[Richard Doyle]

Thanks. About the shutter on/off: it’s strange that the shutter reading doesn’t change from 1/50 to 1/25. If it did, I would know what’s happening. I didn’t see motion blur but will check that.

On AGC linked: I’ll take a look into that. Because the AGC is linked, does that mean if one channel gets too high it weakens the other channel?

[Richard Doyle]

Sorry I should have said what if you had 24fps Canon 7D 1080p to mix with 50i 16:9 Xl2 footage. Keep in mind that the edit is a wedding, and that the footage would be edited in sequence blocks. For example, 7D for bride preps and church, XL2 for ceremony, back to 7D for everything up until speeches. Then XL2 for speeches, dancing. Then mix some XL2 and 7D for highlights.

With 25fps, you said to edit the HD footage in a 50i timeline which is what I’m doing. I convert the 7D to Pro Res LT, but I have to render a lot in Final Cut because I’m a 50i timeline. Would it be better for me to edit the 50i footage in a Pro Res timeline instead? I’d probably have to keep rendering the 50i footage, but the render time would probably be less because it’s the SD footage that needs rendering? Thanks again.

[Richard Doyle]

Can you recommend a fix? What would you do if you had to have 1080p 25fps footage from a 7D mixed with 50i 16:9 SD footage from an XL2? Outputting as SD.

[Richard Doyle]

Thanks. I can’t even notice it. Or will I notice it more if I look at the DVD? Is it one frame repeated every second? The last frame?

[Richard Doyle]

File size is not really an issue with me. I have so many external 2TB and 1TB drives (accumulated by accident almost) that I’m really just interested in getting the best possible image. But do you think it’s worth it? Am I cheating a wedding client out of it by giving them LT instead of 422? What do you recommend? Cheers!

[Richard Doyle]

I don’t get why it might be better, then, to edit in 422 instead of LT since 422 would be larger file sizes?

[Richard Doyle]

…and Pro Res 422 is a bit lower in quality than LT, right?…

[Richard Doyle]

Thanks. If I do it this way, I want to make sure that I’m not degrading my image by taking my .mov XDCAM files and converting them to Pro Res LT?

The XDCAM files are mp4 on the camera. They’re then converted to .mov files onto a hard drive. And from there they’re converted into Pro Res LT in Compressor…and then edited. Just seem like a lot of workflow! That’s life I suppose!

[Richard Doyle]

Hi, can you tell me why the frame rates must match? I have 50i PAL footage from the XL2 in the same timeline as 24p 1920×1080 7D footage, and it all looks fine. It’s Final Cut Pro 7. Thanks.

[Richard Doyle]

Thanks for the response, but I’m not quite sure what you’re telling me. I’m using a 4GB card in the Zoom H4. The recorder says it can record near to 2 hours at 96/24, yet it doesn’t. It splits up the continuous track into various files.