[Michael Sacci]

If you are doing Multicam editing, everything has to match, codec, resolution and framerate. First thing, why would you shoot the Panny at 24fps. Match the all the cameras at 1080i/60. Then I would convert everything to ProRes, get out of HDV, especially for multicam. If you don’t want to convert all 3, then take the HDV to DVCProHD.

But in the end they all have to match specs exactly.

[Michael Sacci]

[Jeff Dunn] “has anyone tried to use a laptop usb2 card and a thumb drive to record from the HVX200?”
? not sure what you are asking here. Going from the camera via USB to a computer and a thumb drive?

But there are no easy/cheap solutions to read the P2 cards. You have to use something that is made specifically for them.

[Michael Sacci]

and sometimes taking two steps backwards gets you off a cliff. 🙂

[Michael Sacci]

I thing for shooting people moving in a scene you wouldn’t want to go wider. But that is really up to you. If you are getting that lens try it out but that is a pretty wide lens for video. If you need wider than you look at your different options. If you keep the lens stopped down a bit, f5.6-8 you will get some serious depth of field.

While I have a couple of primes I shoot 95% of my stuff with zooms, 24-105 f4, not that I do any zoom but coming from a video camera background, I crop with my zoom. Taking 2 steps forward or backwards is not always an option. So I like the versatility of a zoom. If I would shoot more movie still things I would lean more towards primes (when I had complete control of the situation) but for event or documentaries I would almost always go with zooms. Unless I had to go wider than a f2.8. But once again this is what I like and the way I want to work.

[Michael Sacci]

DV is an editing codec, while is has smaller color space and more compression then ProRes, if your video is that format (or similar) it is fine to work with. If you are doing heavy graphics then ProRes would be better.

I’m sure if you googled “video codec” you can find the info you are wanting. But this is not a new thing. DV, DVCPro50 and DVCProHD are the only format where whats on tape and whats digitized is the same thing. Every other tape format you have to choose the right codec to digitize to.

Oh short answer, whenever possible choose ProRes.

[Michael Sacci]

Is the footage now 23.98? If so just change the timing of the clip, in Frame Control on the bottom you choose SO source frames play at 25 fps.

But if you want real answers you have to give real specs.

[Michael Sacci]

One question, you are for certain that you camera is not set on 24pN or 30pN in the 720p mode? If it is FW will not be available.

[Michael Sacci]

Mpeg4 can be a lot of things, there are a lot of variations of it out in the real world. H264 is the most widely used version. You need to ask for specifics from the client, then test. If the AJA software doesn’t work QT Pro can record a live feed to H.264 via the IoHD so that is another Option. The thing is the IoHD is not does the encoding, the Mac is so the question is can it keep up with the live feed.

[Michael Sacci]

[Ty Ford] “I went for h264”
That is no good for editing. You need to go to ProRes or DV25. You need to reshape the pixel to 720×480 with a pixel aspect ratio of .9

H264 is not for editing, 640×480 is a square pixel conversion of video’s 720×480.

[Michael Sacci]

Without the THM files you cannot use the Log and Transfer but you could do your convert to ProRes with Compressor or StreamClip. The thing you lose over L&T is the TimeCode being added.

I would thin that if the card got back the mov files it would get back everything. But copy what you got before you do anything else. You can live without the THMs.