Michael Slowe
Forum Replies Created
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Dave, if you have the latest Media 100, as you appear to have judging by your codec choice, you should certainly choose the ProRes 422 HQ codec. As you have a large project you will doubtless have a lot of media and some codecs are very good at filling your storage drives! ProRes, by some Apple miracle, manages to reduce file sizes without degrading the quality.
From your screen grab it looks like the material was shot in HDV (not HD) which earlier versions of Media 100 could not handle directly. I used to have to go through the Convergent Design converter box to get my HD. I now shoot with an EX 1 which Sony Transfer supplies to Media 100 and I can choose my import codec. However I believe Media 100 can now transcode HDV, others will confirm this please.
I shoot in Europe at 1920 X 1080i at 25 fps for PAL DVD’s (and BD”s). The encoding software BitVice does a wonderful downscale to SD for the DVD’s but obviously I also have an HD file for archive and further distribution material.
I hope that this is helpful but we all have different workflows, shoot in different formats, live in funny places that use NTSC and PAL and have different final product requirements. You are absolutely right in wanting to get your choices correct at the outset.
Michael Slowe
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I suppose even if Media 100 ceased as from today (heaven forbid), we could still carry on with the systems we operate now. Nothing to go wrong, there will always be AJA boards, the only worry for ALL editors, worldwide, is the possibility that Apple will be so keen on their consumer rubbish (i this and i that) that they will cease production of their Pro computers. Then where will we be?
Michael Slowe
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I’m puzzled by what you say because only yesterday I was on a shoot and filming a musician playing a cello and I could pull out very slowly indeed from a tight c/u. There was no stutter at all but I did have to be careful to apply the lightest of touches to the large zoom lever on the right side of the camera. Maybe the problem is not on all EX cameras, mine is an early EX 1, with firmware updated two weeks ago.
Michael Slowe
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Over here in Europe there is the much respected Floh Peters in Munich Germany and he would probably have some idea of numbers. In London, when I started using Media 100 around 1996, there used to be a users group meeting in a pub in Soho, I don’t know whether they still do but I doubt it.
I know two companies selling Media 100 in the UK so there must be users but they are rare. Terrible damage was done to the brand by Optibase during their ownership when many users went over to FCP, and of course that has been the considerable marketing support of Apple. As I’m constantly pointing out to anyone who listens, Media 100 for me is the perfect editing tool. It suits me perfectly with my limited computer skills (I used to edit film!), and does all I need for my documentary film making. It is far more user friendly than the over complicated FCP.
Boris has done wonders and all time lost has been made up, possibly too late to tempt back the deserters, but who knows?
Michael Slowe
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Don’t know Sandy as I let Toast do the whole job and it only stops when the disc has been burnt and verified.
Michael Slowe
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Segun, this is basic photographic principle which we learn at our mother’s knee.
It’s all about Depth of Field (DOF). The longer the focal length of a given lens the less DOF for the shot. Nowadays most people choose the focal length by zooming in and out but there are of course fixed focal length lenses (Primes). The issue is complicated by the additional factor of how wide open is the lens aperture (f setting). The wider the aperture (small f number) the less DOF. Therefore it follows that you will achieve the minimum DOF with your highest focal length lens setting at the widest aperture.
This is not always easy to do because if the light is bright you may not be able to set your aperture wide enough. That is why most cameras have built in Neutral Density filters (ND’s) to darken the image. Also, you may be too near your subject to allow use of the full zoom. These factors have to be juggled in order to obtain the best possible settings in the circumstances.
I hope I haven’t told you stuff that you already knew but shooting video is no different from shooting film, still or moving.
Michael Slowe
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No Don, we like Canadians, they’re our real cousins! Actually I was going to include your name with the other two as being experts with the EX cameras but couldn’t put my finger on it immediately. In fact Doug Jennsen is from your continent so not all the knowledge is concentrated in Europe.
Michael Slowe
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No, we’re not. The big guys haven’t intervened! Names like Alister Chapman and Philip Bloom are the ones to follow with these cameras, they both have sites I believe. Also, I repeat, Doug Jensen on the Vortex Media DVD, but some might regard that as rather simplified.
Michael Slowe
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Larry, I don’t have my system open at present (I only use that for editing, not E mails) but I’m pretty certain that you have the choice of HDV in the list of codecs when importing. I have the same set up as you, OS 10.6.7, we have to be very careful not to be seduced into going with the latest all singing all dancing OS.
Michael Slowe
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Segun,this is the most contentious issue that there is – there are more PP suggestions around than cameras. Take a look at the Vortex Media DVD where Doug Jensen covers PP’s very well and provides suggestions. I’m surprised that you find your pictures as you do because in the default settings, Sony have deliberately provided a fairly neutral flat picture to allow for colour grading in post. The suggestions in another post seem sensible, but you need PP’s. If you can’t view the video I mention, take a look at the site of Alister Chapman who is a Sony expert consultant, and who knows these cameras backwards. I think he suggests all manner of Picture Profiles which will probably confuse the hell out of you!
Don’t dispair, you can obtain any type of picture you require with the right settings and correct use of the camera.
Michael Slowe