Michael Slowe
Forum Replies Created
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Although this may not be appropriate in this thread I used the Convergent Design box to convert my HDV footage to HD en route to importing into Media 100 for editing. As I now shoot in HD I don’t need this box and would be willing to sell it for a vastly reduced sum from the original cost of £1,200 (approx $1,500). If anyone is interested I could post my E Mail address.
Michael Slowe
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William, as I’m sure the others will tell you, the image quality shouldn’t differ at all, as your test indicates. The difference would be with regard to security. The reliability of the Pro S X S Sony cards is absolutely first rate. There have been horror stories concerning the use of some other cards, although I’m not clear which ones because I use only the Sony ones. My reasoning is that we spend a lot of time and trouble shooting decent pictures, not mentioning the kit itself, so why compromise on the media?
Others will support the use of cards other than the S X S and, it is true, there is quite a cost saving. As they say in England “You pays yer money and takes your choice”.
Michael Slowe
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William,you are getting the files from the camera on to your computer direct aren’t you? I mean, using the supplied lead with the EX you go into a USB input, agree the connection when asked by the camera, and see the cards? Is this not sufficient for you or do you really have to read the cards without using the camera? It doesn’t take long to download the cards thus freeing up the camera for more work, I often do this on location into a MacBook as an interim measure before putting them on other drives back at base.
Michael Slowe
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Jeremy, my initial response to your mail was, I now realise, rather petulant. It’s true, I am likely to be the “last dinosaur standing”, as Nick puts it. It’s just that I so like editing on Media 100 and am so comfortable with it that moving to another seems so daunting, rather like a divorce after many years of marriage.
I’m truly amazed that no one from Boris (Media 100) has posted any comment at all on this thread. Here we all are, Media 100 users of many years standing, loyally sticking with it, and raising reasonable questions. There used to be a guy, forgotten his name, who would jump in and answer pressing questions. We have the worthy Floh doing great work on the technical side from Germany, but he can’t be expected to speak for the company on policy matters. How about it Boris Y, let’s hear from you!
Michael Slowe
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No Marcus, I don’t have a 1948 Buick, although, funnily enough my son in law has just bought one and had it adapted for a classic car rally over the Andes! I often up date cars and am currently delighting in an S3 Audi.
Of course, I also welcomed all the meaningful Media 100 updates that enable me to import and edit XDCAM footage in a huge variety of codecs, with multiple video and audio tracks etc etc. My point was that people tend to over state the need for constant improvements. I make documentary films and can do all that is necessary within Media 100 for these films to be very successful. As Michael Hanish asks in his supportive post, what exactly do you want and need right now?
There is always rival software to everything , some better, some worse. I, for one, would be very sad to lose Media 100 but I’m an old man and it will probably see me out. The whiz kids, cutting all sorts of fancy multi layered commercials will no doubt find applications with which they will dazzle and amaze us.
Michael Slowe
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What difference does it make to your workflow even if what you say is correct? Why are people so fixated on updates and upgrades? OK, being able to edit HD codecs was a considerable upgrade but unless you need 6K editing what do you require?
Obviously as Media 100 is my sole edit system I would hope it continues to be supported but I will still continue using it.
Michael Slowe
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Is this a good reason to always have in place a filter of some kind, say a UV, in order to prevent just such an occurrence? I always do and have done for forty years. Some people have told me that I’m risking degrading my picture in doing this but I always get good comments on my picture quality so it doesn’t seem to have suffered.
Michael Slowe
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Brian, I’m actually not a professional in the sense that I earn my living from film making, as you appear to do. I’m not “looking down my nose at you” and nor are other members of The Cow. There are no “exalted positions”, we are all struggling to produce our best. An external monitor allied to an edit system is standard practice with everyone I know who edits their material, both commercial and non commercial. Most of what they shoot, (and all of what I shoot) ends up by being viewed on a TV screen, either plasma or LCD. I’ve rarely seen a computer screen that matches one of these big TV’s. If yours does then you’re lucky. I would have thought that your customers, having paid a decent amount for their DVD’s, would want to view the wedding on a decent size TV screen rather than on their computer. Certainly the parents and grandparents would.
I still can’t see what your problem is with shooting your wedding videos. If your EX is set up correctly you’ll get decent pictures with accurate colour. As I’ve already written, you can set colour temperature figures within the Picture Profile menu.
Michael Slowe
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Brian, I’ve read through the thread and I do see the point that you are trying to make and your question. However, others have attempted to explain that there is no connection between what your computer screen shows and what your EX camera screen shows. The camera is presumably showing a correct interpretation of your camera settings. That is exposure, focus and white balance. The screen has been calibrated by Sony in the fist instance so you should try reverting to all default factory settings to test this. As to white balance, I often set my own Kelvin setting (through the PP menu) if I think that the screen is showing too cold or too warm a picture for my taste. I’ve never had a nasty surprise when viewing footage ON A PROFESSIONAL EXTERNAL MONITOR in my edit suite.
I would never rely on my computer screen for an accurate picture, OK for editing maybe but not reliable colour wise. I’m puzzled why you think that you can rely on yours.
Michael Slowe
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The way most film makers copy DVD’s is to use the software Titanium Toast. Open the application, put the DVD in the computer drawer and click on copy. You are asked to close the drawer and the file is extracted. Then you are asked for a blank disc, put it in and it is burnt. Never had one fail yet.
Michael Slowe