[Alan Okey]

[David Roth Weiss] “No one other than you has even considered using a SSD in place of a RAID, much less compared the two side by side. “

You simply must see this:

https://www.zdnet.com/blog/hardware/24-ssd-raid-array-opens-all-microsoft-office-apps-in-05-sec/3809

24 SSD RAID array opens 53 installed apps in 18 seconds…

[Alan Okey]

In the past I’ve come across “ringing” like what you’re describing when working with DVCPRO HD footage containing really hot green screens (80-90 IRE), but I haven’t seen what you’re describing when using an EX1 on a 50-70 IRE green background.

What else can you tell us about the lighting setup? Are you using particularly strong rim lights? Break down the lighting setup for us.

[Alan Okey]

What’s your green background level, either in IRE units on a scope or in a percentage level on the camera’s histogram?

[Alan Okey]

[David Roth Weiss] “seamless workflows take all the fun and excitement out of post-production. Not to mention the fact that the volume of traffic here on the Cow totally depends upon people winging everything and leaving shooting and editing completely to chance.”

To be fair, it’s far too often that editors find themselves in the position of having to to decipher and clean up somebody else’s mess. As evidenced by many posts in this forum, it’s alarming how frequently editors are given incomplete or incorrect assets from file-based cameras due to the ignorance of the producer or videographer involved. For editors who have prior experience working with tapeless formats, this is an annoying and completely avoidable waste of time. For those who don’t, it can be an extremely confusing and frustrating experience. Producers and videographers share the burden of responsibility along with editors to research tools and proper workflows prior to beginning a project. Haphazardly dumping incomplete assets in the laps of editors and expecting everything to magically sort itself out is inexcusable.

[Alan Okey]

If only someone would have posted an exhaustive step-by-step tutorial on the Cow about workflow for tapeless formats…

Oh, the humanity!

[Alan Okey]

[Michael Sacci] “But the real question is what do you mean by “Pulsating?” Do you have a field order issue? “

I think I might know what he’s describing. I’ve seen this myself once or twice, and I’ve occasionally heard similar complaints from others. Occasionally, depending on the footage, Compressor’s MPEG-2 output can have regularly repeating, visible blocking artifacts on a single frame about every 15 frames or so (probably coinciding with the closed GOP structure). I think “pulsating” is how some people describe the regular pattern of blocking.

I’m not sure if this only occurs only in VBR encodes, but some things to try would be:

1. Use CBR encoding instead of VBR

2. Select open (vs. closed) GOP structure in the Encoder pane of the Inspector tab. If you’re encoding assets for multi-angle content, a closed GOP structure is necessary.

I don’t really run into this issue myself, as I use BitVice and not Compressor, but I have seen this before. I’m not sure what causes it, but it’s definitely real.

[Alan Okey]

[Bob Tompkins] “Is there a program I can use to easily convert XDCam files to another codec?”

Are you using Mac OS or Windows?

[Alan Okey]

Try contacting Russel Lasson, a Cow forum leader. He specializes in Digital Cinema. He posted an article a while back stating that QuVis, the creator of Wraptor, had gone bankrupt.

[Alan Okey]

If you’re a professional, saving small amounts of money by skimping on tools isn’t a good way to get ahead. The money you save building a hackintosh hardly seems worth it considering that you should be able to make up the price difference with a few paid jobs. If you can’t, then you need to examine your business model or adjust your rates.

Trying to save money on tools by cutting corners can be a slippery slope. Where do you draw the line? There are plenty of kids out there using cracked versions of software for which many pros paid hundreds or thousands of dollars. That doesn’t mean it’s a good idea, or a sound business strategy.

[Alan Okey]

[stephen hoyal] “Yea I shot 24 frames and edited the project in 24 frames.”

If you shot native 24p (24pN mode on the Panasonic HVX-200) and edited in a 24p sequence (23.98), there is no need to deinterlace. Your footage is progressive, not interlaced. Deinterlacing is only necessary when footage is shot and edited interlaced and is being produced for web delivery.