Aaron Stewart
Forum Replies Created
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I believe this could be done in Automator using a File Rename process of some kind. I would look up Automator workflows… wait, are you on a Mac? If so > Automator. If not, I would look for batch file renamers out there. That would probably be the best way to go about it.
Aaron R. Stewart
arstewart@gmail.com -
Have you compared the original H.264 with the ProRes file and they ARE darker? Or is it a perception change between the LCD screen on the back of the camera (not accurate) or maybe even your computer monitor displays it darker….
Aaron R. Stewart
arstewart@gmail.com -
Do you have it on Auto White balance? That could be the source of your brightness issues. As the sun sets it changes the white balance so the brightness also gets shifted slightly.
Aaron R. Stewart
arstewart@gmail.com -
Where are you located? If you are in the US, you are only going to get more headaches with 25 fps. Outdoors is fine, but once you get indoors you’ll get light flicker off of anything thats based in the 60hz system. And constant flickering on web videos isn’t pretty… 🙂
Plus not all external monitors will use PAL, so if you ever do go to BluRay/DVD thats going to cause problems, you’ll have to convert using software (Hardware conversions are expensive), and conversion by software usually takes forever and you end up with a softer image.
Aaron R. Stewart
arstewart@gmail.com -
I would say the camera drop would be the most likely candidate here. I’ve been using the LCDVF with no issues for quite some time.
Might want to get the camera checked out. Are you able to recreate the I/O errors with other cards you stick in the camera and shoot test shots with?
As for the media on the cards…. they might be toast. You could try a file recovery program, and point to the disc to see if it is corrupt. Could also be the card reader (probably not, but try a different reader, just in case)… if you are able to recover the media, I would check the cards for cosmetic damage, reformat using a computer, then reformat in a different camera. Shoot tests, bring those in, see if they are corrupted. Then try on the original camera.
Aaron R. Stewart
arstewart@gmail.com -
I’ve heard people having some limited success with these, but in general, from what I’ve read, they’ve proven to be unreliable from people (for video), mainly because of the buffer time. I wish they would work… I’d love to not have to plug in an external card reader to my Macbook Pro!
For stills, it should be fine
Aaron R. Stewart
arstewart@gmail.com -
I would say this should be fast enough. Just make sure you’ve got enough HDD space, and you are backing up that HDD so if it fails you’ve got a backup. Might be worth the speed trouble to make sure you have a Firewire 800 card installed in the PC, as well as a Lexar Professional CF Card reader. Those things are a life saver…. 2-3 minutes to dump a full CF card instead of many more minutes for USB 2.0. Plus you could edit off of faster external drives… just something to think about.
Aaron R. Stewart
arstewart@gmail.com -
You can’t route based on Media/Disc/Tape…. it only goes by Project. So Capture Scratch > Project Name. Thats how FCP organizes its files. You could keep changing your capture scratch between every separate Card, but that would be annoying. Of course, you could always just use Capture Scratch, then move the files, or create an Automator action that moves files based on their name to different locations. Set up a “Capture Project” and have that go in a “Capture Scratch” folder, and then have the Automator monitor the folder, and add annotations to where to move the files after every production. But that is a bit more complicated, but it would be a way to make it easier than manually moving files.
Aaron R. Stewart
arstewart@gmail.com -
I have to disagree with you. This is not an OnLocation problem, as OnLocation can take signals from capture cards that support HDMI, HDSDI, etc. The only way on these cameras to connect externally is via HDMI, which Canon doesn’t allow the full HD output (or even what it is recording to H264). So it isn’t Adobe’s problem at all, its not like there is some new technology that they are behind on, its that there are industry standards in place that Canon won’t/can’t give the users access to. And I say can’t because I’m guessing that most likely the camera’s processers wouldn’t be able to handle an output like that straight into a system. Trust me, I would LOVE for them to prove me wrong and do it, I would be the one of the first to jump on board and use it with OnLocation.
Aaron R. Stewart
arstewart@gmail.com -
Just import the same ProRes files into AE. Render your output as ProRes from AE. Import into FCP. If your settings are all right, then after you render in AE it should be realtime in FCP.
Aaron R. Stewart
arstewart@gmail.com