Michael Slowe
Forum Replies Created
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Matt, I have from time to time had similar problems (version 12.1.1) but not quite as pronounced. I find that the longer the timeline the more likely that troubles arise, especially if the programme has been worked for a long time with many revisions. Transitions do often disappear but they are easily reinstated since clips and arrows remain in situ. I did find however that on a recent downscale from HD to Motion JPEG, on re rendering, that whole clips vanished! I found in the end that the project had become ‘corrupt’ and after copying everything over to a new one all was well. Why is it that we get all the problems and Floh never does? Could it be that he is cleverer than us?
Michael Slowe
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Don, when I encode with BitVice I do this.
Export from my Media 100 HD (1920 X 1080i) timeline By reference and a .Mov file appears on my chosen drive. I bring that into BitVice and after daling with the questions regarding the AIFF audio file I am asked whether I want to scale the image. I agree and the main BitVice encoder window opens and I then set the various items, interlace, upper field, 16:9 aspect, bit rates etc etc. I am given a choice of scalers and then hit encode. The double pass encode (& presumably downscale) takes about 5X the length of the production. Then I have my m2v video file and quit BitVice. I then use Compressor to transform the AIFF audio to AC3 Dolby and then open Studio Pro to build and format combining the audio & video and finally burn the DVD with Titanium Toast.It’s quite a job but the result is pretty good but being MPEG2 not as good as tape. Now I don’t know the DVCPRO codec you are using so can’t reproduce the problem you had. Why don’t you E Mail the people at Innobits at http://www.innbits.se.html and ask them, I have found them to be very helpful, they’re in Sweden.
Michael Slowe
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Thanks from me also Don. Actually I have BitVice 1.8 and I export an HD timeline from Media 100 as a .Mov and BitVice does the downscale as well as the encode, are you sure yours won’t? Thanks for Cinema Craft, I’ll check it out.
Michael Slowe
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Great Craig, no worries then but I thought that Sony wanted the S X S to become an industry standard. Are the SDHC virtually the same thing and only the overcranking feature the difference?
By the way, I agree the EX1 screen is good but only when you can see it! In bright daylight (never mind sun) precise focus is tricky and impossible without a very deep hood indeed. There is an ingenious “Hood – Pro’ device with a glass in the top which, whilst not quite EX3, helps a good deal.
Michael Slowe
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Good summary Craig. It really does look right now, that with the Sony EX system now installed with the readers of this forum, we are in the vanguard of the developments in tapeless production. The JVC has smaller chips than the EX1 so we are not being upstaged. One advantage that I envisaged with the appearance of JVC was cheaper S X S cards. Are they using the identical ones to us or not? Personally I am now going to download the camera files to a small portable drive as I go so really have no need for more than 32 gigs (approx 2 hours) but this may not be enough for some units.
Anyone who has seen the JVC, does it have a proper viewfinder, something like the EX3? I still find that this is the one area where the EX1 falls down seriously.
Michael Slowe
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Ronnie I have a Kata case for my EX1 and it is the 193. I first had it for the Z1 camera and the EX1 just fits, together with charger, mics etc but it is tight. The EX3 is a slightly fatter camera around the rear (aren’t we all) so might not fit. The numbers that you mention are probably bigger but if so they may not qualify for airline cabin carry on. Mine just manages. Rules differ airport to airport and it is a real pain. The cases are good, well made and pretty flexible.
Michael Slowe
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Don’t know the scaler suggested by Perrone but I find that BitVice does a very good downscale whilst encoding the MPEG 2 file. No jagged edges but panning down a rock face or shrubbery does produce some noise – this seems unavoidable with the MPEG 2 codec.
Michael Slowe
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Don, sorry to interrupt what is fast becoming your own Q & A thread, but I too use BitVice (the best?) for encoding SD DVD’s and ask you whether you let BitVice do your downscale HD to SD or do this within your edit software prior to going to BitVice for encoding. Increasingly I find that people’s preference is for DVD’s and it is irritating that the MPEG 2 problems tend to negate the great picture quality we get with the EX1 so the encodes and downscales are vital if we are to retain quality. I don’t understand Bob’s problems regarding aspect ratio. Surely, if he is shooting in 16:9 with the EX (he has to), all the software he is using will retain that aspect throughout? Certainly BitVice does.
Michael Slowe
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I know that people are using Blu-Ray discs for archiving media files but Doug Jensen in the Vortex Media EX1 Workshop double DVD explains that he uses regular DVD discs and stand alone hard drives. I am about to go the external drive route with a Drobo drive which can be set up with data protection to avoid the problem that you mention. After all we have to put our camera files somewhere pending editing as the expensive SxS cards have to be used again pretty quickly.
Michael Slowe
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Steve, you’ve got to be kidding. Here in the UK our airports are run by a terrible outfit called British Airports Authority (no connection to the airline) and they only allow 1 bag as carry on. That makes it very difficult to take a camera on board and as for ‘media privileges’ the goons at the security check would laugh out loud. By the way I fit my EX1 into a Kata cc-193 which I used for my Z1 previously and although it’s tight everything gets in and it will fit into the overhead locker.
Michael Slowe