2. When recording on tape in 24p, 3:2 pulldown is automatically added, so the effective bitrate for the flagged frames is only 100/2.5=40Mbit/sec. Just another aggravating factor.
P2, on the other hand, allows you to record 24pN, taking advantage of full codec bandwidth.
3.Nanoflash datarates are anywhere between 2-5 times DVCPROHD rates(depending on REC settings). So no wonder it looks sharper.
IMHO, DVCPROHD codec is pretty much dead. Panasonic success was based more on operational features(P2, Varicam) than on the quality of the codec.
cheers,
Bogdan Grigoresco
www.finale.tv
--- On Fri, 10/2/09, Ken Sirulnick <kenavid2@glueedit.com> wrote:
From: Ken Sirulnick <kenavid2@glueedit.com>
Subject: [Avid-L2] Convergent Nanoflash experiment
To: Avid-L2@yahoogroups.com
Date: Friday, October 2, 2009, 5:36 PM
RE: 23.98 workflow with Panny 1080i 23.98 footage
These are results of our recent tests with the new Convergent Nanoflash. Client shot HDX900 to DVCPro Tape and also to Convergent Nanoflash. Format was 1080 23.98 w/pulldown. I captured 1080i from tape to Avid Symphony Nitris DX into a 1080i 59.94 project. Placed that into a 1080p 23.98 timeline in 1080p project. Played down fine with no rendering (take that FCP!) Also imported the MXF clip from the Nanoflash which had pulldown removed during record. The Nanoflash clip was much sharper than the clip off tape. I dont know if this is because Avid is removing the PD in the TL or not. I tried setting the Panny 1200a deck to 23/24 frequecy which lets you output 720p footage as 1080p23.97, but it didn't work in this case. Not sure why the Nanoflash clip looked sharper. Maybe something with the way Symphony DX is handling the pulldown in the 23.98 sequence?
KEN
Ken Sirulnick
Glue Editing & Design
601 W26th Street Suite 1760
New York, NY 10001
TEL: 646-619-0190
FAX: 646-638-1897
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
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