P.S. I'm really focusing on the graphical representation thing alone, apart from the narrative or the facts illustration in broadcast news thing, but discussion of it would also be welcome.

Thanks!!

My input settings were 48khz, 24 bit PCM, Stereo (just as recorded) and Little Endian. I have tried values 0, 1 and 2 (even 3) in the "start byte offset" space.

What I get is an almost 4-hour long audio file with 85% ultra-saturated sound at 0db (or almost) and the other 15% are chunks of good audio with normal levels. Where levels are just a little below 0db I can tell those are takes that I recorded just fine--Apart from this one take I'm trying to recover, I can play all other takes on my computer as wav files and they all have normal levels.

When I change the value to 0, 1 or 2 the chunks that sound good are all different, but still, together they comprise about 15% of the entire file. When I changed the value to 3 I got a split second file.

Anyone know a solution? Thanks in advance.

PS: I have also tried the chkdsk solution to recover the 0 bytes file, but the .chk files are not showing up on my drive event though the "show hidden files" option is checked.

http://moviebarcode.tumblr.com/

Here's a short video that shows some interesting views of this data:

I am confused about the 50mbps / 72mbps date rate that the GH3 supposedly records at.

My footage, recorded as H264 MOV files in either of these high bit rates, is listed in FCP as between 5.8mbps and 8.5mbps. Analysing the footage with cinema tools reveals the same data rate - not the 50 / 72 it should be.

If I convert the files to ProRes I get the higher data rates - around 30 - 60mbps. Although this is closer, and sometimes in excess of the data rate I want, am I not merely up-resing the footage? The new date rate might be higher, but if it is not what the camera recorded, the information isn't t there.

I am also confused about the colour management. My h264 footage has a colour profile of 1-1-1. Is that the best I can get? I read somewhere that the GH3 will record 2-4-1. How do I set that?

Again up-resing to prores 422 or 444 will not introduce colours that are not recorded in the first place!

I look forward to hearing people's thoughts.

Jules

I spent about 4 hours this morning doing some foley and voice over work on location, I tested the audio after each take and it all played back just fine and sounded great (trusty H4n). When I got back to the editing suite and popped the card in, it took about 30 seconds for the card to pop up, which was my first red flag. Then I opened it up and it looked empty at first, then I literally watched the H4n file structure slowly appear before my eyes one folder at a time, second red flag. I attempted to copy the data over to my worktable drive and it started the visual indicators of a transfer process but never began the actual transfer. A left the work station alone for about 45 minutes and came back to a spinning wheel of death and discovered that finder had crashed without transferring a single bit or byte of the data. I tried to relaunch the crashed finder but it didn't reopen, I was left staring at my desktop backgrounds and nothing more and had to manually reboot the machine. This is where it got really fun. Now the machine would not boot up with the SD card inserted, it would just hang on the boot screen. I tried a few times, then powered down and removed the SD card and the machine started up fine. Then I put the SD card back in and the drive pops up, but as soon as I go to open it, finder crashes again. I can't even get far enough to see inside the folder anymore. Ok, so it's clearly a corrupt SD card and I'm ready to introduce it to it's new home: the garbage can, but first I need to attempt to retrieve any data I can to save me from asking my client to take another 4 hours to re-record all the audio (which, as you all probably know, is never as good the second time around). Not the end of the world if it comes to that, but I'd really rather not have to go that route, if it is at all possible to avoid. I tried the same card in a different card reader on a different work station and got basically the same results - unable to access the drive or data. So I started some research into data recovery software options and decided to give Stellar Pheonix Mac Data Recovery a try. Even the software couldn't see the drive in it's more common data backup and retrieval services, but I discovered could see a 'Generic 16GB SD' drive under the 'Image Creation' option, which it states is for exceptionally problematic corruptions. Basically it aims to create a mountable .DMG image containing every sector on the drive (including ones not in use). So I went for it. The software begins the sector processing on block 0, where it sits for about an hour. I was just about to give up and shut it down when all of a sudden it progresses, identifying block 0 as being fine, but block 1 as a bad block and continuing on, the next 30 blocks (700000 sectors) go by like a breeze, all fine, but then it gets stuck again around block 30. I'm going to leave it over night and sleep with my fingers crossed, but if anyone else has any insight or experience with a similar issue, please share your experience. I will update this thread tomorrow with results of the attempted data recovery, good or bad.

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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?

This is the FAQ to read if you're trying to read the forums, and finding a lot of technical stuff and acronyms that are going right over your head. It won't make you design hacks as good as Driftwood's or Sanity or Cake, and it won't tell you which hack is the best one to use. But if you read it, you will understand what I-frames and P-frames are, what GOP is, what intraframing and interframing are, and a few other details that'll help you follow some of the discussions here.

http://www.personal-view.com/faqs/gh2-hack/hack-terms-faq