Michael Slowe
Forum Replies Created
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I think that you are making it all too complicated. It does depend though whether you are wanting to archive all your camera original footage or, as in my case, merely store it safely pending ingesting into the edit suite. I have two separate drives, one portable USB powered for location downloading and another, bigger one, for additional back up on return from location. I download the BPAV folders from the camera through my MacBook on to these drives. I make sure all the clips are present before deleting the card in camera.
I do have a raided larger G Safe drive to which I archive the finished production. Like I said, I don’t need to keep the camera originals.
Michael Slowe
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Noah, how do you show people your stuff if not by DVD or BD? Pros may welcome a file but anyone else needs a disc surely?
Michael Slowe
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Olof, sorry to hear this. Is it just a speed improvement or other things as well? I take in XDCAM media quite easily through Sony Transfer at the same time as selecting exactly what I require from each clip. It is true that there is a slight delay whilst each import renders to the selected ProRes codec but it is brief and are we in such a rush? Support for native files would save this delay I suppose but there’s no way I would switch from Media 100 just on this issue.
Michael Slowe
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Noah, I agree that the initial down conversion is key but how are you doing it? I let BitVice do that as well as the encode which you say is not good. I get first class results on my DVD’s with this method. I edit in Media 100 and their downscale is not the best. I’m cutting in ProRes 422 HQ and the original is shot on Sony EX XDCAM 1920 X 1080i.
Michael Slowe
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Why don’t you take the footage (as ProRes HQ) direct into Media 100. I select the sections of clips in Sony Transfer that I want, set my Media 100 Project as ProRes and there’s no problem.
Michael Slowe
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Sorry I asked!
Michael Slowe
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Why, what do you want?
Michael Slowe
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I have such strong opinions on this. I find that of all the encoders (other than the really expensive commercial ones) BitVice is marvelous. I get very little degradation with the new version and it also does a great downscale if your production was shot and edited in HD. You can choose your bit rates, an average one for a two pass encode, and it’s very user friendly.
Michael Slowe
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Gary, I tend only to use Red for titles. I do all my grading within Media 100, RGB Levels mostly. My question related to that app. but how do you access color changes within Red?
Michael Slowe
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Right Jim, you’re nearly there. It’s not in any of the menus. You have to go to the Picture Profile menu, accessed on the EX 1 by the PP button on the back, just below the on/off switch. In the settings for a PP you will find ‘White’, press that then go to the bottom of that list to ‘Preset’ and you can set your Kelvin figure by pushing the toggle switch left and right. That’s with my EX 1, the ‘R’ maybe different, Don will tell us if it is.
Michael Slowe