I'm looking to the BMPCC as the cheaper way to have something better for my video. But i've some doubts about importing the files in Sony Vegas and AE (in this last one i make CC and all other things). Thanks guys.

I want to mix the slow-mo clips with regular speed clips, but they were all shot at 60p. For the normal speed stuff, do I just use the 60p clips as-is within the 24p timeline? Is there anything I should do to make sure they play back in the best/smoothest possible way alongside the slow-motion clips?

I know that I should ideally shoot the stuff that is for normal speed at the final output framerate, but for some events, you can't know that in advance. What is the best solution in those cases?

Thanks for any insights.

O

Also I started using Driftwoon X t8 and it is amazing,,, I am wondering if anyone has had spanning issues with a sandisk 32gb 45mb/s.

thanks for the help

Neil

so after getting the pocket cam I've started using resolve lite. the issue that I am having is that when trying to export an fcp xml of a project that has gh3 and pocket footage, resolve says timecodes do not match for the GH3. when I look at the imported timecodes from the xml they are running off the project timeline timecode and not the footage timecode. In order to make the footage import i have to manually reset all the gh3 footage to zero.

does anyone know of a work around for this? A setting in Premiere or something to change to get correct xml data perhaps?

Thanks

Can anyone help? Surely someone out there is working on windows and needs to process large numbers of files through 5DtoRGB? I'd be willing to pay/donate for an MTS-adapted version of the above BatchGUI or something similar.

FYI I'm taking GH2 footage into Avid at DNXHD185x using 5DtoRGB. It works great, but not being able to batch process is a nightmare.

Under the hood:

• AMD Phenom II X4 840 @ 3200 Mhz,
• ATI Radeon Sapphire 5870,
• 8GB of Ram,
• 16GB virtual RAM,
• 8GB for page file

This computer was built for me buy the company I work for. I was told "Dude, this computer will handle anything you throw at it. There's no reason for Premiere to crash it." So now I'm being accused of messing with the hardware or some such thing.

Please help me figure this out. Like seriously. Need help bad. I've poured over system requirements and can't understand why this is happening. I'm getting no support from my company IT.

So I turn to you guys.

I found this on the Apple App store check it out.... It is a free program for Mac users to convert AVCHD footage to Mov files. I tried it out on a couple of clips seems to work out fine especially for free :-) Just do a search for it in the App store.

Best Regards

This is something I've never quite understood, but have always wondered. Forgive my basic knowledge here, but I've tried to research this without a specific answer as to what is going on.

When I convert from an .MTS file to ProRes422 HQ, the file get's huge. Why is that? Where is that extra data coming from if it's not there to begin with? i.e. higher bitrate. I understand the codec has a standard bitrate it will always maintain, but why do it if the original file bitrate is so much lower?

For example, a stock GH2 mts for me streams at about 22 Mbits/s, I convert it to ProRes422 HQ, that same file is now playing at 216 Mbits/s. - With no discernible image quality difference.

What is going on in the codec that makes the file so huge? Other than workflow issues, why would you want to transcode from MTS? Does converting it to ProRes (or another codec) 'Unpack' the data in a more efficient way?

Why not use something like ProRes422 LT if you're starting from a much lower data rate like a native MTS file provides?

Windows 8 Intel Corei7-3630QM Geforce GTX 680M / 4GB GDDR5 12GB RAM DDRIIII 750GB 7200RPM

hence, should have no problem running any of these programs in cohesion.

In any case, I don't see any changes in the new transcoded file.

I also ran some MTS files from my hacked GH2 and the results are there! I get flat image from GH2 files, but not from GH3.

Am I doing something wrong?

Thank you all in advance.

So, I wrapped a day of shooting in the studio with a band. During the day there was an unexpected power off in the camera, and after putting in a fresh battery I could only view about 25% of the clips in playback shot during the day. I did not panic, since this had happened before without any data actually being lost when copying over to the editing computer; even after continuing the shoot post-power off.

So I did, I continued the shoot. And when I got back to the office to backup the material, the files where back. So far so good.

BUT, after copying over about 40% of the material I was greeted by a prompt asking me to format the card since it couldn´t be read. The file system is "unrecognizable" after this point and I´m not even able to open the card to view the files; even though I obviously managed to get 40% of the material prior to this and those files were unscathed.

I´m not able to run the AVCCAMRecovery from Panasonic since the card is not considered a "card", it has no file system. The card is 64Gb 95Mb/s SDXC, the camera as mentioned before: hacked GH2.

So I guess my first question is this: Is there any way to save the rest of the material without formatting or do I need to format the card and hope some good recovery software can save some fragments?

Secondly, why did it happen? The adapter I use between my card and the computer has a nasty tendency to break the link during the copy-process, maybe this has something to do with it?

Thirdly: I´d understad if the file I was recording just prior to the power off would be unreadable, but 60% of ALL material?! This includes video captured BEFORE the actual power off too.

Hope you guys can help! I´m actually in need of quick answers since we're going to keep shooting today, thankful for any reflections!

Today she tells me that when he was editing the Final Cut dont recognize the files and not allow you to import. I dont have idea who it could be, before I used FC and Premiere on Mac without problems. On my computer (Windows) I can see the files.

Any suggestions for the Final Cut to recognize them?

Thanks!

50p to 30p or 24p to 30p

Does anyone know which would give the best results? Or would 24p itself work fine? The videos are only static shots of a guitar(lesson) so no panning.

A second question would be: i want to do live streaming with those 2 cams, would 24p be the best setting for live internet streaming? I've heard 25p is crappy and 50p not yet possible...

Thanks!

André

I've shooted recently a 5 minutes Video using "12/15 GOP 'DREWnet' " on my gh2. As soon as I try to copy the file from the SD to my HDD, it freezes at a certain point. I am able to playback the video on the sd card, and I discovered that at the middle of the Video VLC freezes and crashes, therefore one frame must be damaged. I've tried several things (I am on Windows 7):

run chsdsk /r on the sd card (its freezes too), mpeg sptreamclip (can not open it), convert the footage in premiere and After effects, but while converting the programs crash (no respond), I tried to run testdisk (but as I did not delete the file, it didnt recover it), transcoding with 5DtoRGB freezes at the exact spot where VLC crashed, Converting with Adobe media converter also failed, Virtual Dub doesnt open it.

Is there any chance to copy the files at least as chunks? The file is 3,6 GB big

How does it work, does PAL or NTSC matter for web distribution or computer viewing? I couldn't find any answer in any other thread.

Preferred file specifications: Quicktime .MOV file Apple ProRes 422HQ Codec Frame rate: 29.97 FPS Audio: AAC 44.100 rate HD Dimensions:1920x1080

I would like to shoot this video with the best quality possible. That being said I know 24p is the best setting for the GH2 and if I shoot in 24p I will probably use Moon T5 or Intravenous Boom. The question is would it be better to shoot the video in 24p and then use compressor to export to 29.97 or just shoot in HBR30p mode and be done with it.

The patch that I would probably use is either Valkyrie TZ3 or Cluster X Nebula for the HBR30p mode. The video will consist of and interview and will also include car polishing with an orbital buffer.

I read an article that stated that shooting in 24p is the best way to deliver to multiple formats. Please chime in with your thoughts and suggestions.

Any and all input is greatly appreciated.

(No Adobe software ever, Thanks.)

I have Motion 5, which has an 800% max-speed limit. I need more than 8X.

I have Quicktime pro 7.

I have compressor.

I'm looking for the quickest solution to turn 15 minutes of video into 20 seconds.

Apparently there is a way to copy/past in QT Pro that will scale original video to new video. No luck so far.

Now, for ease of editing on my slower computer, I rendered these streams into lower-res (1280 x 720) files, and I'll use these to do my first edit. Each of these took about six hours to render. (Each file is named for the date of the performance, i.e., Feb 1, Feb 2, Feb 5, etc.)

Thing is, eventually, after the actual edit is locked, I'll probably want to work with the full hi-def files. So I tried to render full hi-def versions of each performance. Thing is-- even though I'm using 1920x1080 29.97 files as a source, and the sequence has the same settings, each one of these will take about 10-11 hours to render. This seems strange to me, since there'd be almost no conversions, resamplings, recolorings, or anything else. (Also, the estimated final size of the file is twice as big as the combined original files.)

So. What sequence and export settings can I use for the greatest efficiency here?

http://www.5dfilmmaking.com/tut_444.htm

many thanks in advance

I shot long (~1h) clip using Panasonic GH2 and Samsung SDXC UHS-1 PRO card (64Gb capacity, 40Mb/s writing speed, ExFAT format) card in 1080i mode and HBR quality (same problem for FSH and FH rec quality) . Three files ~4.2Gb each were created. Then I converted these MTS files into MPG files using AUNSOFT MTS converter and stitched them in Adobe Premier Pro CS4. The output was one mpeg2 file and at each stitch between two files video freezes for ~0.5s while audio seems to be smooth. When I play initial files, Windows Media Player shows same ~0.25s freeze at the beginning of 2nd and 3rd MTS files (not not the first!) that becomes slightly more pronounced for MPG files.

Any help will be highly appreciated.

There isn't a lot of NLE specific information out there on how to properly un-squeeze, and Voldemort's ebook was a starting point for the math that lead to the above solution. There are some assumptions about sharpness and the way one un-stretches that seem a bit quirky or hard to follow, however.

All of my grabs and little vimeo tests and things up this point have been done that way and I am happy with the results. However I'm soon going to be starting the edit on a little feature, and due to my geographic location I have a pretty solid chance of some manner of theatrical projection and I want to start from the ground up with that in mind in the edit.

A couple of days ago I tried what I thought might be a more 'proper' workflow, which was to run GH2 files through 5D2RGB and then through compressor changing the pixel aspect ratio to 1.333. The result was a clip that looked correct, but when I put it in FCPX, I noticed it was slightly taller than my previous efforts. It matched other clips only if I changed their vertical scale to 80 instead of 76. At this height, however, neither match the 'widescreen' button from the plugins, which I take to be a guide for 2.39:1.

I'm wondering which is 'correct' and/or what am I doing wrong, in every case. Obviously, slight variations in squeeze may pass essentially unnoticed, but there must be a 'proper' mathematically correct process for this.

I also at some point of course need to come up to 2k resolution to meet the DCP standard. It's not a huge jump but I'm wondering if I should incorporate that into my initial workflow as well. There were some posts on the BMC forum recently about uprezzing to 4k that were quite illuminating, it seems that the method and amount of color information can play a big role in how well this is accomplished. I've uprezed GH2 frames to 4k in photoshop with pretty good results so honestly I'm not too worried about the jump from 1920 to 2048. Still, I don't know if FCPX is enough, or Compressor might be better, and/or if both the un-squeeze and up-res can be accomplished at once?

Right now I'm looking at:

1.) High quality intra hacked .mts files into 5D2RGB, outputting ProRess 422HQ (unless we think for my later purposes 444 would be better?)

2.) Where to go from here, for un-squeeze and up-res?

Any help would be greatly appreciated. I believe the anamorphic part of the equation should have a more definitive answer than the net seems to provide.

I keep getting glitches in my After Effects output, always in the top left hand corner. Usually it's a square shaped glitch (like in the attached picture), but not always the same size, and sometimes it's an oblong. Usually it contains some kind of offset video, but on a few rare occasions it's been black.

I've tried with the Lagarith and Canopus lossless codecs, both in MP mode. I've tried playback in WMP, PPro and AE.

I've got other things I'm going to try (other codecs, single-threaded renders, disk write speeds), but since the problem is sporadic it's going to take quite a few tests to nail down.

Has anyone got any suggestion on where I should focus my efforts?