Importing Panasonic HVX footage

Hi there! Ok, if anyone can offer some words of wisdom on this I would be really appreciative!
I'm currently working on a music video of which the shoot date is quickly approaching. We will be shooting in a green room using the Panasonic HVX recording to both a P2 card and also a firestorm drive.
I have looked quickly at a tutorial on Creative Cow which explains P2 card imports into FCP. This basically says i need to download a driver (it has a link, i believe to the panasonic website) and then it becomes fairly simple as FCP converts the footage to Quicktime format on the way in.
What i need to know is the process to get footage from the Firestorm drive into FCP, and whether or not there are any inherant problems with this. I'm imagining it will work along the same process as the P2 card (ie you specify import Panasonic P2 in FCP and pick the files from the drive).
As I've never worked with the HVX before i would like to make sure i'm covering all areas before the project really kicks off and any help and advice anyone can give me would be immensely helpful.
Thanks everyone!!
Alex
G5 Dual 2.7 Ghz

Well, yes and no. It will act like a tape in how it records the footage. It cannot do 24PN for example (24 real frames per second). But it can record 24P over a 60 frame capture, causing you to need to reverse telecine the footage to get it to 23.98. Also, you have to have it prepare the footage for you into the P2 format. it records as a DIFFERENT format, and if you don't tell the drive to prepare it as P2, then it won't work well.
Time for you to head on over to the Creative Cow P2 forum and research the archives about this device:
http://forums.creativecow.net/cgi-bin/newviewposts.cgi?forumid=193
And the DVX User Group as well:
http://www.dvxuser.com/V6/forumdisplay.php?f=54
Shane

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Got a last minute gig tomorrow morning, shooting on a Panasonic HVX...

Got a last minute gig tomorrow morning, shooting on a Panasonic HVX which I've only shot on a few times. This is a 4 page script, comedy with exaggerated colors (pimps wearing pink for example i guess).
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As jim said, because of the short duration these record in, and the need to constantly be swapping, dumping them to P2 store or hard drive, then getting them back...it isn't condusive to a reality situation where you need ot follow the people, get the moments as they occur. The ability to record one full hour at a time is what is needed. The need to be "invisible" is needed...and it won't happen with a tech constantly running back and forth to the camera swapping out cards.
Plus you will have to store the MFX originals onto hard drives, then CONVERT them to Quicktime. You will have dozens of hard drives with just the MXF, then need more for the converted files.
Currently there is no way when you import the footage to tell what came from what camera. It is stored in the meta data, but that information isn't transferred when the footage in converted to Quicktime. The only way you can know is if the Tech lables the folders that he stores them on as A, B, C...but then you need to go back to the original folders and look for your clip to find out what camera it is. Unlike with tape where you instanly label it B002, or D013 or whathaveyou. And when you log and capture, that is something that you have at your disposal...so when a producer comes in and says "a great moment happened at 4:00 yesterday on the D camera. Lets look at it." With the tape method, you can do that easily. With the P2 method...that is a difficult task. One of the big drawbacks to the format...and something VITAL to reality TV.
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Currently there is no way when you import the footage to tell what came from what camera. It is stored in the meta data, but that information isn't transferred when the footage in converted to Quicktime. The only way you can know is if the Tech lables the folders that he stores them on as A, B, C...but then you need to go back to the original folders and look for your clip to find out what camera it is. Unlike with tape where you instanly label it B002, or D013 or whathaveyou. And when you log and capture, that is something that you have at your disposal...so when a producer comes in and says "a great moment happened at 4:00 yesterday on the D camera. Lets look at it." With the tape method, you can do that easily. With the P2 method...that is a difficult task. One of the big drawbacks to the format...and something VITAL to reality TV.
Any time the camera is stopped, a new clip is made. So instead of being able to scrub thru a 15 minute chunk, you have to look at a dozen clips to find what you want.
If they want DVCPRO HD, they are going to have to hire four Varicams. If you are in LA and need to know where, I know a few places.
Shane

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When I open the video in QT Player, the frame rate says 23.98, but the playback frame rate is 24 fps.
We have tried several pro tools setting and the video never syncs up properly with the TC Window burn.
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I'm going to cut and paste the reply my audio guy sent me:
"It is most likely that the Pro Tools system or version being used does not
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Hello out there.
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Thanks too Jeff. Sandeep's post is a simple redirect to a post on Adobe which naturally I've already read before turning to the forum. The link then sends you to another link! Info. is too light on specifics, doesn't help! I have 6.0.5 as downloaded from Adobe... no joy! All remains the same, picture but still no audio! Maybe a compatibility issue with Panasonic's HC X900... but Panasonic's website is as light on info. as Adobe. I'm off to the shop to buy FCP or Avid.

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