HVX 200 1080pa24 import: 1920x1080 becomes 1280x1080 HELP

The only way I can explain this is to show some pictures here:
http://www.dcdouglas.com/1080p.html
Please, any help would be great!

As David said, you are fine.
DVCPRO HD does some compression magic that is reported in the format window frame size parameter.
The trick is that the video does not display this way. Build your graphics at 1920x1080 square pixels – these graphics will be fine in your DVCPRO HD 1080 sequence right along with your footage, despite the 1280x1080 reported frame size of the footage.
Yes, it is confusing.
Tom

Similar Messages

Panasonic HVX 200 and Importing

I have recently baught a new Imac 2.0GHz Intel Core 2 Duo with 1 GB ram. When i try to import P2 cards using my camera into the computer the P2 wont display on the desktop. I also have an older version laptop thats running the new FCP 6.0.2. When using that computer it works fine. After i connect my camera and press the button on the camera the p2 cards display on the desktop and i have no problem importing. On the new Mac it wont even show on the desktop, or when i go to FCP 6.0.2 it wont show there either. On the camera it says disconnect instead of connect, this is when iam connected to the new imac. On the old apple laptop it says connect as the status when i am connected, which is what it should say.
I know its weird, buh im having a hard time understanding whats the problem. I have installed all updates from apple and still no go. please help. thank you

I have used panny's P2CMS and love it. I use it all the time to check clips and files after I copy them over to external drives to verify that my files are good before I wipe the cards. Here is a link with all the panny downloads.
http://panasonic.sixbullets.net/
Good Luck
Al

HVX-200 import blurry (double-images) into CS4?!

I am using Premiere CS4 and I imported footage from Panasonic HVX-200 shot at 720PN 24p format.
I am importing using the 720P 24P DVCPROHD preset.
For some reason all my footage comes out blurry (I see double images when a subject moves, as if I have frames blending together)
Can someone tell me what may be causing this?
Thanks,
Aza

No red line, I did render the clips... After checking just now, I only see it in the program monitor, the source monitor appears fine.
Here are the sequence settings I used (copied and pasted directly from the settings window)...
General
Editing mode: P2 720p 60Hz DVCPROHD
Timebase: 23.976fps
Video Settings
Frame size: 960h 720v (1.3333)
Frame rate: 23.976 frames/second
Pixel Aspect Ratio: HD Anamorphic 1080 (1.333)
Fields: No Fields (Progressive Scan)
Audio Settings
Sample rate: 48000 samples/second
Default Sequence
Total video tracks: 3
Master track type: Stereo
Mono tracks: 4

Importing Panasonic HVX-200 files into FCP

I just bought a Panasonic HVX-200 camera and am having problems importing my footage. The P2 card is mounted on my desktop (it is attached via firewire to a external hard drive) and I see all the media files (audio/clip/proxy/icon/ video/voice). According to the manuel I launch FCP and within the File/Import menu I should see "Panasonic P2". This is not there. I am unsure how to proceed.
Thanks!

File>LOG AND TRANSFER...if you are using FCP 6.
I have a tutorial...
P2 Workflow with FCP 6
Shane

Panasonic HVX-200 and FCPX import issue

I'm using a Panasonic HVX-200 and having trouble importing the data from the P2 cards into FCPX. I get this error message: The following clip encountered an error during import and is still referencing media on the camera: The files play as long as the camera is connected, which is useless in the long run.

I was on the phone today with several terrific Apple techs for about five hours and we may have gotten to the bottom of this.
FCPX works well with many different recording formats of the HVX 200 and the p2 cards. But I have had issues with importing 720/30PN footage. It just would not work.
After many hours of trouble shooting with me on the phone, the Apple tech was able to replicate the problem on an HVX 200 at their office.
Apparently FCPX works with HVX 200 1080i, 480i, just about any footage except the 720 set.
He opened an inquiry with the FCPX engineering department and they are looking into it.

Final Cut and HVX 200 issues

Forgive the new guy question, but:
I shot something on an HVX 200, and am trying to cut it on FCP 5.14. Unfortunately, the great Mac Gods had other ideas.
While I can see my work in the P2 viewer window, only a few of the clips will import into Final Cut Pro. And when they get there, I cannot view them (FCP is telling me that my DVCPro 720p60fps is [missing], does anyone know where I can download one?). Also, I want to drop frame down to 24p, but the feature that my Workflow documents tells me is under tools simply isn't there.
Help! Any advice or info would be most helpful.

changing the frame rate after it's shot doesn't work. you need to set the frame rate while shooting. in the hvx200 there is no need of a tool to remove frames to give you a frame rate converter 'cause it does it in camera in "pn" modes. that tool is more for varicam footage that you have injested and need to extract the rates that were printed in the user bits for "OFFSPEED" shooting. like 48 over 24 gives you half speed slo mo. be aware that audio won't be part of the resulting conversion.

Does Premiere Elements support DVCPRO-HD? How do I ingest and work with HD-footage from HVX-200?

Hi there,
I work with Premiere Elements 11 on a windows PC, and I try to ingest HD-footage from Panasonic HVX-200 Camcorder. Premiere Elements only recognizes thumbnails, but not the footage itself? What do I have to do? Or does Elements only support SD-footage? Do I have to install DVCPRO-HD Codec? Where do I get it then?
Thanks for your help!, yours Mike

Welcome to the forum.
PrE does support HD material, just not all of it.
With DVCPRO HD on P2 media, I am not sure that you will be able to work directly with the media files from your Panasonic in PrE. This is the list of supported formats: http://help.adobe.com/en_US/premiereelements/using/WSeffff8bffc802084-1665492e133c9c19956- 8000.html#WS300DE01D-F057-4639-96D1-F99EEE163C24
PrPro can Import and edit DVCPRO HD on P2 media. The Panasonic P2, along with its metadata is supported: http://www.adobe.com/products/premiere/extend.html
Good luck,
Hunt

Imorting from the Panasonic HVX-200

I have just purchased a Panasonic HVX 200 camera. I am having trouble importing footage shot in high def at 720p at 24fps.
Does anyone out there have the same camera and is using i-movie or Final Cut Pro 5?
I need all the help I can get.

Thanks for your help. What's an F.C.P. 5.0.4?
And where is the access to find the command to unwrap to find the meta data?
Many Thanks, Bill

Panasonic HVX 200

Hello out there.
Does anyone ust the Panasonic HVX 2000 and I-Movie 6.0.2?
And if you are using an HVX 200 have you also married it with the Firestore-FS-100?
If so can you help me import DVD-Pro 50 and or dvc-pro HD,
Presently, I am not having much luck.
I am on a IMAC G5 1.5 gigs of ram and am running OS X 10.4.6
thanks in advance for your help.

This might shed some light for you:
http://discussions.apple.com/thread.jspa?messageID=2316693&#2316693

Fatal error shoooting 108024p with HVX-200?

Hello again,
i shot with the HVX-200 in 108024p.
FCP 5.1.4 sees it as 108060i on import.
I tried a REVERSE TELECINE to 24p in Cinema Tools per the suggestion of another forum member and it SEEMED to work but I don't completely trust my eye.
Could anybody else provide a work-around to this issue?
Would upgrading to FCP 6 make any difference?
I am in need of serious help and couldn't find anything when i searched the forums.
Thanks - Misha

Hi @Bob4 ,
I see that you are having issues installing the printer, you are getting a fatal error after connecting the USB cable. I would like to help you out today.
Please follow the steps below to see if we can get you up and running.
Disconnect the USB cable.
Run the uninstall from the CD.
Touch the Windows key and the E key to access the computer window.
Right click on the CD for the printer, left click open in a new window, double click on uninstall.
I would disable all the start up programs and temporarily turn off the Antivirus Software to see if there is a program interfering in the back ground. How to use MSCONFIG . Click on the start up tab and click disable all.
Download, save and then run the latest drivers. Don't Connect the USB cable until prompted during the install.
HP LaserJet Pro 200 color MFP M276nw Drivers.
Right after connecting the USB cable, follow this document immediately so you won't get the Fatal error again. A Fatal Error Displays During Software Installation. After this is done the installation should continue.
Test the printer.
Then you will have to go back and enable the startup programs and turn the Antivirus Software back on again.
What operating system are you using? How to Find the Windows Edition and Version on Your Computer.
Please let me know the results.
Have a nice day!
Thank You.
Please click “Accept as Solution ” if you feel my post solved your issue, it will help others find the solution.
Click the “Kudos Thumbs Up" on the right to say “Thanks” for helping!
Gemini02
I work on behalf of HP

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.
If you are editing in a 23.98fps timeline, Final Cut Pro will add pulldown on the fly, over Firewire, so that you can see your movie on a normal NTSC monitor. Similarly, it will add pulldown when going back to DV tape. However, this will not work on a non-DV format output, say to Digital Betacam, and slower Macintoshes do not have the power to add 3:2 pulldown in realtime, falling back to lower quality pulldowns which although are not too bad while editing, will not make the final project look as acceptably good on television as a final product.
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.
BUT, with 24PA, the footage looks jittery when played on the tape. So sure, you can work with it and output it to tape, but that tape is useless to anyone OTHER than someone who can capture it and perform a reverse telecine to work with it. It will not work as a Master tape for any viewable purpose: Broadcast TV, projected video from tape, a master tape for dubbing purposes. So, in effect, it is useless as a tape master, and should be avoided.
If you want to have a tape master, shoot and edit 24P at the 29.97 framerate.
Shane

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.
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.
Any suggestions? We want to shoot everything in 1080i/24P but see instant playback in slow motion without conversion mostly for music videos.
Thanks, Paul
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.
Any suggestions? We want to shoot everything in 1080i/24P but see instant playback in slow motion without conversion mostly for music videos.
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.
Shane

Difference Between 720p30pn and 720p30p on HVX-200 for Music Video Shoot

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.
Does anyone know the differences/advantages/disadvantages of 720p30pn and 720p30p?
As I'm going for the "film look" of 24fps, which setting on the camera do I use? I'm assuming that I use the 720p30 recording format setting and not the 720p24 as I'm obviously not outputting to film, but then again, I could be wrong.
I do know when I was testing the P2 workflow that when I was doing the VFR (variable frame rate), it was unplayable even with rendering on FCP 5.1. I'm sure I had some funky disconnect between the recording frame rate and sequence settings on FCP. Does anyone know which recording format works integrating both footage shot at 1x and variable and what is the corresponding sequence setup settings on FCP?
Thanks for the help.

Why not shoot 720/24pNative for the "film look."
With the default frame setting in the video or the film mode?
You will mimic part of the "film look" out of the cam rather than addressing it in post, and you increase the amount of footage that can be recorded to a p2 card by recording only 24 frames rather than an over 60 recording.
Play with the scene files for the look you want to add to the "film look."
Remember that the shallow DOF characteristic of the "film look" can't be readily achieved with a stock HVX200.

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?
Thanks,
Gualex

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

HVX 200 1080pa24 import: 1920x1080 becomes 1280x1080 HELP

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