of been fine except one of the firestores was acting funky. That is one of the drawbacks of being low budget. We should of had 6 firestores but $ is a reality and a pain. Overall though things went quite well. We recorded timecode via wireless to the cameras and and audio to a 744t and DV40 fostex and will be syncing it at Sony tomorrow. I'm sure there will bee breaks as wireless is wireless.
thanks

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I'm shooting a music video on the HVX-200. I'm new to the camera and the manual offers little explanation as to the difference/advantages/disadvantages between 720p30pn and 720p30p recording format. I want to shoot VFR (variable frame rates) and mix it with the footage which I think only works with the 720p30p recording format.
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Why not shoot 720/24pNative for the "film look."
With the default frame setting in the video or the film mode?
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Play with the scene files for the look you want to add to the "film look."
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Can I shoot slow motion on HVX-200 keeping 1080i/24P without FCP Conversion

I've been reading many threads, but haven't figured if you can actually shoot true 1080i/24P on my HVX-200 with menu frame rate set to 60fps/shutter 60fps. The times I've tried it shows 24P in the menu frame rate and will not playback on the P2 in true slow motion so I can import into FCP slow motion at 1080i/24P without conversion.
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www.IllusiveMedia.com

haven't figured if you can actually shoot true 1080i/24P on my HVX-200 with menu frame rate set to 60fps/shutter 60fps
You can't. 720p is the only format that is 60fps. 1080i is 30fps.
From everything I've seen it shows it has to be in 720/24P with menu frame rate at 60fps/shutter 60fps which will let it playback on the P2 in slow motion.
Correct. You can only shoot in-camera slow motion at 720p60, using the 24p setting. And this is also the way to shoot so you can slow it down later with Cinema Tools or in FCP. It must be 720p60. Again, 1080i is 30fps only. Even 1080p...30fps with DVCPRO HD.
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Sorry, if you want to shoot smooth slow motion, you need to shoot 720p. If you must shoot 1080p, then you need to invest in good post slow-motion options, like Twixtor.
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Hi there,
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Slow motion hvx 200

hi
have been out testing with the hvx 200 trying to get a slow dreamy effect in camare. whats the right way to go about it.
we chage the frame rate to 32 37 50 what the hvx 200 would let us do and the thing is all of the above came out as 50fps in fcp apart from 25 which came out as 25 fps. we are not recording to p2 card but to a firestore and i belive we don't have to do any thing there or am i wrong!
ok taking the fottage into motion and using timeramp is one great way to go but in camare is all ways best. any tips would be great to recive on how to do it.
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I've been reading all your really helpful posts on apple.com; I hope you don't mind me emailing you like this but I have a couple specific questions...
I'll be shooting a 30 min film that will ultimately be delivered on DVD and I might get a print of it made...I will be shooting on a panasonic hvx-200 because it is available for free to me...I have a g5 dual, 2 ghz with FCP5, which I will use to edit...
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Considering all this, in everyone's opinion, what would be the 'best' mode for me to shoot with on the hvx-200...'best' meaning easiest digitizing - can I capture via firewire right out of the camera? and as headache free a workflow as possible in final cut. I want to shoot in 24p mode for the look, but I've read in some of the posts that that if delivery is 29.7, shooting in 24p can be a mistake...any help or advice anyone can provide would be appreciated!
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What many are doing is to use a pb and capture direct to disc on location via fw.
There are a couple of other options as well, I beleive.
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Capturing using 24p will save you quite a bit of disc space.
Also, with the footage that I've had play with from this camera there is absolutely no advantage in shooting 1080, shoot in 720 and if you want to up res then use the scaling in fcp or even qt. Either of these produces an image that is superior to the interpolation going on in camera.

Capturing 24p from the HVX-200

I just filmed some footage, with the Panasonic HVX-200. I filmed in 480/24p on a tape. when capturing it in FCP do I choose DV50-NTSC 24p, or DV-NTSC 24p in the easy set up menu? I think its DV50, Im just not 100% sure. IF anyone can help me out I would really appreciate it.
Stephen.....

Yup...pretty sure...
#23 Differences between 24p and 24pA
Shane's Stock Answer #23
Quoting Ken Stone's site found at:
http://www.kenstone.net/fcphomepage/24p_in_FCPnattress.html
24p Normal
When shooting in 24p Normal, the camera is adding normal standard 3:2 pulldown to the video, which results in 24p footage designed to work with any non-linear editing suite and it will play back and look good directly to any NTSC monitor. You can use 24p Normal footage just like normal video from any DV camera, and everything will work fine, but obviously, the footage will have a film look to it. If you’re just going straight back to NTSC video tape, then using 24p Normal is the simplest, easiest workflow. No special treatment of the footage is needed and you really can just edit as normal.
24p Advanced
Before you shoot 24p Advanced, you should fully understand it’s workflow implications. If you watch 24p Advanced footage before you’ve removed it’s pulldown, then it will look a bit jumpy and jerky. This is totally correct, because 24p Advanced is not designed to be viewed as is.
To use 24p Advanced and gain all it’s advantages, you should know that you cannot edit it as is (as this would leave it’s jerky looking pulldown intact), but you must first remove it’s pulldown. Final Cut Pro will do this for you, leaving you with the 24p footage without any of the extra “padding” fields that are added to make it’s frame rate 29.97fps. Now that your footage is 23.98fps, it must be edited on a 23.98fps timeline, and this can cause problems if you, for instance, want to include other footage, B-Roll, or stock footage, that comes from a different source. However, once you have your finished edit at 23.98fps, you can make a 24p DVD, which will allow you to compress your MPEG2 less than if you were making a normal 29.97fps NTSC DVD, and hence attain higher picture quality. Similarly, if you’re making a web movie, you will find it easier to get a higher quality result from 23.98fps media than normal NTSC media. 23.98fps movies are also easier to take out to film that 29.97fps movies.
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What that tells me is that 24P just adds a "look" of 24 fps to the footage that resembles that of telecined film, but that you work with normally at 29.97fps. Or, if you want to, you can add a reverse telecine and work at 23.98. Either way.
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If you want to have a tape master, shoot and edit 24P at the 29.97 framerate.
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HVX 200 P2 Workflow

Hi All:
I have a project that will be shot on the HVX 200 at 720p PAL. They are shooting in Berlin, I am cutting in the US.
I thought they could give me quicktimes thru media Manager in OfflineRT HD - 25 posted on my FTP site.
I would later send back and EDL or XML for them to do the online in London.
My problem is that they don't know if they will finish on a Flame or an Avid DS, so I don't know how either box can read in the EDL or XML for the final conform from the P2 media.
Has anybody done any jobs on FCP with the HVX 200 and finished in another system that is not FCP?
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This is tricky enough when you have footage on TAPE...tapeless will be QUITE different. So you want imported QTs that are media managed to OFFLINE RT...then to match back to Avid or Flame. Oof. If you do that...test test test. I myself don't like complications. The less complicated you can make things, then better.
Have them nail down how they will online. That will pretty much determine what workflow you set up. And given the two choices, I'd avoid using FCP for this at all. Use Avid. It is cheaper now, $2500 for the software media composer, and I hear it is quite good (I have 2.8, awaiting 3.0). This way, if you online on an Avid, no problem...they should relink to the masters easily. And transcoding from full res to offline codecs is pretty simple. And I know there are ways to get from Avid to Flame in place...just not sure about the tapeless workflow in this case however. It bears testing...lots of it.
Shane

HVX 200 and FCP 4.5 - workflow RAIDS?

Hello,
I am about to embark on a show editing footage captured on the Panasonic HVX 200, shot in 1080i/24p. This will be my first time working with the P2 cards and setting up a raid array catering to the specifics of this project. The show was captured on those P2 cards. The shots are totaled at 1.5TB of MXF files. I have many questions. First off
1. What happens to the MXF files when FCP unwraps them, do they get bigger or smaller
2. What is the most efficient raid set up to edit on, in terms of speed and transfer rate
3. What is the most efficient back up system?
4. Will an offline edit be troublesome, due to the time code on the P2 cards
5. Will I need to edit at full resolution? What is the data transfer rate at full res? Will 400fw drives be able to handle this, or do I need 800, or even an esata raid solution.
Please suggest any gear, or certain models of drives. I am looking for the cheapest solution w/out compromising performance
I will be editing the show on a power Mac G5 1.8 GHZ, 3.5 GB of ram, do you think I need more ram? Is my computer fast enough to edit this sort of a project?
Thanks for the input, you guys and gals always come through
Take Care
Anon
Post Response

First and foremost, watch this tutorial:
P2 Workflow Tutorial
1. They stay the same size. All that happens is that a quicktime wrapper is wrapped around them, and audio and video are combined. No loss is quality occurs.
2. A SATA RAID will do you fine, but honestly I have been editing this and Varicam footage using 2 G-Raid firewire 800 drives. You need at least a firewire 800 drive, but I'd recommend a SATA Raid. Sonnet, Weibetech, Firmtek and Burly boxes...all work well.
3. Copy the P2 cards to field drives. Bring them in and transfer to firewire drives. These drives are your TAPE MASTERS. Do not erase these, do not lose these. Store these as your would field masters. I myself use internal SATA drives in a single firewire case that I swap out the drives. Cheaper than multiple enclosed drives. From there you import to your Media drives...your SATA Raid.
4. No need to offline. DVCPRO HD really doesn't take up that much space...roughly twice what DV takes. Oh...you are going 1080 24p. That takes 42.12 GB/hour DV takes about 13GB/hour.
5. Editing at full resolution is fine and easy. But you will not be able to get away with firewire 400 drives. As I said, FW800 or greater. 1080i might require more, thus the need for the SATA Raid.
I believe that you need at least a Dua 1Ghz machine for DVCPRO HD, and you have that...and you have enough RAM...so you are good. The only choking point you will have is render times. Especially when compressing for DVD. 90 min show took me 14 hours...oof.
And read my Blog about working with the HVX...click on Underdog to get there.
Shane

2 hvx 200 shoot with 4 firestores what is transfer time of firestore to mac

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