#Avchd collection file pro
#Avchd collection file software
#Avchd collection file professional

In that case, we'll pardon you for expressing it as 23.98. In the case of 23.976, you should go to three decimals unless you truly don't have enough space.

#Avchd collection file software

29.97, 59.94) to avoid confusion with the integer framerates that exist as an option in software (and in some other cameras). Onscreen menus that refer to non-integer framerates should display at least two decimals (i.e.

In Beyond AVCHD mode, allow us to choose our H.264 bit rate freely regardless of the framerate, and give us the option to make it extremely high or extremely low at our discretion, not just the handcuffed bit rates associated with AVCHD 2.0. Just give us a menu option to go Beyond AVCHD! So it's okay if your cameras ship from the factory shackled to the established, limited AVCHD (or limited AVCHD 2.0) and the archaic FAT32. It is clear that you have a mysterious commitment to the established AVCHD (and AVCHD 2.0, which doesn't address the issues raised here) and to archaic FAT32 formatting. Don't punish your cameras because some older monitors are limited. It's okay if some of your own monitors don't accept true progressive at certain framerates. It's okay if you ask us three times if we are sure. We know that you are concerned about monitor compatibility. HDMI outputs on cameras should offer the option of true progressive framerates, without pulldown. All progressive recordings in Beyond AVCHD mode should be made exclusively as pure progressive, since in today's file-based workflows, PsF only serves to trigger unnecessary de-interlacing when the next software program mis-recognizes material as interlaced.

#Avchd collection file professional

Professional video producers have no need for PsF on our file-based recordings. Given point 2 (above), these files should be able to exist as single files beyond 4GB when required, without any need for sequentially numbered files. mov, with embedded metadata and without a maze of hierarchical folders. When video files are encoded in H.264, they are best when they include extensions like. Examples of such modern formatting that can permit such files include exFAT, HFS+, and UDF.Īdditionally, professional video producers are also better served with a simple file/folder structure for video files, and enjoy absolutely no benefit from the labyrinthic and tortuous AVCHD file structure. Professional video producers are therefore better served by a modern formatting system which allows for single files larger than 4GB. Professional video producers nearly always edit our videos, and often need to review, copy to external media, upload to a web server, or delete individual shots, all from a computer's Finder/Desktop. The rest of this article will still be here when you finish reading it 🙂 If you haven’t read it, here’s the link again. Since many of our readers probably read the 2011 Open Letter, I won’t repeat it all here.

#Avchd collection file pro

The letter is divided into the following sections: the introductory paragraph, What I understand from the consumer camera divisions about why they invented the AVCHD format (one paragraph), What I understand (and what I like) about the pro video cameras in the AVCHD price range (one paragraph), and What I don’t get -and really disturbs me- from this pro video camera segment (three numbered points), and Suggestions to the professional AVCHD camera manufacturers (seven numbered points). The original 2011 Open Letter was actually part 6 of my PsF’s missing workflow series.

Here is a link to the complete 2011 Open Letter, which was directed to professional AVCHD camera manufacturers, which at that time were Canon, Panasonic, and Sony. Now I am going to get more specific in the form of the Beyond AVCHD Manifesto, and make reference to the first two pro cameras to approach it seriously. In that Open Letter, I clarified what I liked about the then current offering of pro AVCHD cameras pointed out details I found inappropriate especially for pro users and made requests. Back in November 2011, I published an Open Letter to professional AVCHD camera manufacturers.