Panasonic AG-HPX370 Using P2 HD with Final Cut Pro 7 - Page 7

Offload In The Field - specifications

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As you can see, there are a lot of fields and FCP takes advantage of some of the fields, but the all-important user clip name is recognized. This feature alone has the power to drastically improve and facilitate post-production and archiving. OFFLOAD IN THE FIELD There is a lot of discussion about best practices for offloading in the field, and perhaps a reason for this is that there are so many options available. The most important thing is to have a solid plan and methodology and to stick with it for any given project if possible. P2 Cards have a write-protect tab, and it is a good idea to set this to "protect" before mounting cards on computers. This is a similar concept to the record tab on a videotape. This keeps the computer from "accidentally" erasing any media, and it prevents Mac computers from writing invisible directory files (a procedure it does for every mounted volume). The Mac's directory files are harmless except when written to a full P2 card, because in essence, the cards may become "too full" to be mounted thereafter. Should this happen, the fix is to mount the cards on a PC (or a Mac in PC mode) and delete all non-P2 files. Some P2 users create an individual number or label for each card on a shoot and keep a log of the exact time cards come to the offloading station and what camera they came from. Additionally, if multiple destination drives are in use they can be identified on the table as well. Personally, I use a system where each camera gets a certain number of cards labeled specifically (A1,A2, B1,B2...) so that it is easy to monitor cards as they come off camera. For multi-camera shoots, this makes it easier to track cards across all cameras. Keep in mind that the white space on the back of the P2 card can be written on with a Sharpie and the ink will rub off with alcohol or lens cleaner solution. As such, P2 cards on my shoots often wind up with useful information such as the card identifier and the times at which offloads are completed. The important thing is not that you adhere to one of the above methodologies, but that you implement a consistent methodology and remain zealous about the details. So now we have shot our cards. After write-protecting the P2 cards, the next step is to use a computer or the cameras 7

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7
As you can see, there are a lot of fields and FCP takes advantage of some
of the fields, but the all-important user clip
name is recognized. This feature alone has the power to drastically improve and facilitate post-production and archiving.
OFFLOAD IN THE FIELD
There is a lot of discussion about best practices for offloading in the field, and perhaps a reason for this is that there are
so many options available. The most important thing is to have a solid plan and methodology and to stick with it for any
given project if possible.
P2 Cards have a write-protect tab, and it is a good idea to set this to “protect” before mounting cards on computers.
This is a similar concept to the record tab on a videotape. This keeps the computer from “accidentally” erasing any
media, and it prevents Mac computers from writing invisible directory files (a procedure it does for every mounted
volume).
The Mac’s directory files are harmless except when written to a full P2 card, because in essence, the cards
may become “too full” to be mounted thereafter.
Should this happen, the fix is to mount the cards on a PC (or a Mac in
PC mode) and delete all non-P2 files.
Some P2 users create an individual number or label for each card on a shoot and keep a log of the exact time cards
come to the offloading station and what camera they came from. Additionally, if multiple destination drives are in use
they can be identified on the table as well. Personally, I use a system where each camera gets a certain number of
cards labeled specifically (A1,A2, B1,B2...) so that it is easy to monitor cards as they come off camera. For multi-camera
shoots, this makes it easier to track cards across all cameras. Keep in mind that the white space on the back of the P2
card can be written on with a Sharpie and the ink will rub off with alcohol or lens cleaner solution. As such, P2 cards
on my shoots often wind up with useful information such as the card identifier and the times at which offloads are
completed.
The important thing is not that you adhere to one of the above methodologies, but that you implement a consistent
methodology and remain zealous about the details.
So now we have shot our cards. After write-protecting the P2 cards, the next step is to use a computer or the cameras