[Michael Slowe]

Marcus, I’m sorry but I don’t know what difference it makes if you have Producer rather than Suite but I don’t think that there is any relevance as to which editing software is being used. Sony Transfer is merely re wrapping the XDCAM files into QT.mov and then Media 100 will import them into the codec of your choice (provided it is supported and the list is long). As to my installation I’m afraid I have very little input on that front. I’m a film maker and definately not a computer expert and my kit supplier does the installing of software. I’m sure however that there was no problem, the Transfer app came on a disc with the camera (EX 1).

Michael Slowe

[Michael Slowe]

Don, not always lower field. I edit in Media 100 (interlaced media) and have been told to use upper field for DVD’s. This i’ve done for years encoding with BitVice and get super DVD’s.

Michael Slowe

[Michael Slowe]

What’s ‘unprofessional’ in having Verbatim in tiny, tiny print on the rim of the disc? They are simply one of the best brands available and it would be very professional to use them. What would indicate unprofessionalism is a lousy film. Content is all that matters and that is what we are all judged on.

Michael Slowe

[Michael Slowe]

Daniel, I’m surprised what you say about Toast’s BD encoding. I’m dragging to Toast 10 a ProRes HQ 422 QT .mov file (1920 X 1080i) and getting great BD’s. They look fantastic and even examined close up on a big screen there is no noise and a great picture. Are saying that a BD encoded in Encore would be even better?

Michael Slowe

[Michael Slowe]

Josh, all this is clearly explained in the ‘must watch’ DVD workshop by Doug Jensen of Vortex Media. Although I haven’t checked this I think you’re wrong that only one PP can be saved on a card. Any setting made on a given EX (including PP’s) is stored and automatically available when recalled on another EX.

Michael Slowe

[Michael Slowe]

Marcus, I have full access to the ProRes codecs and I’ve never had Final Cut anywhere near my system. I get it listed in the very long list of codecs that I can choose for importing XDCAM footage through the Sony Transfer software.

Michael Slowe

[Michael Slowe]

What a relief to be in such great company in not understanding the way Sony behave. Quite extraordinary,I don’t envy Ian having to explain to Japan what we are all bleating about. Agreed, their cameras are ace, I wouldn’t dream of using any other brand but the information provided with new codecs is pathetic.

A good start would be for Sony to provide, free of charge, a copy of Doug Jensen’s fantastic Vortex Media DVD, with EVERY camera sold. I’m sure they could come to a satisfactory arrangement with Vortex. I, in fact, did get a complimentary copy with my EX 1 from my seller and very welcome it was too – It saved weeks of experimentation and trouble.

We obviously can expect problems now with Transfer, it is so nice and simple to use and links so well with my edit suite, Media 100. Why can’t things be left alone? It’s not always progress you know.

Michael Slowe

[Michael Slowe]

It’s certainly not Media 100 that’s your problem. I get stunning DVD’s from a ProRes HQ HD timeline in Media 100. I export in the same codec to a QT .mov then use BitVice for the downscale and encode. Then format in Studio Pro and burn in Toast. BitVice new versions are fantastic and the downscaling very good indeed. My Blu-Ray discs are of course even better, this time Toast 10 does it all (provided you have the BD plug in). It’s just a question of using the right workflow, experimenting and learning. Nothing wrong with Media 100 I can assure you – quite simply the best in my humble opinion.

Michael Slowe

[Michael Slowe]

There was a post some while ago on this and I’ve put it here.
I too enter stuff into American festivals but only choose the ones that accept PAL submission DVD’s. Can’t be bothered with NTSC .https://forums.creativecow.net/readpost/4/865336

Michael Slowe

[Michael Slowe]

Craig, I know this is now an ‘old thread’ but I hope you see this.

I too have a ‘mastering’ problem now I’m producing in HD. I’m editing in ProRes HQ 422 and making BD’s from that. Many festivals request submission copies in either BD or DVD (I make those in BitVice, brilliant downscale) but for exhibition they generally want HD tape as Erick has related. Should we keep our files of a finished production in ProRes as a QT .mov file? All post houses here in London will take an HDCAM tape from that (at considerable cost!) but I was thinking of the subsequent archiving.

Michael Slowe