[Gerret Warner]

The HVX is 1280 X 1080 interlace while my Canon shoots 1920 X 1080 progressive. Would I be better off shooting 720P/24PN?

(I’m shooting 23.98 so better to shoot on the HVX 1080i/24PA if I shoot 1080 on it)

[Gerret Warner]

This is an on-going test, you might say. Like many other producers, I’m sure, I’ve been shooting both DSLR footage @ 1920 X 1080, 23.98 h.264 and HVX 200 P2 footage @ 720PN and @ 1080PA. Mostly, I’ve been shooting with DSLR, but I’ve become greatly frustrated with the limits it places on capturing documentary footage and so am looking to do more of a mix of the two cameras.

I think I agree that the best choice is to shoot 720PN on the HVX200 and then transcode to ProRes 422, 23.98.

For anyone who has come to do this routinely, would you recommend a timeline at 1920 X 1080 or 720?

Or a different approach altogether?

[Gerret Warner]

Thanks again.

I tried Cinema Tools but the resulting file had an echo in the audio.

Have also found Plural Eyes has some trouble syncing my 2 camera (naturally, given one is at 30 fps and the other at 24), though nudging manually. seems to work.

Am wondering if I could transcode the HVX200 Quicktimes–after Log and Transfer–through Compressor to 24 fps ProRes.

Since my DSLR footage is transcoded to ProRes, my theory is to match frame size and rate.

Workable?

Guess I’ll shoot the rest of the project at 1080i24PA.

[Gerret Warner]

Thanks. Will check out cinema tools. In the meantime, it looks as if a ProRes 422 transcode of my H.264 and the HVX footage seem to look OK in the same ProRes 422 timeline.

[Gerret Warner]

Thanks, all.

Will stick with title safe. Too much to lose.

[Gerret Warner]

I tried playing Shane’s video but there’s no audio (yes, I checked other playback to be sure). The audio monitor button has an X on it.

But I’ve used Log and Transfer for years with P2.

It looks as if the 60D doesn’t have .thm files. I just looked at the files on a card via Finder and there are none visible. Possible that they simply can’t be seen:
eoscard.jpg

[Gerret Warner]

[Michael Gissing] “Grinder does allow you to use the thm files timecode info just like Log & Transfer. If you used an older version or didn’t use this feature then yes you have an issue with recapture. For the future, if you use the time data to convert to timecode then you could just archive your camera card files.

Perhaps with hard drives being so cheap, it might be better to do a Media Manage consolidate of the ProRes final project with handles to an external drive.”

Michael,
Thanks for clarifying. But I don’t see a file called thm in my 60D card.

[Gerret Warner]

Thanks, both.

I running on 10.6.8 without a card. Anyone running both FCP 7 and FCP X on the same system?

[Gerret Warner]

I used Magic Bullet Grinder with tc set at 01.00, etc; tc start set at “Continuous.” Then I imported those files rather than using Log and Transfer, since they’re already QTs.

I don’t see how the H.264 without tc would reconnect in the future.

[Gerret Warner]

Agreed, the smaller files are easier to store, but the ProRes versions have time code, and were imported into my project. If I trash the ProRes versions and later want to revise my video with the H.264 versions they won’t relink… unless I’m missing something.