Avc-intra ingesting problem ou may be just confusion....

I'm using this new HPX-300 with the AVC-INTRA 100 codec. And when i import the content using log and transfer (final cut 7!!!) with avc-intra native plug-in, all that, to apple ProRes 422 hq compression the size of the video is like 14 mb/s is that right (and the video is full of color and complex)? and the quality doesn't look so good too, but this i fink is because of my computer.... AND THE INFORMATION OF THE VIDEO IN THE INFO WINDOW (more info part) IS SAYING:
DIMENDION 1920x1080 --> this is ok but....
CODEC: AI16, LINEAR PMC, TIMECODE ---> why not apple Pro Res 422 (hq) ???
COLOR PROFILE:HD (1-1-1) ---> This should't be 4-2-2 ?!?!?!?!?!
DURATION: 02:44
TOTAL BIT RATE: 116,254
SIZE: 2.39gb
If some one can explain to me who does this work i apreciate!
And before all Tanks for sharing.
Message was edited by: Gustavo AVC-intra
Message was edited by: Gustavo AVC-intra

When you import AVCIntra into FCP 7, you have many MANY options. To see these options you need to go into the Log and Transfer preferences, located in the sprocket drop down menu. You can import as AVCI Native, or ProRes, ProRes HQ, ProRes LT, ProRes Proxy, Apple Intermediate Codec... Now when you say that the codec is AI16...that might be Apple Intermediate, not ProRes. Go back and make sure the preferences for that codec are set right.
the video is like 14 mb/s is that right (and the video is full of color and complex)?
It is because the video is HD and complex...yes. To get the footage to an EDITABLE format that FCP can decode and encode, you need to go ProRes, and yes, it can have a higher data rate than AVCI Native.
and the quality doesn't look so good too, but this i fink is because of my computer....
That is because computer monitors do not show you full quality. And FCP doesn't either. It lowers the resolution in order to play back all the frames. To see the full quality you need a capture device and a high quality monitor.
Shane

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See here:
http://panasonic.sixbullets.net/
https://eww.pavc.panasonic.co.jp/pro-av/support/cs/csregistp2m/ep2main/avcidle.htm
https://eww.pavc.panasonic.co.jp/pro-av/support/desk/e/index.htm
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Before all Hi Tom Hi Klaus and Hi String
i was looking at the forum for some one that has having the same problem than i and found it!
I'm using this new HPX-300 with the AVC-INTRA 100 codec. And when i import the content using log and transfer (final cut 7!!!) with avc-intra native plug-in, all that, to apple prores 422 hq compression the size of the video is like 14 mb/s is that right? and the quality doesn't look so good too, but this i fink is because of my computer.... AND THE INFORMATION OF THE VIDEO IN THE INFO WINDOW (more info part) IS SAYING:
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If some one can explain to me who does this work i apreciate!
And all ways Tanks for sharing!
Message was edited by: Gustavo AVC-intra

Try to ingest Panasonic HPX 250 AVC INTRA 100 wich ends AME crash

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Try researching your issue over at http://www.webosnation.com. They have an entire forum section devoted to "Android on the HP TouchPad".
WyreNut
I am a Volunteer here, not employed by HP.
You too can become an HP Expert! Details HERE!
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I have big problems with AVC-Intra 100, when I select sequence AVC-Intra 720p 25p inside CS4 Premiere 4.2.1 and drag some clip onto the timeline it becomes red and all 4 sound tracks are completely empty of sound without any peak drew up. Then out of nowhere without any reason, some of it appears, some of the sound and then completely disappear again (randomly).
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Message was edited by: Stuyvesant

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Quote: Panasonic P2 import with browsing and metadata support
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Quote Panasonic P2 import with browsing and metadata support
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http://209.85.173.104/search?q=cache:HEb3cZ9XKwQJ:www.adobe.com/uk/products/premiere/suppo rtedformats.html+premiere+pro+cs4+avc-intra&hl=en&ct=clnk&cd=1&gl=au
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Poster must be busy shooting more stuff....
Found some info on that " hollywood camera " site.....
IS HD REALLY HD- GREENSCREEN ISSUES
These plates were all shot with an HVX-200, mostly with the 100 MBps DVCPROHD codec. This was good enough for us for Visual Effects For Directors because we had specific needs, but we don't consider them good enough for full film production.
Here's why:
COLOR SAMPLING: We      prefer all green screen to be 4:4:4, so every pixel has a unique color.      4:2:2 only updates the color every second pixel, but green screen      desperately depends on a sharp, accurate, scientific color transition.      With 4:2:2, you're operating in half resolution. But if you downsize, like      we downsized to 720x480, you're at full resolution again. So because we're      delivering in SD, the plates are 4:4:4 for us. They'll just be 4:2:2 for      you if you're delivering for an HD movie.
PIXEL ASPECT: When      a camera is listed as 1920x1080 HD, that's really stretching the truth.      You'll see that all our plates are in 1280x1080, which is the original      camera resolution, meaning that the plate has to be stretched 150% on the      X-axis to be in the right aspect. In other words, you're only operating at      66% resolution on the X-axis. Did someone say "smearing"?
NOT EVEN 4:2:2: By      the time 1280 has been stretched to 1920 to make up for the 1.5:1 pixel      aspect ratio, 4:2:2 has been stretched out too, basically becoming      4:1.5:1.5
LENS RESOLUTION: Nobody      besides DPs really thinks about the fact that a lens has a resolution.      Zoom lenses are made of many lens elements in a clever configuration, and      each element introduces some blur. That's why top-notch DPs like to use      prime-lenses cut from diamonds from King Solomon's mines, because if the      lens limits the resolution, it doesn't really matter how well you record      the signal after that. Some people have come to the conclusion that the      HVX-200 is really a 720p camera, because the 1080p resolution doesn't      really come through. We tend to agree, but we don't want to start a      religious war, and will say that it's just our personal experience. On top      of that, we've used a $500 wide-angle adapter on some shots, which really      butchers the pixel resolution, so even though we're recording at 1080p,      we're really not. But 1080p allowed us to record with the 100 MBps      DVCPROHD codec, which meant that we still got a very respectable resized      SD signal out of it.
BAYER PATTERN: Most      cameras use a Bayer pattern on the chip, so that every pixel is EITHER      Red, Green, or Blue — but not at the same time. A full Red-Green-Blue      pixel is derived mathematically by interpolation. It's no wonder that some      organisations are starting to call for an objective standard for what      really constitutes a pixel, because a Bayer pixel is definitely not a real      pixel — more like half a pixel. By the way, there are twice as many Green      pixels than Red or Blue in a Bayer sensor, so you're far better off using      green screen than blue screen on video.
HALO: Even      with the internal sharpness generator completely disabled, the HVX-200 has      a clear black fringe several pixels wide on the right side of actors on      green screen. Panasonic vehemently denies it, but it's very easy to see.      In this      picture, notice that white areas get a fringe, but darker areas, like      her legs or hair, don't. Panasonic's explanation has been that it's just a      shadow from the lighting (huh?), but the halo is on the KEY side — so the      only plausible explanation is a quantum singularity localized to the actor      which bends light as it passes by her body. We think it comes from the      Bayer pattern, but we're not sure. And Panasonic shouldn't feel bad. A Nikon      D80 does it too.
HEAVY COMPRESSION: Even      though it seems like a lot that we're recording at 100 MBps in the      DVCPROHD codec, if you calculate the bit-rate per true output-pixel, we're      actually still compressing at a whopping 15:1.
NOISE: Video      cameras in this price range tend to have rather high noise, and on top of      that, they're usually 8 bits per color channel. This can result in some      highly visible shadow noise that almost pixellates when the brightness is      just on the edge of a bit-threshold. You can see some of our plates doing      this.
An HVX-200 and all its brothers and sisters in its price range simply don't have the horsepower for full pixel, high dynamic range, high resolution, uncompressed production that you need to do truly professional green screen. Green screen is ultimately a scientific process, and is one of the most demanding things you can do with your camera. Regular live-action images are MUCH easier for your camera to handle, so for regular filmmaking, your camera is fine, don't feel bad.
We have nothing against the HVX-200 or its brothers or sisters — come on, we shot a whole DVD set about visual effects on it — but it's important to really understand what the limitations are. It's fine to own your own camera for regular filming. For green screen, you should consider renting the very best you can afford — and make every decision right, which is where we come in.
Thanks for reading!
Rod

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