I searched the forum and the whole internet for this problem, but didn't find any post or anyone having this problem, so I started a new topic for this and hope I didn't search for the wrong keywords... ;). I am using the GH2 for video shooting very short time and all I am doing these days is not really working well. I know that it should be easy to use firmware patches but for me it turns out not to be that easy as it maybe should. I used a few patches and tested around with each for quite a bit and tried to check wether the patch is working fine or if there are occuring errors while recording. I would need a very stable patch since I always need to record longer footage... not just 15min, but most of the time 2-3 hours. I found that SD card speed is a thing which is why I bought the SanDisk Extreme Pro with 95MB/sec. Used the Sanity 4.1 Patch which should be stable, but the cam stops recording video after some time (I couldn't specify when it does) without any error. It just stops recording and doesn't write the file completely to the card. Used the Quantum X SpanMyBitchUp and I get the same error. Also tried some other patches, some came up with errors that the card is not fast enough, some didn't... most of them didn't...

Since I can't tell why that is and I don't know how to find out why the cam stops recording I am not sure what to do next. Fact is that the patches really do enhance the quality which I would not love to miss ;).

Can anyone help me with this? All the best from Hamburg, Thomas

I know that before Panasonic's havent record limit, but I dont know if the current Panix continue that way, since I believe that the lasts GH's are limited to 30 minutes.

She dont need a camera with a great performance, so if inside Panasonic there is something with these features, welcome.

Thanks.

The sneaky thing which it appears that cameras often do, is give you the camera image as it appears afteral it has been downgraded and compressed. But there must still be some that give you the image before the compression engine, even in 4:2:2 with greater than 8 bits.

Can anyone suggest hardware for this, or other tech tips?

I want to use the HDMI of my 2 GH3’s for webstreaming using some software like wirecast but also for recording instructional videos on my Mac.

Now I’ve been looking at solutions from AJA, Matrox, and Blackmagic but I’m unsure which one actually does what i need it to do.

This is the short list of features that I’m looking for: 2 hdmi inputs that can be streamed simultaneously to the web Able to record the HDMI of both cams to an SSD the device or card would help out with any rendering done by FCPX , Pr, AE, etc...

Extra’s: I have also one GH2, I’ve read that the HDMI of the GH2 is useless for recording but maybe it can be used for streaming? The possibility of adding the GH2 to the setup and thus having 3 cams would be a welcome bonus but not necessary.

I have an RME fireface 800 that i'll be using for audio capture.

What would you all see as the best way to go about doing this?

i contacted Panasonic to see if i can download the US 1.0 firmware and reinstall it as a firmware update, but thats not supposed to be possible.

so im asking you. do you have any ideas to get around this boundary?

Thank you very much

Thanks in advance, Matt

GH2 froze during long recording. Not sure for how long it remained frozen since the camera was fixed on tripod and I have been messing with sound recorder, all the time checking the red record circle on display, which was frozen, that i haven't figured out immediately. I continued filming after reinserting the battery.

Tomorrow morning, on the card I have 00-03.mts spanned files that are not recognised in Premiere as spans, but all work, and 04 is the beginning of new spanned sequence. I am missing 10 or more minutes of the show (EDIT: between that 03 and 04, to make it clearer).

Does this mean that it crashed on spanning point and that it is pointless to try with recovery software or something..

I've got a spec project I'm working on where one of my friends (a Grammy winning classical vocal soprano) will be tracking vocals in London. Unfortunately she doesn't have a studio of her own and we couldn't fit the session in while she was in L.A. because of a last minute scheduling conflict with the L.A. Phil.

So if anyone would in London would be interested in helping out, please let me know (and any info. about gear and space would also be appreciated). Thanks!

When using the HD-SDI output on the Canon XA25 to record to something like the "Blackmagic Hyperdeck Shuttle" or the "Atmos Samurai"

Do you get footage in 10bit / 4:2:2 color spaces as both of these recorders promise?

Thanks,

Do you thing my 14-42 power zoom lens can be saved?

Same amount recording time, also when I switched to MP4 and Mov. I double checked the card on my notebook just to be sure they didn't place a wrong sticker - but it actually is 32 GB.

Then I tried some more cards and it's not the camera - it's this card. Have bought another card and it has the same problem here.

Then I tried resetting the whole camera to factory defaults - still the same problem. I made a recording of 0:30 hour and then checked the memory card on my macbook. It sais I have still 25,4 GB memory left. When I putted my card back into the GH3 it said I have again 30 minutes despite the fact that it told me earlier that it was full. Then I initialized the card again, getting again the 30 minutes. Shoot spent 60+ euro's spend on a 32 GB card that's runs so poor!

Hope somebody has an answer as I will have lots of problems returning these cards. Guess the card maker will blame Panasonic and vice versa.

So we're looking into other strategies. I like the idea of getting lapel mikes, having the actors wear smartphones or recorders, and syncing the tracks up in post. Good aspects; cheap, simple, easily expandable to any number of performers.

Someone suggested that we get a system where the mikes send wireless signals to a central recorder. I'm not keen on this, because it may be expensive, it may be difficult to balance the sounds afterward, and the number of mikes may be limited. But I don't know, so I agreed to ask around for such a system.

We're shooting with DSLRs (mostly GH2's), so that may be a factor here.

Any suggestions?

I've asked this question to Philip Bloom and he says I'm wrong -- "because this is one man band kit…i had help here but still…why on earth would you bring a mixer unless you had a sound man?" but I still don't see why so please if you're an audio professional and have actually used a field mixer digital recorder combo get back to me. I'm sure I'm missing something here but as I've not actually do any work with an external sound recorder I'm sure what I'm saying is pure conjecture :) There is a difference I think too compared to what he was he was doing, filming a person interview in a very controlled environment compared to chasing tornadoes and trying to get audio from people in a very difficult environment.

So sound pro's your feedback please!

I noticed that in all the discussion of audio on the site, experienced people have frequently covered inexpensive mics and recorders, and occasionally covered more expensive mics and software - but we have not often covered the audio interfaces used in project studios and professional audio environments.

Audio interfaces, pres and converters determine how your sound both gets recorded and how you hear it when it plays back.

Since we have a lot of experienced audio people here, I would like to open the floor to discussing some of the options and pros and cons of different options.

I'll list some of them below.

Note the interface (Firewire, PCI, USB 2.0, etc.) required and see whether it is compatible with your current hardware as well as portable to other systems. USB options tend to be compatible with the widest range while Firewire is the most popular type used in professional audio interfaces for the last decade.

USB 3.0 options would be great (greatly exceeding the bandwidth of the Firewire flavors supported on the audio interfaces listed so far on paper) but the audio interface manufacturers have not readily embraced it.

Thunderbolt deserves special discussion. Thunderbolt has massive bandwidth and some computers feature it instead of Firewire. There are accessories you can buy to connect Firewire devices to your Thunderbolt port, so don't rule Firewire interfaces out just because you have a Thunderbolt computer.

Thanks for all the response to my last question on external recording.
You have been great in helping me understand if it is viable to record 25p externally.

My research has since uncovered other methods, and subsequently other questions.

I've been thinking about HDMI output from the GH2, and conventional wisdom has it that the camera's output is good enough only for monitoring purposes. But there are some who argue that GH2's HDMI output is clean enough for recording, despite lingering red channel issues. Whichever way you compare it with MTS recording on SD cards, the images are invariably sharper and richer in detail.

Considering this, which method then produces better footage: hacked 25p MTS then transcoded via 5DtoRGB to ProRes 422, or external recording via HDMI to ProRes 422?

I am working in a 25p environment. Cheers

30min removal checkt max iso checkt Pal/NTSC checkt 24H=42000000 24L=32000000 FSH=42000000 FH= 32000000 That´s all.

I´m most interested in a 1080 p25 Format. The only mode providing this format is the HBRmode. Is this mode altered by the modifications I made? The Quality is great but my camera freezes often when I use this mode :-( I also need the 1080 i50 format. When using FSH my camera stops recording after 15min all the time. It does not freeze and the quality is good - interlaced... only when I use the FH mode recording is reliable and I can record 1h nonstop. I absolutely need this reliability because I´m filming interviews and stuff like this and mostly there is no change to redo a take.

So what can I do If I need a absolutely stable 1080 p25 recording for at least 2h in one take. Are there any patches? Should I alter the ptool settings? Try another SD card? Thanks for your help!

I have a BMD HyperDeck Shuttle 2 and it records uncompressed and in the DNxHD (220) codec.

I can import, play and edit the files just fine, but there's a major problem that makes the files useless.

Static scenes are fine except they are flat and require color correction to make them aesthetically acceptable.

The main problem is that the files have horrible interlacing problems... and I'll explain.

First of all, it doesn't matter whether I shoot in FSH, HBR, 24p or don't hit the camera record button at all and just record from the cleaned display... the same problem occurs, so it isn't a camera setting (I've spent 2 days experimenting with different cam settings as well).

When panning I get fine interlacing lines. They are annoying and unacceptable in their own right, but it gets worst. Once encoded (as in for distribution) the problem is accentuated. Huge lines appear and and make the video look horrible... it is unusable.

On close inspection of the files in PP CS6 I can see that the file is filled with ghost images, which I thought were a result of duplicate frames that the GH2 has served to the BMD Shuttle 2.

I've read about certain fixes for this and a the color shift issues, but a) most sound too difficult to be used in a practical workflow and at the end of the day, they may not even work.

So I'm here with hat in hand hoping that a discussion might yield some fruit that can help me, and others that are having the same problem or looking to use a Shuttle with their GH2s.

Update...

I said that extra frames were being added, well I read that recording from the GH2's HDMI port added and deleted frames randomly, and that clouded my judgment and made me lean in that direction, but upon closer inspection (I was going to experiment with manually removing the extra frames) I found that there are no extra frames per-say.

The ghosting I described is at the heart of the problem.

When panning each frame appears to be a combination of 2 frames at different times. So depending on the speed of the pan (and the shutter speed - the higher the SS the closer together is the dual images) you get an interlaced image (half of the lines) at one point in time, and another (the other half of the lines) at a later point in time.

Where they overlap, the image is solid, but on either side you have a "ghost" image which when played back you can see through the image where the missing lines are, thereby giving a notched edge effect.

And I haven't even wrapped my head around how I can fix that yet??

Thanks for your interest and feedback!!

Anthony

I'd love to hear from someone who's done this before - successfully:

in 2 weeks, I will shoot a classical concert (orchestra), on a great looking concert stage, with two GH2s. One's going to be a static wide shot and the second one will shoot close up and different angles. The concert will run about 90 minutes total. The location will be bright enough, but I'd say I most likely will have to use an ISO of 640 or 800 in order to be able to shoot with an f 5.6.

I do own two fast 64 GB 95mb/s SandDisc cards. - I'll be shooting this in 24p.

I certainly want it to look as good as possible (with as fine a noise grain as possible - considering my ISO), but I also need about 40-50 minutes of continuous recording time per segment - and the full 90 minutes should fit on each of the 64 GB cards.

I'd really appreciate any real world feedback for this kind of task. VBR or CBR? What kind of bit rate should I be going for? Would any of the new Driftwood patches be suited for this?

Thank you so much in advance.

--- Markus ---