Towards the end of 2009, I realized that my P2 workflow was really hitting its stride. It wasn't just one thing that was working well, more like several things:
- Shooting on P2 was a pleasure. I had five 64GB E series cards in my camera, which let me shoot several hours of 10-bit 1080 video without stopping to put in a new tape or offload the cards.
- I had Panasonic's blazing fast 5-card reader, the AJ-PCD35, which let me offload all 5 cards to my Mac's RAID in under an hour.
- I was beginning to experiment with P2 Flow, a great utility for editing P2 metadata after your shoot.
- I had bit the bullet and put down about $2500 for a fast LTO4 drive (HP's Ultrium 1840), which sits right on my desk and lets me archive up to 26 hours of P2 footage on a $50, 800GB tape.
- And with the new Final Cut Pro 7, I was finally importing Panasonic's AVC-Intra footage natively, instead of having to first convert the footage into Apple's ProRes codec (which usually added an hour or two of capture time, and doubled my file sizes).
Life was pretty good. So I wrote an article for Millimeter / Digital Content Producer about how 2009 was a great year for P2. It goes into a few more details, and you can check it out right here.