AVC-Intra support in On Location 5.5

Does On Location CS 5.5 allow monitoring and DVR recording of cameras set to the AVC-Intra 100 format?

I don't think you can get AVC-I out of a camera. Both SDI and HDMI will be Uncompressed, and I've never heard of it coming out over FireWire, which is the only connection OnLocation can access.

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AVC Intra support and suggestions

We are in the market for a new camera, and we want to stay panasonic to match our existing library, mostly footage shot on an HDX900. We are debating on the HPX2000 or another HDX900. We understand they are very comparable in quality with an slight(?) edge going to 2000 with the AVC Intra codec.
The question comes down to FCP. I know it supports AVC-I to an extent in that must be transcoded to ProRes. I read that the transcode takes about 2 x realtime. We have a Mac Pro 2.66 dual core with 6 GB Ram writing out to a SATA RAID tower, does that still seem accurate?
I don't know if FCP has any plans to run AVC-I natively anytime soon. So would anyone with any AVC-I experience please let me know if it the transcode is worth my time?
Thanks.

So would anyone with any AVC-I experience please let me know if it the transcode is worth my time?
Yeah...definately worth your time. The 2000 and AVCintra...vs the 2000 and DVCPRO HD is night and day. 10 bit codec vs 8-bit DVCPRO HD...your colorist will LOVE you. And you will see the difference.
And this is what assistants are for...paid less to do all of the grunt work.
Shane

Does CS4 support AVC-Intra. Smoke and mirrors on the Adobe site

Just wondering if CS4 does support P2 AVC-Intra format? On the supported codec Adobe page it's no...
Quote: Panasonic P2 import with browsing and metadata support
Enjoy support for native editing of content from Panasonic P2 cameras in DVCPRO, DVCPRO HD, and across multiple P2 cards.
http://www.adobe.com/uk/products/premiere/supportedformats.html
but on the Google cached site it says yes...
Quote Panasonic P2 import with browsing and metadata support
Enjoy support for native editing of content from Panasonic P2 cameras in DVCPRO, DVCPRO HD, and AVC-Intra formats, and across multiple P2 cards.
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
What gives?
Peter

I too am VERY interested in this support. We shoot quite a bit in AVC-Intra 100 and I was counting the days until the 4.1 update because from what I understood from NAB that codec would be supported in the update.
Adobe gurus...any update or timeframe?? As this is an important part of our workflow I would appreciate any feedback possible.

Does FCP support the new Panasonic AVC Intra codec?

Does FCP support the new Panasonic AVC Intra codec?
NOT AVCHD but AVC Intra?
Will it require more rendering or converting before I can use it?
I am looking at buying the HPX-2000 with the new AVC Intra board, recording to P2. AVC Intra is H.264 codec.

I don't think this is supported yet.. but the camera's ability to shoot DVCPROHD certainly is.
Jerry
Message was edited by: Jerry Hofmann

Does CS4 support AVC-Intra?

Does CS4 support AVC-Intra? I'm interested in purchasing the Panasonic HPX300 but an old article said Premiere CS4 does not support AVC-Intra but would soon. I have CS4 Master Suite.
Thanks
Art

I too am VERY interested in this support. We shoot quite a bit in AVC-Intra 100 and I was counting the days until the 4.1 update because from what I understood from NAB that codec would be supported in the update.
Adobe gurus...any update or timeframe?? As this is an important part of our workflow I would appreciate any feedback possible.

AVC Intra, how is it supported?

I am asuming that even though DVCPRO HD is supported by Premiere CS 3.1.1 that AVC Intra is not supported yet... right?
I hope Cineform have an answer, soon. Or Adobe.

Three ways (at least) to look at this.
1. What is the final output (result required) ie. web, DVD, feature film, TV broadcast etc...
2. Is it necessary to stay "native" from shoot to output? If so why and how?
2. Is DVCProHD good enough to do the job?
I also have an opinion that it pays to capture/film/photograph with best possible camera/medium/codec etc... This will show a quality difference in the final output. eg. shoot 35mm film and post produce DV is better than shoot DV and post produce DV. I guess shooting AVC-Intra would be considered a reasonable quality capture in comparison to some others.
Suggestion was just a possible workflow for the OP and I have not tried it because I do not have any AVC-Intra to test.

Avid Supports Panasonic AVC-Intra Codec

New editing solutions from Avid offer import and native editing support for Panasonic's AVC-Intra codec.
C'mooooooon Adobe CS4! Daddy needs a new camera...

If the camera does component or sdi out, you can use a Kona3 or io hd to convert to ProRes422 during real time playback.
x

Panasonic AVC Intra codec and FCP 2

Does anyone know if the latest version of FCP supports the new AVC Intra codec found on the higher-end Panasonic P2 HD cameras? We're a production house, and are considering investing in the Panasonic AJ-HPX3000 P2 HD camera, which is starting to ship this month. I know FCP Studio 2 supports the ProRes 422 codec; I'm wondering if we would have to convert the footage from the HPX3000 to ProRes 422 so it could be edited in FCP, and how long that process would take. Thanks!

If the camera does component or sdi out, you can use a Kona3 or io hd to convert to ProRes422 during real time playback.
x

Black screen while using x264 with AVC Intra 100

Hey,
I've got Premiere Pro CS6 and I've started testing the use of x264 with Dxtory. The problem I face is that the footage is incompatible with every sequence preset (as far as I know) apart from AVC Intra 100 (AVC Intra 100 1080p 30fps is the one I'm trying to use). However when I use this preset all that the preview gives me is a black screen wheras the audio is playing perfectly. This isn't urgent as it's always possible to just convert the footage to MP4 with Handbrake however not being able to use this codec would be a shame, especially since I've seen others using it without any problems at all.
Thanks,
Lawrie

I'm not familiar with x264 or Dxtory, but a search of the forum for "x264" and "black" led to this thread: http://forums.adobe.com/message/4733946#4733946.
Which leads me to ask: what is the extension of the file? A little research on Dxtory leads me to suspect that it's an .avi. According to the thread above, Premiere does not support x264 content in an AVI wrapper.

AVC INTRA CODEC is not working

Im using a dual 2.5 GHz Power PC G5 8GB ram OSX 10.4.11 and FCP studio 2 w/all the latest
updates.
I get a WARNING " AVC-intra codec is unsuported on PPC" when I try to log and transfer
a avc 100 file from my 32GB P2 card .
I downloaded the codec from panasonic but its not working.
I read that it need to have an intel based mac, is this true?

*I read that it need to have an intel based mac, is this true?*
Application-Specific Requirements
Final Cut Pro
Capturing HD resolution video using the ProRes 422 format requires a Mac Pro with an Intel Xeon processor or a G5 Quad computer and a qualified third-party capture card.
*AVCHD support is only available on Intel based Macs.*
http://www.apple.com/finalcutstudio/specs.html

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

Green Screen using AVC-Intra 100 ugly

Been using the hpx300 for approx two months mostly in 720p with great results. Just wraped our first true HD green screen shoot using avc-intra 100 at 24p with the intent of producing a white background mac-ad type, 5 min talking head corporate piece in SD. I had the camera mounted at 90 degrees to capture the 1920 pixels of subjects head-to-toe so I could then manipulate individual zoom and placement in post within a SD timeline. I've got two issues: one is that the images in post seem noisy, and any movement, as in subjects walking across screen, is a total mess - I say seem because all recording and playback on location looked just fine on a 1920x1200 monitor via blackmagic i/o box. I normally do basic editing in premiere with much help from AE for composting and color correction etc. Keylight has always worked great in the past. I must have something wrong with settings in the avc-intra HD content? Secondly, workflow is a bit convoluted... Keylight doesn’t apply in premiere, and AE doesnt do avc-intra. The workaround is to export avc-intra premiere timeline to AE and key that. In theory it should work just fine, but again my images are just noisy. Could this PR to AE workflow degrade image quality? Any suggestion greatly appreciated! Thanks, Matt

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

Unable to install AVC-Intra codec

I'm trying to play a file created on a Panasonic P2 camera using the new AVC-Intra codec. I downloaded Pro Apps Quicktime Codec from Apple: http://support.apple.com/kb/DL1396. Specs say it requires OS X 10.5.6 or later and QT 7.6 or later.
I have a Mac running OSX 10.5.8 and QT 7.7 (1680.25). It is an old PowerPC G5, but everything about the system meets the published specs I've seen for running this codec. I haven't seen anywhere that an Intel Mac is required, which is the only "gotcha" I am able to imagine at this point.
ProAppsQTCodec will not install by clicking on the .pkg file, but in researching on the net, I saw that this was a common complaint and that using the program "Pacifist" to install was recommended. Installing the codecs via Pacifist did work, but the AVC-Intra .mov files in Quicktime Player play only audio with a black screen.
I went to the Genius Bar yesterday and the Tech tried several (to me) exotic methods of dealing with the problem, including a Network boot and manually re-installing the codecs. The result was the same, audio-only playback.
The files are good; they play back correctly on a more current Intel Mac system in both Final Cut Pro 7 and in Quicktime.
For what it's worth, I had originally intended to use these files on my 4-year old Intel Mac, but neither Final Cut Pro (version 6.0.6), the operating system (OSX 10.4.11) or Quicktime (7.6.4) which have served me well in every situation other than dealing with these P2 files, seem to be upgradeable at this point. :-(
I'm at a loss how to proceed on this and would appreciate any suggestions.
Thanks,
--Dave

The calibrated{Q} AVC-Intra Decode allowed me to view the files in Quicktime, but as far as I was able to determine, not to use them in Final Cut Pro 6. We spent a morning at the 'Genius Bar' puzzling through things, but although the machine, the OS and the QT version all met the published spec for this software, and it looks like it *might* have worked, it would have involved some work-arounds. I finally decided to try to update the Intel machine instead.I was not able to do it on my own, but they were able to beat it into submission at the bar. After several hours on each of two additional days at the Apple Store, they were able to update the OS on my Intel Mac enough to allow me to install Panasonic's AVC-Intra codec. Apple's own ProAppsQTCodecs is supposed to allow these P2 files to play on this machine, but it didn't. I'm currently in the process of re-Log&Transfer-ing everything into FCP6 successfully.

Premiere Pro still can't import AVC-Intra

After months of contacting Adobe's non-existant customer support, Premiere Pro CS4 still won't import AVC-Intra footage without giving an error message. Adobe's customer support has NEVER called me back, even though a call was promised within 24 hours every time. I have installed the update which is supposed to import AVC-Intra, but it gives the error message.

try re-naming your footage with a .mov extension.
see if that works.
not really a fix but it might work.
ENjoy: GLenn

Premier 4.1 Update and AVC-Intra codec

I am very interested in when Adobe is going to release support for Panasonic's professional codec, AVC-Intra 100. We love Premier but use the AVC-Intra codec now almost exclusively (along with RED). We understood from NAB that Premier was working natively with AVC-Intra codec and that it was likely going to be included in the big 4.1 update.
Any news Adobe gurus? This would be a huge help to many studios.
Cheers.

Let me start by saying that I don't have any more info then most on this site, but I disagree with you, Eddie.
If I had to bet, I'd say we see AVC-Intra in another update before the years out. I think we're a long way from CS5 (maybe NAB 2010 timeframe?), and for the presets to be there now tells me that they are working on it...they were showing it at NAB so they can't be that far off.
CS3 had quite a few updates, and CS4 has only had 2 so far. I think it's within the realm of possibility that we could see another update or two...hopefully one that fixes the program monitor freeze issue.
And as for Adobe announcing patches, they very rarely seem to do that - it seems like we hear about them no to long before they come out.
Again, you could be completely right. Who knows. But I tend to think it'll be soon...but not soon enough for many of us waiting for it.

AVC-Intra support in On Location 5.5

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