[Matthew Sonnenfeld]

Never heard of this issue but I would try to trash your preferences and restart Premiere. Preference Manager is a great, free, application that makes this very easy to do for multiple applications at ones or just any single one at a time.

Trashing preferences is my first line of defense always.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
AJA IoXT, Blackmagic Intensity Pro, Blackmagic Mini Monitor
Adobe Production Premium CC, Avid Media Composer 7, Final Cut Pro Studio 3

[Matthew Sonnenfeld]

Honestly the Panasonic USB reader is not bad. The fact is that Panasonic has switched now to Micro P2 cards which is kind of what you’re describing that you want.

Panasonic does make an adapter to take Micro P2 cards, which are the exact form factor of an SD card, and adapt them to full size P2 slots and cameras. Fortunately compatibility has been maintained between the old and the new. And for Micro P2, there is a USB3 reader. But no, you cannot put a Micro P2 card in any old SD reader, but you can put SD cards in Micro P2 readers. And don’t be fooled by the SD form factor, the new cards are every bit as reliable as the old ones and the internal tech is exactly the same. But these are smaller, and faster.

While it may cost some coin, I would look into making a migration to the Micro P2 standard with adapters as the costs are now lower compared to the old standard and you clearly seem to be firmly rooted in the need to continue with P2 in general.

Otherwise your only options would be the Panasonic USB reader, the 5 slot FireWire reader, or the Sonnet QIO. All good options that shouldn’t be holding you back from a new computer and up to date software.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
AJA IoXT, Blackmagic Intensity Pro, Blackmagic Mini Monitor
Adobe Production Premium CC, Avid Media Composer 7, Final Cut Pro Studio 3

[Matthew Sonnenfeld]

Thanks for the info Eric. Definitely a good idea to keep the knowledge base flowing to new users.

I still contend though that for the average+ user, a full raw workflow is too cumbersome to handle and I highly encourage the use of an offline/online workflow using software such as DaVinci Resolve to convert to an intermediate codec such as ProRes for edit or even using some of the excellent offerings from Cineform if you insist on keeping the raw workflow.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
AJA IoXT, Blackmagic Intensity Pro, Blackmagic Mini Monitor
Adobe Production Premium CC, Avid Media Composer 7, Final Cut Pro Studio 3

[Matthew Sonnenfeld]

The native ISO rating refers to the sensitivity at which the sensor and camera hardware is optimized for. It’s sort of a difficult thing to explain but in general you will see peak performance at the native ISO. Basically it’s the setting which require the least processing by the camera.

The rule that I strive to go by in video/cinema is to always use the native ISO of the camera and to light for that ISO and your desired exposure. This is why people still need light meters IMO. If you use a meter and set the ISO/ASA to 800, then you light to the exposure that you want, which for the the Tokina you need to meet or exceed an F2.8/T2.8. In the case of the Tokina 11-16, the F stop and T stop are roughly equal. If you don’t have a light meter, a basic incidence meter and a grey card is a worthwhile investment and will change the way you shoot.

Even if you can’t/don’t want to get a light meter, I still say to use native ISO whenever availability of lighting, practicality, and of course time, allow. It is always easier to add light, than to try to grade an underexposed image or to try and handle image noise.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
AJA IoXT, Blackmagic Intensity Pro, Blackmagic Mini Monitor
Adobe Production Premium CC, Avid Media Composer 7, Final Cut Pro Studio 3

[Matthew Sonnenfeld]

Some of the info that you need on UltraScope is actually in the BMCC manual, not the other way around.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
AJA IoXT, Blackmagic Intensity Pro, Blackmagic Mini Monitor
Adobe Production Premium CC, Avid Media Composer 7, Final Cut Pro Studio 3

[Matthew Sonnenfeld]

you shouldn’t have any problems handling those materials together in Premiere. Set the Sony to 720/60P if available, otherwise shoot 1080/60P if available and scale footage down in the Premiere timeline. If 60P is unavailable shoot 720/30P or 1080/30p if 720 is unavailable and put that in the timeline. Export the timeline at the deliverable spec once completed.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
AJA IoXT, Blackmagic Intensity Pro, Blackmagic Mini Monitor
Adobe Production Premium CC, Avid Media Composer 7, Final Cut Pro Studio 3

[Matthew Sonnenfeld]

Should have no problem with the Rode adapter.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
AJA IoXT, Blackmagic Intensity Pro, Blackmagic Mini Monitor
Adobe Production Premium CC, Avid Media Composer 7, Final Cut Pro Studio 3

[Matthew Sonnenfeld]

Records 23.98 just p. SDI output is 1080 only and I think is also p. Not PsF. Someone else can confirm?

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
AJA IoXT, Blackmagic Intensity Pro, Blackmagic Mini Monitor
Adobe Production Premium CC, Avid Media Composer 7, Final Cut Pro Studio 3

[Matthew Sonnenfeld]

As you said, I would try to avoid copying files between cards. Best to put the full file structure on a hard drive. Best third party software is ShotPut Pro.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
AJA IoXT, Blackmagic Intensity Pro, Blackmagic Mini Monitor
Adobe Production Premium CC, Avid Media Composer 7, Final Cut Pro Studio 3

[Matthew Sonnenfeld]

You’re right, it is interesting that there doesn’t seem to be any documentation on this. Personally I have not used UltraScope though I did just go the BMD support side to download it and it let me register using my camera’s serial number. Unfortunately though I don’t actually have my camera with me now so I can’t test to see if the program will open as UltraScope requires a capture device to launch. If you are able to test this, I would say give it a go. Download the current version from the support site and use your camera’s serial number to register and activate software. Might work, might not, but can’t hurt. Would be keen to know myself. Of course someone else can offer some info if they know definitively.

Co-President at fourB Productions, Inc.
Blackmagic Cinema Camera, RED Scarlet-X, Panasonic HPX170, Canon 7D
2011 Macbook Pro 17″, 2.3 Ghz Quad Core, 16GB RAM
2008 Mac Pro 2.6 Ghz 8 Core, 10GB RAM
AJA IoXT, Blackmagic Intensity Pro, Blackmagic Mini Monitor
Adobe Production Premium CC, Avid Media Composer 7, Final Cut Pro Studio 3