[Chemix Ferreiro]

Thanks!

I was hoping to avoid the layout-digitise cycle by importing to the Decklink at the same time the Kona is outputting but, as I already stated, results are far from Ok.

Will try your suggestion and we’ll see…

I’ve tried the compressor route and didn’t like it either…

Thanks again

Chemix Ferreiro
BUNKER studio
Canary Islands

bunkerstudio.es

[Chemix Ferreiro]

Been there! I lived in LA for 8 years some time ago (loved it every day) coming from a small unknown island in the middle of the Atlantic, a big BIG town was mind blowing.
I think we are getting to understand a possible workflow with AF100 + GH2. will record to the cards for now until I discover an external recorder that fits my shallow depth of pocket… 😉
I’ll keep you updated on the progress.

Chemix Ferreiro
BUNKER studio
Canary Islands

bunkerstudio.es

[Chemix Ferreiro]

Thanks a lot for all help. The cam just got here and we are anxious about discovering what it can do. Having a Lumix GH2 (with native 24p but not 25p as of yet) as B cam, would be good to be able to shoot both cams at 24p if needed

Chemix Ferreiro
BUNKER studio
Canary Islands

bunkerstudio.es

[Chemix Ferreiro]

Well, I get the 24P options if I switch the cam to 59,9 Hz but being in Europe… is that advisable at all? Furthermore, is it logical to have to switch Hz mode to record 24P? Even sd card had to be formatted. I’m lost

Thanks again

Chemix Ferreiro
BUNKER studio
Canary Islands

bunkerstudio.es

[Chemix Ferreiro]

Great advise. Thanks to all!

Chemix Ferreiro
BUNKER studio
Canary Islands

bunkerstudio.es

[Chemix Ferreiro]

Thanks Uli, I appreciate your words but I’m concerned about converting Panasonic’s GH2 50i footage (mainly for slow-mo) to 24P for editing along true 24P recorded footage

I’ll check the wiki on Psf

Thanks again for your time to help, I’ve been following you on the cow for a long time!

Chemix Ferreiro
BUNKER studio
Canary Islands

bunkerstudio.es

[Chemix Ferreiro]

Thanks a lot Noah. I hope to get my head around all the fuss regarding the 50i to 24P process soon. I understand there’s the Avisynth route for PC users in NTSC land but… what’s a PAL-Mac user to do? Can you clue me on that?

Love from the Canaries

Chemix Ferreiro
BUNKER studio
Canary Islands

bunkerstudio.es

[Chemix Ferreiro]

Thanks again Jeremy.
I will continue my quest for a streamlined way to serve GPS data into the workflow for this upcoming project. As far as I plan to use FCSvr for the project hub, maybe I can combine the XML metadata from the FS-5 and the ProRes video file from the Ki Pro (I’m wondering what the camara will look kile with the Ki Pro AND the FS-5 all hooked up…)

I’ll keep you updated if I pull this through

Chemix Ferreiro
BUNKER studio
Canary Islands

bunkerstudio.es

[Chemix Ferreiro]

The idea was, originally, to be used with Focus Enhancements FS-5 recorder, which also handles metadata through a web server. You can pre-define custom metadata templates to suit your specific needs… but the unit records the HDV iLink signal already compressed, not comparable with the pure, untouched full raster ProRes stream that the Ki Pro offers.

Well, at this point I’m thinking a cut-paste operation from a GPS app. running on the iPhone (or portable) to the Ki Pro.

Chemix Ferreiro
BUNKER studio
Canary Islands

bunkerstudio.es

[Chemix Ferreiro]

Thanks Jeremy

I guess I was hoping to be able to automate through the WiFi connection to embed the GPS coordinates into each clip, along with it’s name.

I’ll be using Sony Z1’s for now, being a pilot project.

I guess the only other way would then be: keep track of GPS location data and clip names on the field (using the MacBook Pro and a spreadsheet) and feed it later in the studio as metadata in Final Cut Server…?

Do you think this is possible?

What else can the WiFi connection offer besides control operations?

Thanks in advance

Chemix Ferreiro
BUNKER studio
Canary Islands

bunkerstudio.es