[Per Scaffidi]

Thanks for all the advice. Some more info:

We’ll be shooting either a C300 or C500. Sticking to the US for the most part, in parks and wildlife areas where we’ll be running and gunning in the woods. I assume most of the time I’ll be able to plug in, but I wanted to find out what the options are for wireless for a bit of added flexibility if needed. There’s already a decent wireless lav kit and shotgun kit from smaller past projects, but looking to step up the game with a mixer and learn more.

[Per Scaffidi]

So based on other threads, I was able to search for the MXF files and drop those into MC. They all seem to have imported successfully.

[Per Scaffidi]

Hi — same boat here. Hoping someone can answer this question…

[Per Scaffidi]

Great — so I have two options essentially? Use Gopro studio to conform to 24p, or import the footage into a Media Composer project of the native framerate, and then bring the footage into my 24p project and set the clips to 100% speed?

[Per Scaffidi]

So based on some suggestions in the Avid Community forum, I simply changed the editshare connect login to the login info of the old PC. It’s given me to access the folders and allow Avid to rebuild most of the missing databases.

It still seems to have issues with one or two folders — it goes through the whole scanning process on them and then gives me an error: Disk Invalid Filename Syntax.

[Per Scaffidi]

Thanks — that was going to be my next question. The Odyssey + media seems to much more friendly to the pocketbook. But yes it’s another thing to throw on somewhere.

Seems there’s always a compromise…

[Per Scaffidi]

Thanks, that seems to have done the trick!

Just in case someone else has the same problem here’s the quick fix (there are more things to try if this doesn’t work):

Set White Balance switch to PRST
Set Shutter switch to OFF (on the front of the camera)
Close Iris
There’s a switch on the front of the camera with ABB, flick it to ABB and let it cycle til it says ABB OK.

[Per Scaffidi]

Been a while since I’ve dealt with something like this (used to own an HVX200) so I may be incorrect. But I believe FCP will only “remove advanced pulldown” on 24pa footage, not 24p (pa stands for pulldown advanced?). One of them encodes extra fields and the other extra frames, something like that from what I remember. So if you import your 1080i24p footage first without removing the extra frames, or extra fields, and edit at 1080i you’ll end up with a sequence that has extra fields/frames at random places rather than in a cadence throughout your show. Compressor supposedly can detect these and remove them but I’ve had varying success in the past. So if FCP can’t remove the pulldown when you ingest, you’d be better off doing a reverse telecine on all your footage to create true 1080p24 shots and then bringing those into FCP so you can edit at 24p.

It would probably be a good idea to check the 200’s manual, and FCP’s manual on ingesting different codecs (at the top of the screen under Help). It might give you some answers on how the camera and FCP are handling the 1080i24p footage. There is also a really good book called the “Missing Manual” that goes through and actually explains all the different settings in the 200, and there was a chapter on all the different resolution and framerate settings, how they worked, etc.

[Per Scaffidi]

That’s actually what I’ve been using in the meantime. But I was under the impression that quicktime in any program should be able to encode AVC-intra, and our Media Composer on a PC is able to, but not AE.

[Per Scaffidi]

Squeeze’s only choice is mainconcept H264. I did read on another forum that there is a bug in encore where it doesn’t like 2-pass vbr and/or high profile. However, I just tried using the preset with 1-pass vbr main profile, 1-pass vbr high profile, 2-pass vbr main profile, and still no luck. Here are the preset settings if that helps to shed light on anything:

Mainconcept H.264
2pass vbr
1080i 29.97
25,000 Kbps
constrain at 30,000 Kbps

level 4.1
high AVC profile
interlaced
top field first
CABAC encoding entropy mode

key frames every 300 frames
auto key frame on scene change (50)

use b-pictures 3
use b-slices as reference (unchecked)
multiple slices (0)
reference frames (2)