crashandannie

Hi, Jeff, What exactly are you trying to do? The 24p hacks record in native 24p, so pulldown shouldn't enter into the equation. You mentioned broadcast, is that for television? If so, you need to contact the network or station and find out exactly what format and codec they need from you. (The stations in my area accept the 24p files and do their own conversions.) Hope this helps!

Hi, Jesse! Welcome to the EOS-HD forum.

Hi, e446, Try [url=http://www.amazon.com/Zeiss-CP-2-T2-1-MFT-Mount/dp/B005ISHEG2.]http://www.amazon.com/Zeiss-CP-2-T2-1-MFT-Mount/dp/B005ISHEG2.[/url] More available on Amazon as well. Also, if you look on the Cinema page on zeiss.com you can find the CP.2 and the LWZ available in MFT mount. I think Illya at Hot Rod Cameras also can do the MFT mount if you email him:  [url=http://www.hotrodcameras.com/?product=5x-zeiss-cp2-lens-set.]http://www.hotrodcameras.com/?product=5x-zeiss-cp2-lens-set.[/url] The CP.2 is designed to be interchangeable, so you could buy the PL mount and change in the future if you wish. The instructions are on the Zeiss site. Hope this helps!

[quote author=tungah link=topic=399.msg2517#msg2517 date=1331694384] I stopped reading at "16mm". With the options on the market today, why even bother? [/quote] Hi, Tungah, 16mm (or S16 I think in this case) is a perfectly viable option in today's market. (Oscar best picture winner and cinematography nominee Hurt Locker was S16). Notice the specs: uncompressed 2K raw at 4:4:4, option to use 16mm glass, etc. This would basically be what the Scarlet was supposed to be. And under $3500? Yes please! Now we just have to wait and see. But I am rooting for them! I started with 16mm Bolexes back in the day, and if processing wasn't so expensive I'd still be shooting one occasionally.

Incredibly exciting project! I hope they can pull it off, but like Andrew and Stu at ProLost I see a lot of obstacles ahead, especially for workflow. I mean, their own website suggests you will need 5TB of storage for a 12minute short. How to process it? What NLE to cut with? The specs say USB 3, which to me reads as "not on Mac". Linux, perhaps? My nostalgia for Bolex and 16mm almost had me on board, but the workflow issues and a cooling period prevailed. I will be following closely, however! I figure I can afford the extra $800 and waiting time to be sure this amazing idea will work for what I need.

To answer the original topic question: yes.

[url=http://bit.ly/xKNQKS]http://bit.ly/xKNQKS[/url] Hope this helps.

Hi, Alex, If you are considering the Mk2 solution you might as well wait to see what the Mk3 will have to offer! (Announcement tomorrow?) Does Mk2 footage really stand up to grading better than then hacked GH2 footage? I know it uses less efficient compression resulting in higher bitrate footage, and I have seen some INCREDIBLE footage from it (Act of Valor), but the same goes for the GH2. I don't think you would want to do a really hard grade with either one, though. As far as 2 streams for HDR, I am going to go out on a limb and say not possible. That would require DOUBLE the processing power. And double the bitrate. And double the size of the recording medium. And frankly doesn't seem to be in demand at this time. Though I could see rigging up a 2 camera system with a mirror system to shoot the same image and set each for different ISOs. With the GH2, this would be a pretty inexpensive option! Hmmmm...

It is likely that the second part of Andrew's reply is the important one: "make sure it stays there" Some cards have a loose lock button that will slide as you insert or remove it from the camera or cardreader. Since it slides back after you remove it, it looks OK but isn't really. Try using a small piece of tape or your finger to lock it down and be extra careful as you slide it into place. Hope this helps!

You've got it, Joshua. Variable bitrate hacks do not always record at the highest rate. It depends on the complexity and brightness of the subject, i.e. a forest background will record at a higher bitrate generally than a solid background. Is Orion variable or constant? Can't remember offhand. But do not look at total file size to see recording bitrates, you need a secondary tool such as 5DtoRGB or MediaInfo. Or whichever one is suggested on the Personal View site.

Agreed - DO NOT TRUST THE TIME REMAINING SHOWN on a hacked GH2! I started one project showing over an hour on the cameras, and 45 minutes in 2 of them ran out of room.

5DtoRGB is a terrific option! Easy to use and makes very high quality files. Also, try ShotPut Pro for backing up SD cards. It maintains all the info/formatting of the card so you can transcode from the copy, plus it can copy to different hard drives at the same time (makes a "work version" and a "safety version" all at once).

Hi, rjett, I believe that is the latest version. 1.1 and 1.11 are different labels for the same thing, according to Andrew on another thread...

Actually, FCPX does a pretty great job of handling the various hack flavors, and can transcode on the fly while you cut using the AVCHD footage (transferred to your hard drive, of course, NOT the original files). It is a less expensive option than Premiere, if money is an issue. (I actually am LOVING it, as I am much faster cutting. Definitely takes some getting used to, but once you do you can fly!) Hope that helps,

Hi, Rosebud, If you let FCP7 do the conversion for you in Log and Transfer you will be most assured of optimal usability. Remember ProRes files are MUCH larger than the compressed files on the GH1 or 2, but they are optimized for use with FCP and should not cause render issues for simple cuts/dissolves editing unless your HD is too slow or you need more RAM. Hope this helps,