@qwerty123

Yes, definitely spans on 64gb Sandisk Extreme Pro 95mb/s Cards. Did receive my pair of 64gigs today and both worked with 1080 and 720/60

@driftwood @Zaven13

I'm using Sage's patch, which means I need to just repatch to Quantum 7 for tomorrow's shoot so that I can get the 70M 29.97.

Thanks much.

I did some quantum 7 tests with 64bg 95sec sandisk. Results in that topic.

@driftwood @FGCU Guy's I just shot this video with Quantum v7 all I can say is WOW!!! I was surprise with the quality. Don't mind the language spoken it's creole, it was shot for Haiti's Earthquake second year anniversary. Here is the crazy thing even @ 480p under youtube's compression it looks like it's 720p Quality I'm amazed. Uploaded it to vimeo but it's not allowing me to view it as HD yet.

Setup: Hack: Driftwood Quantum v7 Profile: Cinema (-2-2-2-2) W.B: Custom Temp 5200k - 5600k Custom Color Balance (Will Post Pictures) Iso: 160 - 400 Lens: Pani 20mm f1.7 / Nikon 50mm f1.8 Lighthing: Halogen / Fluorescent

I did a test with Driftwood's Aquamotion ver2, Sandisk Extreme Pro 32GB, 20mm pancake, filming the TV playing Borat. The GH2 did start a new file every 4.29GB, as expected. BUT - I cut the files together in FCP, and noticed that (a) a couple of frames are missing between the two files, and (b) the audio on the second file, i.e. the beginning of each clip, comes in late. Hence, there is no continuous video between the files.

Have any of you had such problems? Is this to be expected with any spanning files, or only high bitrate spans? I.e. would this problem be less pronounced with less intense scenes (e.g. interviews)?

Thanks!

@rbna

I've now shot dozens of hours with Aquamotion V2 with Sandisk Extreme 30Mbps cards -- and at 24p it's spanned flawlessly straight up to card capacity. Premiere Pro even recognizes the clips as one long recording.

My reaction is that your problem is either a workflow issue, or a Final Cut issue.

The only issue I've had with Aquamotion V2 is that the 24H comes in around 89 Mbps, and the 24L comes in around 87Mbps. The 24H is not coming close to 100 Mbps -- and I'm wondering if I've got a problem somewhere.

@rbna, I second @onionbrain comments. Is it the card you are using the 30Mbps one with with the little "I" beside the SDHC logo (that's the right one)? Often when things go wrong with spanning, the culprit is card, not camera.

Everything I've shot (dozens of hours) with aquamotion has been perfect -- Clipwrap transcoding to DNxHD actually recognizes them as the same file and automatically merges them into one DNxHD. If you plan on doing a lot of work in FCP with the GH2 just invest the 50 bucks in clipwrap -- we've had a lot of annoyances with log and transfer and gh2 files, but no problems since transcoding to Prores HQ with clipwrap before ingesting.

Certainly keep us updated if the problem persists. But for me, no problems so far.

@ignatius I suspect your noise problems on ETC mode relate to the ISO. If I can, I steer clear of anything above 640 unless I'm going for noise -- ETC with quantum on 160 and 320 looks great. Also, this may no longer be an issue but I recall early tests with the gh2 saying that the "top line" of ISO's (160 onward to the right) produce better results and for whatever reason the 200 multiples of ISO below it (eg 800) produce a lot more noise. Can't recall how scientific those observations were, but just a thought...

Agreed, 60i = no good with Sage's hack.

Gonna go back to Q7 in the future for 1080i shoots and have Sage's on stand-by for narrative work.

A la Dvx:

"Just to clarify: this patch does not have a 1080i option. By boosting 720, 1080i is made unstable because it is entwined. It is only for 720p 60 SH, and 720p 50 H (60 H will do for spanning). For the extreme, its an unstable 720p 60 SH, and a stable 720p 60 H."

@JDN @onionbrain Interesting - imported the MTS files directly into Premiere, and alas, it was fine. BUT: I also imported the Clipwrap generated ProRes (normal) file into Premiere, and while it did seem to get the video correctly, there was a tiny break in the audio. (I'm using the Sandisk 45Mb/s, with the I next to SDHC). So you guys cut on ProRes (and haven't had the audio break issue)?

@JDN Do you also work on Premiere, or does your GH2/Clipwrap/ProRes/FCP workflow work?

@rbna, did you import the clipwrap generated mts into FCP7 as well? That is our preferred workflow at the production company I'm at now. That said, we're always recording separate sound (DR-40 via a Mix PreD) so we have a clean audio track and can paper over any audio gaps (though I'm not aware of any so far).

As for premiere, sorry, can't help. This is actually my first time using FCP in about five years. Since then I've been on AVID, mainly at large procos where simultaneous access to media and crash-free hour long sequences are needed. Out of the price range of most individuals though, I know -- except if you're a student, in which case you'd be a fool not to take advantage of the educational price and four years of free upgrades. But if you're working primarily for web, I can see why the others would be just as good if not better.

Premiere CS5.5 is the new FCP, fwiw. It even has the FCP keyboard shortcut set built in. Avid is quite different.

Another Sample of Driftwood´s Quantum 7. Thanks to all, starting with VK, who have turn GHx owners really proud! This is a great comunity!