@mozes Thanks for the report. Yes, class 6 cards are dicey, but they should work OK if you use them with 24L and FH/H modes.

I know what you mean and I actually do have neat video although I did not use it in this piece. I somehow wanted to see how it would look without the ISO being too high for most scenes although for scenes like the traditional dancing, I kept it at 3,200 so it can be seen more clearly and it was very good. Still, when it came to scenes with the ice, it was my intention to only show the ice well and not care about anything else.

The next time I used that hack was this Moday for behind the scenes shooting for the music video "Beautiful Comeback". It was the 1080 24p H mode and in this case my PNY class 10 had not one issue.

Please don't mind the changing of the lighting in the first scene. That window was being a pain!

I took a heck of a lot of footage on that day. The music video was shot entirely on the 5D Mark II by another shooter. I'm not sure when he'll finish editing the music video but when it's done, I'm going to mix some of my GH2's behind the scenes footage with some of the music video's footage for a behind the scenes video and it'll go on that kids YouTube channel. What I might also do is put it on my Vimeo account with a high bit rate so that people can see the quality if they download it. I'm still planning on how it'll look but at least I have some time to think since the music video needs to be out first. I do have good ideas so far.

That video I'm showing is just a couple of clips that we decided should be online right away.

@driftwood "The next version will have 50i & 50p primed"

Cool - I am looking very forward to test the next version!

*** NEW *** Quantum v7 (this is v6 updated - don't bother wiith v6) Tuned buffers 70% of bitrate all round. Plus, 1080pL setting is slightly down on bitrate/buffer ratio - test for spanning please. 720p now on AQ2 for balance. Everything else virtualy the same. This patch looks great in real world preliminary tests. Use the L setting for 80% mode. Tested on Voigtander 0.95 manual lens. I kinda' like the look of this updated v6 patch with GOP3 1080i60 and GOP15 720p60. The next version will have 50i & 50p primed.

@Mozes When posting on Vimeo, there are often 2 concerns.

1: How can I avoid degrading image quality so that the additional compression Vimeo applies for streaming does not result in obvious recompression artifacts?

2: How can I provide a file for people to download that is as close to identical to my master as possible?

While Cineform's benefits may be less noticeable for the first (I'm often happy with a 20 mbps DivX or MP4 etc.) the advantages for the second are more pronounced, especially if the file is meant to compare different settings. There is also something to be said for using a codec/bitrate combo that has "some breathing room" as opposed to one that is "just barely making it" so that you don't have to spend effort checking for compression artifacts.

10 years ago, with audio, I used to have to carefully check MP3s I encoded to see whether careful sound design held up. Now, I can usually send lossless files or post a lossy 256 or 320 kbps AAC file that still has yet to do horrible things to my mix.

But back to the MP3s: for a lot of more up-front mixes, it sounded okay. But I had one track in particular where it eliminated an important, rather subtle synth sound entirely. Hours of sound design would have been lost completely if I had not checked.

@mozes When you install the software, it installs the codec (which you can use in your normal editing software and has been solid in my experience) as well as the Cineform Studio application (which I've found too buggy to use on my own system). The latter may not support MTS but the former works just like any other codec you use in your application

@paulo_teixeira You exported an MP4 file to Vimeo, which is fine. But if you are really worried about people being able to get the quality of the original, there are other export options you can send to Vimeo (like a Cineform file) for them to download that would give better quality at the same file size. That's all I meant. :)

@Paulo_Teixeira Next time you might want to just use the Cineform codec (since they now give a version of it away for free, that I initially paid over $100 for last year).
http://gopro.com/3d-cineform-studio-software-download/

Once you get above 40mbps, MP4 doesn't make the most sense. You could use the "low" setting for Cineform for this sort of export and then use anything from "higher" to "filmscan 2" settings for your digital intermediates. :)

New theory fellas. 'Bottom' bitrate setting controls buffer and 'Top' bitrate setting controls declared bitrate, overriding the compression bitrate which is still needed for timing issues.
Try this, Quantum v6, its not a final still, but it incorporates the findings.

Just want to give you guys an update about Sanity - 1080 50i works fine, but not at 44M. You need to lower the bitrate somewhat. I set FH/H to 32M for this purpose. But with further testing I found I could set FH/H to 38M, and 1080 50i records fine. Keep FSH/SH at 44M and you've got all the bases covered for 50/60 p & i recording.

Thanks, I appreciate the info.