The difference between 720p hdv and dvcPro HD???

[David Newman]

Originally Posted by John Mitchell

So if I'm reading you correctly Cineform relies more on the power of the processor for the max resolution etc?

Yes. CineForm compression is software based. For the higher resolutions more CPU work is required, yet for 1920x1080 4:2:2 10-bit is a real-time compressor on an inexpensive dual Opteron system.

[Alex Bowles]

Originally Posted by Stephen L. Noe

You'd need to compare the uncompressed frame's, not the compressed datarate to be more accurate.

Really? I assumed that, if you were capturing from tape (i.e. compressed), the most accurate calculation for your project's drive-space needs would be derived from the compressed data rate. The uncompressed data rate would only give you accurate information if you were actually capturing uncompressed data by bypassing tape and coing directly to disk. Or am I missing something?

Originally Posted by Stephen L. Noe

Dropout's have not been a problem when sticking to the same tape stock. I have not seen any complaints about dropout's. Have you guys?

The guys at B&H in New York were saying that they'd heard about problems from folks who had used standard, consumer grade MiniDV stock. Of course, they were busy offering me Sony's PHDVM-63DM stock for $20 a pop, but I trust that this was real feedback, and not just a hard-sell scare tactic. Also, if you're working with a camera from a rental house, you really have no way of knowing what's been through it.

Originally Posted by Stephen L. Noe

This depends on the NLE. Liquid is a frame accurate Native HDV NLE. Also there are other solutions that transcode to intermediate codecs that are frame accurate as well.

Can these intermediate codecs be written to HDV tape? I realize it isn't the ideal archival format, but if it what's available...

[Alex Bowles]

Originally Posted by David Newman

The page Panasonic doesn't like : http://www.cineform.com/technology/H...lysis10bit.htm

Very impressive. Are you able to say if there are any plans to make the codec available for FCP users?

[Stephen L. Noe]

Originally Posted by Alex Bowles

Really? I assumed that, if you were capturing from tape (i.e. compressed), the most accurate calculation for your project's drive-space needs would be derived from the compressed data rate. The uncompressed data rate would only give you accurate information if you were actually capturing uncompressed data by bypassing tape and coing directly to disk. Or am I missing something?

There are so many workflows Alex. I listed the three possible ones I work in (on the other post): (MPEG2 (MP@ML), RGB (AVI), 2VUY (uncompressed). The uncompressed method gives the best results but it EATS drive space. That's the tradeoff. I've been working on a film transfer project in uncompressed and the results are WOW! Uncompressed HDV JVCProHD 1280x720 TGA is 3.51MB per frame. For broadcast I'd never work in uncompressed and I stick to the MP@HL workflow.

Originally Posted by Alex Bowles

The guys at B&H in New York were saying that they'd heard about problems from folks who had used standard, consumer grade MiniDV stock. Of course, they were busy offering me Sony's PHDVM-63DM stock for $20 a pop, but I trust that this was real feedback, and not just a hard-sell scare tactic. Also, if you're working with a camera from a rental house, you really have no way of knowing what's been through it.

There has been some discussion about tape stock. I recommend only using JVC tapes in a JVC. You can also use Panasonic tape in a JVC camera without issue. They try to push the Sony tape but it is not good for a JVC or Panasonic camera. There is another thread around here on the subject of tape stock. It's the difference between wet and dry tape.

Originally Posted by Alex Bowles

Can these intermediate codecs be written to HDV tape? I realize it isn't the ideal archival format, but if it what's available...

You can not record any other codec to the camera's tape drive other than the hardwired codec in the camera itself, however, you can use the component out's on the HD-100 to feed any other system that will accept it's signal. Other's can weigh in on intermediate codecs more than me.