[Cg Coffyn]

Thanks Todd, someone else had suggested that, so I have reported the bug. Like many, we are currently (slowly) moving toward Premere (from FCP) for our major editing. At the same time we have tested FCPX on a few basic projects. The power of being able to do some basic audio noise removal, without crashing & within a video editing software is huge. Especially in our non-profit minimal staff/budget world. At the same time we value programs like Audition that are so feature rich when it comes to audio sweetening. We are keenly looking to see even greater improvements in the Adobe suite. Keep up the good work!

[Cg Coffyn]

I finally found a few additional posts on Adobes Premiere forum. Apparently some others have had the problem at least back to ver 5. One user had not encountered the problem when using the DeNoiser filter.

Part of me wonders if it has anything to do with mixed audio rates/formats in timeline, which we have. 44.1 and 48 khz, wav and whatever format the DSLR recorded natively within H.264 codec.

Thoughts anyone? Are most of you just doing it in Audition?

[Cg Coffyn]

Hey Greg,
Look forward to seeing more stuff. Thanks again for taking the time to do it. I’ll post some clips when I have a real chance to test it out.

On the 24P flicker. I did a quick visual test and apparently it was the combination of 24P and the shutter being turned off (aka at 1/50th in Panasonic speak). Interesting that Panasonic strangely recommends in the manual (Pg23 vol2) for anything shot progressive to turn the shutter off, but never tells you why. When I change the shutter to 1/60th at 24P the LED Christmas light flicker goes away. I was chatting with a friend today that shoots DSLR and only in 24p. He’s seen the flicker on street lamps and just dials his shutter till its gone.

Hey, on the LCD monitor I noticed the default only shows 90%, I like to see 100%. Have you played around with the settings?

I wasn’t sure about the setting you were writing about turning off, but I’ve change a lot of defaults, so I may have already hit that one.

[Cg Coffyn]

Hey Alex,
I’ve heard the Avid DNXHD is a very nice codec. Does it play well with FCP and Premiere? Are there any comparisons with ProRes?

[Cg Coffyn]

Hey Greg, thanks for the post and putting some of your stuff on Vimeo. I enjoyed watching it. We recently received our 160P as well, unfortunately I have not had a chance to really test it out. At the moment I’m trying to decide what format to generally standardize on. 1080 at 30p or 24p.

The only test I’ve done was a walking shot to our LED lit Christmas tree, no other lights, then just tilting up and down the tree to see movement. At 30p it looked fine, 24p did have that slightly blurred otherworldly kind of feel, not much stuttering, but the LED lights were flickering like mad. The shutter was off, which is 1/50th. I can’t figure that out since we’re in a 60 hertz country and I’m shooting 60 hertz why any lights would flicker, but it must be a 24p thing.

What’s also got me wondering is on this camera 24p is native, so no pulldown, if I understand correctly. Would that make it a stronger choice or is it irrelevant? Any thoughts would be greatly appreciated.

[Cg Coffyn]

I’m guessing you don’t have access to the original source tapes to just recapture in FCP. That would sure be a lot easier. I’ve only tested Media Encoder (ME) as we will be shifting from, I hope, Compressor to ME. so I’m no help there.

I have always heard that going from HDV to DVCPro HD is not a good idea. We were looking at that option when we first got our Kona LHe card, because it is ideally suited to those with a DVCPro HD workflows. Although a few people thought it would be fine, most felt it wasn’t. You probably want to stay as close to the 1080 x 1440 aspect ratio of HDV, so your not compressing and recompressing.

As you probably know mov is just a wrapper for all kinds of codecs, but again the less fiddling you do with the pixels the better. My 2 cents worth anyway.

[Cg Coffyn]

I’d use ProRes or ProRes HQ. We’ve worked in HDV in FCP for years (now switching to shooting AVCHD and editing in Premiere Pro 5.5) and we always do our masters, stereo and split trk in ProRes. We also do all our Motion graphics in ProRes. If you have any FCP software on your system you can access ProRes from within Premiere, but you have to set up your own preset I think. I stumbled across a great blog on Adobes site about using a ProRes workflow in Premiere Pro. Sorry I can’t find the link at the moment.

[Cg Coffyn]

Perfect, thanks!

[Cg Coffyn]

Really appreciate your feedback. Thanks. I’ve certainly copied gb of video from one hard drive to another over the years and so far no problems. Though I must admit I have always been a bit concerned anyway. I do know the file structures are critical here with the tapeless workflow. I may just use it for an extra safeguard. Maybe it’s the old boy scout in me 🙂

[Cg Coffyn]

We’ve just switch from shooting HD on tape to SDHC on a Panasonic AG-AC160P. I had been talking to the folks that make Shotput Pro at NAB and just downloaded a trial to test.

I know it does a verify of the data being copied to a hard drive, among other things. I assumed that would be critically important. Any thoughts?