[Uli Plank]

There is no PAL Mac-user – FCP can handle both formats.

If you shot in 24p, edit 24p (keeping it all progressive) and speed it up with the help of Cinema Tools in the end. This is the way we’ve seen cinema on TV for 80 years in Europe.

When you play it out for TV, any I/O card (like AJA or BM) can convert that to PsF (Progressive segmented Frames, check Wikipedia).

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

Did you format it in the camera? If so, it should be FAT32 and readable by any computer.

If it’s not, the card or the reader might be damaged.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

For copying get the nice little free app “Copycards” from:

https://www.spherico.com/filmtools/copyCards/copyCards.dmg

Regarding 24p: Shoot 24p on the card! 60i in the GH2 is somewhat mangled and will give you headaches, there’s a long thread over at DVuser.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

Yeah, it just looked it up. Sorry, you can have sunglasses (ND), but no night vision (photomultiplier?) …

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

This camera does a lot of processing in video, like scaling (it has a photographic sensor) and even lens corrections. So, I think AJA is right and it’s not their fault.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

Does that camera have interchangeable lenses at all?

If so, try photographic glass, the best is Nokton 25mm 0,95, very fast glass, but expensive and in high demand.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

It’s in sync here. How do you monitor? Is it in sync when playing off the Ki Pro?

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

I second the book from Barry Green.

And just one general thing: Any method that is making images more ‘crisp’ in the camera can be applied as well (or even better) in post. It’s just an edge enhancement that is creating a synthetic impression of sharpness which is not really delivered from the sensor.

In many cases it’s even better not to ‘bake it in’ in the camera, but add some to your taste in post.

The Red One, for example, is not applying any sharpness, but has much more resolution than a DVX-100 and has been used on numerous films in cinema, like “Social Network”.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

I like Small HD.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts

[Uli Plank]

Yes, you answered my question. If it end’s up on TVs of different kind, HD or SD, a video camera is fine (the 150 HMC just being one example).

If zooming is so important to you (most professionals don’t zoom a lot while filming) you are better off with a video camera too, most have power zooms. Photographic zooms can only be driven more or less smooth with additional gear.

Plus, as you already observed, photographic cameras can overheat after a while. Video cameras don’t.

Director of the Institute of Media Research (IMF) at Braunschweig University of Arts