P2 DVCPRO HD vs. HDV format

Michael Cioni, post production supervisor of PlasterCITY Digital, discusses the Pansonic AG-HVX200, its benefits and drawbacks compared with other HD cameras, and compares the post workflow of the DVCPRO HD P2 and HDV. In addition, read below for Cioni's thoughts on the benefits and limitiations, as well as a detailed list of production and post tips for working with the HVX200.


HVX200 for Digital Cinema?
"In all, we got the HVX to look fantastic. Far better than any of our work with the other HDV cameras in its class. (We've checked it on Christie 2K projector and did a 35mm film-out projection as well.) However, the cost in hardware support, software support and technical support had to go much, much further to achieve such a look, when the VariCAM or HDCAM (though more costly to own) require less dedication. In other words, if you drew a scale and put the VariCAM on one end and the DVX100 on the other, where does the HVX200 go? Some will argue to the DVX, but most will argue (as so I've seen) the VariCAM. The fact of the matter is, the HVX is an HD solution for DVX100 users, not a replacement for digital cinema grade acquisition. Imagine how silly things would look if 4 actors in a set, backed by a 45 person crew spending $75,000 a day were all structured around a 1/3inch 720p HVX camera? – Not the best investment for digital cinema.
"The HVX has an awesome place in our world right now. There is a huge demand for it. The objective is to make sure filmmakers know WHERE that place is and why; and avoid graduating the HVX to levels Panasonic never intended it to go.
Tips for Working with the Panasonic HVX200
INGEST:
The HVX200 has two options for posting:
1. P2 inserted on set to G4 laptop via PCMCIA slot
– Do NOT transcode the P2 media (wrapped as an MXF file) via a G4, as the G5's handle the transcoded wrapper with much less visible compression
– Import into NLE of choice for DV100 editing of P2 (now Quicktime) media

2. Record media to the P2 Card.
– After filling a card (or in between takes) connect a FireWire card to the HVX200 and put the camera in "host" mode. This will allow for the camera to recognize the FW drive as an external storage device and then dump the media from P2 to the FW as the MXF wrap.

– Afterwards, make the QT conversion in a G5 as in option 1.

ONLINE:
Because the HVX is already ingested at 100mb/s, it's essentially onlined already. However, the DV100 codec is already subject to heavy compression, which is more and more visible the more you ask of your footage (ie. wipes, dissolves, mattes, keys, repositioning, titles, flops, color correction, etc). Each of these adjustments to the DV100 material further compresses the image and lessens your overall quality with fast falloff. It is best to handle these effects as "offline" or "reference effects" only.

After locking picture, it is best to follow one of two options:
1. Traditional Online
– Remove all FX&Filtration
– Lay to Tape
– Re-Capture uncompressed
– Reconstruct all VFX & Filtration

2. Modern Online
– Force-change the sequence settings/project settings to an uncompressed codec
– This will make ALL MEDIA unrendered, but when re-rendered, it will result in lossless rendering
-Lay to Tape

COLOR GRADE:
Like FX work in the online, color correction make HVX200 media (or any media at 100mb/s) suffer quickly. Especially in the reds, the HVX200 has very visible compression in skin tones, warm tones and magic hour daylight. For color correction, the best workflow is:
– Export UNCOMPRESSED QuickTime movie to Color Grader (PlasterCITY uses Silicon Color's Final Touch HD)
– Export XML for edit navigation
– Render back to NLE uncompressed for re-addition of FX work/titles, etc.
ARCHIVING:
After mastering back to tape for broadcast delivery, or film record, the need to archive can be tricky. At this point, it is conceivable that all the onlined material at 100mb/s can fit on most projects in a 1TB FW drive. This makes for good long-term storage of raw material and final cuts for about 7 years. But if you want to archive all the P2 media card-for-card, we recommend burning the media on a 4.7GB DVD-R or 24GB DVD-R. These will allow for longer storage and won't take up much space. The DME will be responsible for managing the media and creating a spreadsheet catalog for where and what is stored.
Conclusion
One final note about the P2 card and tapeless workflows: the growing need for the postion of Data Management Editor, a unique position for P2 and new media jobs which controls and tracks the movement of tapeless content from production through post. Similar to an Assistant Editor, the DME will be more versed in production technology as well as NLE tech support. This new position is critical to any P2 workflow, as the editor will not likely be a part of the set, which, in my opinion, is better for the film anyway.
Related…
See the details of Panasonic's HVX200 here.
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