[John-michael Seng-wheeler]

Having done the math, your drive appears to only be capable of approximately 40Mbs, instead of the theoretical 800. That would explain why nothing would play back. I’d say something is very wrong with the drive…

Do the math. If 258GB takes 15 hours, Copying everything would take roughly 11 times as long, which is 165 hours or 6.8 days.

So you can ether leave it copying for almost a week, and hope it keeps working the entire time or you can re encode the ProRes. Which will take longer?

[John-michael Seng-wheeler]

Use .mp4 (pure H.264, not in a quicktime wrapper)

Sometime between CS3 and CS5 .MOV H.264 rendering went south.

[John-michael Seng-wheeler]

Yeah, I use 30p a lot too. Because it’s actually exactly the same as 60i (since it is just 60i with the second field recorded at the same time as the first rather then a 60th of a second later) it can easily be used interchangeably with 60i footage in the same project. In my documentary work I shoot at 60i, but switch to 30p for interviews, which are against green screen.

[John-michael Seng-wheeler]

A “common misconception” that has been pounded into our heads by the marketing departments of camera manufacturers.

Any “quick fix” like 24p to make your videos look “film like” is all marketing, The only time in recent memory that I’ve shot in 24p was when I was shooting alongside a 5D, which is limited to 24p.

It’s kinda ironic that everyone get’s so caught up in the allure of 24p shooting when in fact all they’re doing is copying the one undesirable aspect of film.

24 frames per second was chosen as a compromise.

In the days before sound, film could be run at any speed the director wished, even within the same movie. Slower frame rates would be used for static scenes and faster fame rates for action. The projectionist would very the speed of the projector to match as the film played. This is why silent films are aften so fast, do to being copied to tape at 24 frames a second rather then at the speed that they were meant to be projected at.

However, when sound was added to the mix, a standard frame rate had to be decided upon.
24 frames per second was found to be fast enough to give smooth action and good sound fidelity, vs the cost of the film.

So, 24 frames per second is actually based on the cost of film, not artistic an decision, so why are we copying it?….

[John-michael Seng-wheeler]

yes, 24PN will give you 24p video. So will any other format that camera shoots that has the letters “24P” in it’s name. The camera just records each of them differently. And the HVX-200 does indeed shoot 1080p. It’ll be called 1080i/24P in the menu, because it’s recording 24p on a 60i format with a pulldown.

So you can shoot 24p in ether 720 or 1080, Look for 720P/24PN or 1080i/24PA in the menus and use those.

However, whether you should be shooting in 24p is a totally different discussion.

You should chose the format you shoot in on a project by project basis, rather then defaulting to one format.

1080i
1080 30p
1080 24p
720 60p
720 24p

Your camera shots all of those, and they all have their uses. Learn about all of these and use them wisely.

And don’t bother about removing pulldown manually, Premiere Pro and After Effects both do it correctly and on the fly, as they’re supposed to. That’s just part of the design DVCPRO HD. Pulldown, extra frames, they’re all supposed to be removed on the fly by the editing application. Any Program which doesn’t isn’t properly supporting the spec.

[John-michael Seng-wheeler]

Sounds like a bug… I’ve never had the conform process prevent me from doing anything…

[John-michael Seng-wheeler]

I was more responding to the original poster, Should have replied directly to him guess.

I would say that the reason that there are no uncompressed presets is because unless you have a SDI card, you’re very, very unlikely to be editing uncompressed.

What do you edit that uncompressed formats matter to you?

[John-michael Seng-wheeler]

PP does indeed support uncompressed formats, quite a number of them.

Since you were asked for a quicktime, here’s what you do.

File > Export > Media…

in Export settings select “Quicktime”

In the Video tab, Video codec, Select Uncompressed 10Bit, (it’ll be near the bottom).

[John-michael Seng-wheeler]

I expect that with CAC on the new HD lens it will be better then using the SD lenses on the HPX-370.

Why? They might be good, but they were only designed for SD and by using them on an 1/3″ HD camera you are asking them to resolve almost 4K equivalent resolution (compared to their designed SD resolution) in their centers. If they only cost 18k I don’t think they can do it.

JM

[John-michael Seng-wheeler]

Well, the sound issues are exactly what would happen if “use system soundcard” was unchecked, however I can’t find any mention of it or anything like it for Mac.