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Hey all
I have been shooting happily with hvx200 dvcprohd 720p 24
And d90 nikon 720p HD 24
I have been randomly mixing them on timelines in fcp
Aa well as just converting them to apple prores 422 HQ
My question is I have a partner that shoots with new 5d mark2 at 1080p
First when I have been working on the fly at set with large external LCD computer monitor (to be clear not a calibrated one just pc monitor)
But from a MacBook pro out the standard ext out dvi to the monitor I can play external video 720p with amazing preview results. Client is happy. But with test footage from 5d
I get hiccups going external
But plays fine if I just turn off ext preview
We are looking to start shooting 1080p 24 when the new firmware comes out and I am even selling my Nikon kit with all the old trusty manual lenses just to dive into a 2nd canon 5d so we can shoot 2cam and be on the same page.
We both are photographers:
We are excited about the resolution of the stills on the canon
And like everyone been watching and praying for the firmware update to 24
Not just the manual exposure fix they gave us.
Question: is there a frame sync setting I have to set in fcp to get the 1080p canon footage to play in sync ext preview? Like I had to do with my betasp footage offset 3frames bingo!
Or am I just realizing the limits of fcp external laptop monitor?
I know I had heard my hvx200 friends having issues with their 1080 footage from their fcp and FireWire 800 limitations
But this is not an hvx200 nor do I shoot 1080 footage with my hvx200
I had been tempted like alot of you to invest into a matrox box or the Blackmagic HDlink pro for turning the Computer monitor into a bonifide calibrated preview monitor. (please I understand this isn't a 4444 CRT or LCD color DI monitor for color finishing that you rent or own of you are rich)
But the 2nd part of the question is
Are these gizmos just marketing hoopla or do they actually work?
Are these the hardware offloading devices so my MacBook pro can just focus on realtime HD footage?
Or am I just dreaming with the canon HD compressed codec?
Is converting the footage to ProRes422. HQ they way to go even if you are losing a generation?
And for a wrap up question
Or dream to the fcp fairy good witch from onhigh?
Is it kosher to convert all the 720p footage I have from say HVX200 dvcpro and the nikon d90 720p footage ? And throw it all into the media manager or compressor with the canon 5d compressed 1080p footage
And create one holy pure Apple ProRes422 HQ version for the sacred timeline in fcp?( even though it isn't actually 422?)
Or is Cineform software workflow or even RedGiants software Instant HDpro a better solution to this hodge podge of codec alchemy?
I really am considering saying to he'll with it all and investing into a good used 35mm motion picture camera rigged to shoot 2perf aka Sergio Leone widescreen spaghetti western indie style and inventing a guerilla DIY longroll filmscanner to handle the cheaply processed film into any resolution I can dream of say 4k or 2k?
I'm not greedy I just realize film is still the most pure solution out on the market today and as always it remains at 24p frames per second.
And oh what a latitude these Vision 3 and 2 stocks have got!!!
But this said, I don't have this filmscanner millinium falcon in my possesion nor do I own Gregory Tolands trusty BNC Mitchell 35!
So until I do I believe the current best of case scenario for the guerilla photojournalist - filmmaker is going to have to be the Canon 5D mark 2 with indie audio accessories and possibly
One or two of these HD magic potion solutions I mentioned above?
Any ideas oh Merlin and Einstein or Who was that French scientist on here? Sir Stefan of Eclair?
Happy happy joy joy,
Sing 8-)
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