[Matt Campbell]

Thanks for the reply. I did try the Pass-Through setting and it came out fine, but when I took that file into Adobe Media Encoder to create a FLV file, AME said the file was corrupt, when in fact it isn’t. FCP was able import the same file but once opened in the viewer there were 16 mono channels as per the original. Channels 1 & 2 have audio and 3-16 have nothing. Not sure how our post house digitized the master to get 16 channels. 14 of which have nothing.

So because AME couldn’t read the file, I wanted to try re-compressing the uncompressed file to either Linear PCM 2 channel stereo or the IMA 4:1 setting to get rid of those 14 extra channels.

My other ProRes files have worked in AME before but I just don’t know what audio was used. I’ll try the Linear PCM route and see what happens. I’m going to assume that since only 2 channels of the 16 contain waveforms that this method of should result it a normal stereo mix. I guess we’ll see shortly.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

Thanks both Michael and Bob. You guys are super helpful. I really like the 60D and that Panay looks pretty sweet too. I think either of these cameras would be a good way for us to break into the HDSLR game.

Does anyone have any sort of comparison, white paper like reading, on compression? Mainly vs. the HVX 200, which already use. I know that the HVX shoots DVCPro HD, and we mainly shoot 720p30 or 24p, and that bit rate is higher than that of the HDSLRs shooting AVCHD H.264. Here’s my confusion, I’m not super well versed in all the camera settings but I mainly shoot our interview/internal stuff using the stock Scene file #3, Scene Spark. This has the B.Press gamma and looks pretty good.

However, when compared to our freelancers 7D footage, his looks much better. Now possibly because its full raster @ 1080p. And thats was just raw from the camera, no post color correction work. I’m just really curious to read some comparisons about the 2. The HDSLRs seem more real. Maybe I just need to learn more about the HVX and the settings.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

sorry, one more thing. of these camera’s which has the better low light capabilities. from what i’ve found, it looks like the 7D is better and the 5D is best (not that we’re looking at the 5D). the reason I ask is for wedding videos. receptions are often dim and or dark with DJ lights and rather than putting an on-camera light on our HVX (which doesn’t help much), I’d rather look into something thats better in low light, like one of these HDSLRs.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

Thanks Michael. So for example, with a DSLR camera shooting video, if you have some action shots or things with motion moving towards and/or away from the camera, you really would have to relay on a steady hand to keep focus right? This is just of many concerns I have about switching over. But I’m a quick learner so that helps.

Regarding lens and what not, I fairly confident that the stock lens will be just fine for what we’re doing. Again, nothing real high end or broadcast like. Just some recreational type shooting for clients. Thanks.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

I’ve already resolved this but thanks for your reply. question, why would you use none? this is a downconversion to Standard Def 29.97 for broadcast, which is interlaced, lower field first. None would be for a progressive sequence, which neither of these are.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

John, thank you. I always forget to check the little things. Setting canvas to 100%, duh, you can now clearly see the 3:2 pulldown. At 48% size it looked like 4:2. solved.

Mike, thank you as well. Unchecking that box for my Intensity Pro card then reveals the pulldown on my TV when playback is paused. So now the Canvas and external TV show the same thing.

DUH. thanks again guys. i’ve got to right this down or something.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

I think I’ve answered my own question. A 23.98 project rendered and exported to 29.97 speeds it up. My :5 tag went down to :4 seconds. So I think I’ll just start a new project at 29.97.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

Long story, but the spot was shot on film. Pulldown was not done on camera. 1st spot was edited at 23.98, master created to broadcast spec at 29.97, went out and aired from post house A. many months later the spot needed 1 revision. Original post facility A was not available, so it went to facility B. They have since been working with the 29.97 material. It would cost time and money to go back to the 24p (23.976) material. I’m simply creating and adding a :5 tag to the 29.97 material.

So after reading that, I’m assuming what I have is correct? And the 29.97 material has had the proper pulldown added.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

I don’t know for sure, but it could be a hardware thing. You should be working off an external drive. Never edit on you OS drive, it will seriously bog down the processing power. Especially using the ProRes. Next, try rendering all your material into the same codec. Why are you using ProRes HQ? You gain nothing using it. Regular ProRes is all you need. ProRes HQ is best for material higher than 1080, like 2K and 4K film work.

Also, check to make sure you have plenty of RAM and that your drives have plenty of empty disk space on them. Once a drive reaches around 80% capacity, they will begin to slow down, causing some weird things in FCP.

I’m not sure, but I think a Firewire 800 drive should be fast enough to edit ProRes material. I’m working off a Fibre channel RAID 0, so its smoking fast. You just might not have enough beef.

You could also try offline editing using ProRes Proxy. The online back to ProRes.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

I’m not the best with audio either but can you use male 1/4″ balanced plugs? Or maybe there’s a male XLR out from the DAT to a male 1/4″ plug and run that into an open input on the mackie.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card