XDCAM EX codec business

[Dave Fleming]

Thanks for the response, Craig. Yeah, they did selects for the Quicktimes they sent and delivered the files on DVD. My other option is to call in a favor to a producer running a current version of FCP and see if he can re-wrap the files into something I can use on the Avid.

I’m just really flabbergasted at how much Sony changed the rules with the XDCAM EX format. But, that being said, my options are clear at this point and there’s no sense whining about it. Thanks to everyone for helping to educate me about this.

[Craig Seeman]

[Dave Fleming] “Yeah, they did selects for the Quicktimes they sent and delivered the files on DVD.”

OK then all they need to do is use FCP File/Export/Sony XDCAM and deliver those in MP4 form instead of MOV. It would be a rewrap rather than encode. They could create new BPAV with that or you could with ClipBrowser and/or export them as MXF in the very same ClipBrowser. That’s why if they knew the workflow possibilities and asked would you needed it would be simple.

[Dave Fleming] ” My other option is to call in a favor to a producer running a current version of FCP and see if he can re-wrap the files into something I can use on the Avid. “

Yes, anyone with FCP and EX codec could also use that FCP Export function. This shouldn’t be your burden though. They should be providing this as part of doing selects. It’s really just a simple step in FCP.

[Dave Fleming] “I’m just really flabbergasted at how much Sony changed the rules with the XDCAM EX format.”

Don’t blame Sony. The “whole media world” is moving into a file/IT workflow. Panasonic P2 and Red also. Throw in AVCHD for that matter. I actually think it’ll be easier than tape issues. Speak to anyone who got an HDV tape from one camera and didn’t have the right deck to play it back . . . and I have 2″, 1″ and D2 tapes I can’t play either. Even in the worse case scenario, buying CalibratedQ is less expensive than renting or buying a deck or hunting down a dub house. If there’s an issue it’s that there’s now a zillion ways to get from point A to point B and one often has to figure out the workflow in advance.

The good thing is in most cases all the pieces are there and the solutions tend to be inexpensive. The hard part is that all the pieces do make for a project managerial jigsaw puzzle which can throw some people for a loop as they learn all this.

I’d say you should explain to them about the FCP File/Export/Sony XDCAM. If they don’t know about that you’d be preforming a free consultant service to them. If they’re handing their clients MOV files as camera masters they will lose all their non FCP clients in short order (deservedly so IMHO).

Your alternative is find someone with FCP 6.0.2 and up who understands this workflow or download the trial of CalibratedQ. In the meantime find another facility to work with if they can’t accommodate you because they don’t know how to use the tools already available to them.

[Don Greening]

The moral of this story: The EX camera operator has to be in direct contact with the editor to find out what codec the EX files need to be converted to so the editor can do his or her job. If the camera person chooses to shoot with an EX (and justifiably so) then it’s their responsibility to follow the chain all the way to the editor’s desk and make sure it’s as painless as possible for that person. It’s just good business practice.

Case in point: We were recently contacted by a large corporation (not from here) to shoot an interview. This interview will be just one of many for their project and the other interviews will be conducted by other camera operators in different cities all over North America. Initially they didn’t want the interview done in HD but I pointed out the various reasons why it should be in HD. When I mentioned to the co-ordinator that we would be shooting with our EX I wasn’t surprised at all when I got the usual silence from the other end because most people aren’t familiar with the camera and the new workflow. Yet.

To make a long story not quite so long we got the editor involved in the conversation right afterwards and confirmed what editing platform and NLE they had so I could provide the clips in a format they can use. After asking more questions about the actual shooting style, framing, lighting, 1080 30p, 1080 60i, etc. the parent company has now decided to schedule a conference call early next week which will include all the camera operators. To provide the best product for the client, continuity is king and also makes the editor’s life a whole lot easier.

It also shows the client that you care and that makes the best business sense of all.

– Don

[Clint Fleckenstein]

I agree with Don. Isn’t it amazing that, wherever you go in this communications business, that we have to struggle so hard to maintain communication? 🙂

One question I had as far as busting up a clip. I don’t see a way to make a new clip (file) from a subclip using Clip Browser. But if I throw a Quicktime-wrapped file into FCP, select the portion I want to isolate, and Export XDCAM, it’ll make new clips for me?

Happy New Year,
Cf

[Craig Seeman]

[Clint Fleckenstein] “One question I had as far as busting up a clip. I don’t see a way to make a new clip (file) from a subclip using Clip Browser.”

File/New Clip using In/Out section
So Mark an In and Out in the Preview window and use the above menu option.

BTW you can split clips in the EX camera too in Media mode. It’s a bit tricky though since marking the split point can require “expanding” the clip to get something close to an accurate split point.