[Bob Cole]

[Bob Tompkins] ” It can be difficult to download with Safari but works flawlessly when installed with Firefox.”

Thanks – I should have thought of that. I will try Firefox.

What versions of Clip Browser and XDCAM Transfer do you use? I noticed in your earlier post that you don’t like the continual upgrade process, and I agree – the accounting software I use on my PC to run the business is about ten years old, and works better than the “upgrade.”

Thanks again. Glad you have a solution that works!

Bob C

[Bob Cole]

[Michael Slowe] “at the very front I put BPAV as I understood that this was essential in order for the Transfer software to recognise the files. I’m surprised that you manage without doing this. You don’t try selecting items from the file do you?”

Not necessary to put BPAV in the filename of the enclosing folder, for Log & Transfer to recognize the files.

When in Finder, I do not delve into the BPAV files; inside Log & Transfer, of course, you can select individual clips or even portions of clips.

[Bob Cole]

[Michael Slowe] ” I presume you are naming the folders that you open as BPAV before you drag the media (BPAV) files from the cards otherwise we are told dire consequences will follow.”

Not certain what you mean here. I’m creating a new folder, with a name which describes the shoot (client/project/date)and which card I’m using. I then copy (drag and drop) everything from the SxS card into that folder. That means I drag the BPAV folder (and of course all of its contents) into the new folder I just created.

I do try not to erase the SxS card before I’ve tested the files in the laptop. With three cards (two 32gb and one 16gb), I usually have enough storage for a one or two-day shoot — but I know I’m going to have a day which breaks that limit.

[Bob Cole]

Rick, some years ago, before we had access to sophisticated color correction in post, and had to do everything in the camera, I used a different technique for a show where we had to add warmth to faces (it was a promotional video for nursing homes). We white balanced “straight,” but then shot most of the video (wherever there were people) through a coral filter. Since then, I’ve gone the fake-the-white-balance with 1/4 blue route, along with FCP’s color tools. But I wonder whether adding a coral filter would give a different effect.

I’ve been struck, going through my old, now barely-used, case of filters, how far I have gone from using lens filters to create the “look” during the shoot, due to the incredible array of choices (and the ability to “undo”) that we have in post now. The reason it is an issue for me is that I want to use a matte box, a polarizer, and “grads” more, and that means most of my filters are the wrong size, and I have to decide: Replace or forget about it? I don’t think I’ll be getting new fog filters, though I did find a funny old chromatic aberration filter that I am trying to sneak into every shoot now….

Bob C

[Bob Cole]

Thanks Ian.

I’ve been searching this forum, and have come to realize that my workflow should be improved. But my efforts to use XDCAM EX Clip Browser have been unsuccessful.

Here is what I have been doing, without XDCAM EX Clip Broswer, and with no adverse results:
1. create folder on MBP system drive, named for the project and the card e.g. “ProjectName-CardName”
2. insert SxS card into ExpressCard slot
3. copy entire BPAV folder from SxS card into the folder on the MBP system drive
4. connect firewire drive to MBP
5. copy the “ProjectName-CardName” folder onto the firewire drive
6. open Final Cut Pro, use Log & Transfer to look at footage and transfer selects to FCP.

No error-checking! And so far, no problems. But I want to do this right, so I tried today to use XDCAM EX Clip Browser. It has been a miserable experience from start to — I would say “finish”, but I haven’t gotten far enough to finish. At some point several months ago, I must have succeeded in downloading something, because I have it on my laptop, but today noticed that it is version 2.00.01, not 2.6. I wanted to get the current version, but I can’t seem to find a download site that works; the download pages’ buttons have question marks, one download page requires signing in but rejects my passwords (which have NO unusual characters) because it says it has unusual characters.

I haven’t been any happier trying to use it than I was downloading it. Compared to the Log & Transfer workflow, which seems perfectly smooth and straightforward, this software is a puzzle inside an enigma. No, I haven’t read the manual. Can’t find it!

I would rather just avoid this software, but if someone can recommend a place where I can download the current version, I would appreciate it. The site which I’m using is the top-ranked one in a Google search, so it should work.

But can I get away with using ShotPut?

Bob C

[Bob Cole]

Does the R3D software handle other file formats?

One interesting point in the R3D webpage: “Make sure that the data from your RED MEDIA is truly unique, and if not, make it unique!”

I’ve already run into this. When I was editing footage from several different GoPro cameras, each of which generated the same filenames, I discovered that one camera’s footage had been overwritten by another’s, because both cameras had the same filename structure. (Thankfully, the SD cards weren’t overwritten before I discovered the error!)

Which of these titles, if any, handles this issue for footage from a variety of sources? (I use AVCHD, MP4, XDCAM, etc.)

Thanks again. Very interesting. This will give me a lot more confidence going forward. (always a dangerous thing…)

Bob C.

[Bob Cole]

Do you think so really, given the way it is wired? But your theory is very intriguing, Richard. I don’t think that was what was on the label from Radio Shack, though. Now that I read your post, I have a very dim memory that it was something to do with a cassette recorder.

[Bob Cole]

Closely related to the “undo” edit, where you agree that the sequence isn’t quite right, make three random changes, hit the undo button three times, and suddenly, it’s perfect.

Not that I would ever do that.

[Bob Cole]

[Jason Brooks] ” If you open the connector for the Sennheiser, simply resoldering the + connection to the other pin will give you line level in.”

Thanks for the response. Is this true of the G2 and G3 receivers, specifically?

My goal is to get all my mics to be line in. I had hoped to use the G2 and G3 receiver’s AF Out adjustment to achieve this, but +12dB is not enough.

Thanks again.

Bob C

[Bob Cole]

[john sharaf] “As far as using pure blocks of white (like a white backing or cyc) it’s more common to put that value at 80ire. A window about the same. You want to be careful about making too large a portion of the frame a 100% video as it can distort the transmission and/or audio.”

That reminds me of a shoot against a roll of white paper. I brought a waveform monitor to the shoot because I was so concerned about distortion. The producer kept saying “Whiter!” She was looking at the picture monitor, I was looking at the waveform monitor. I was thinking “Maybe this should’ve been shot greenscreen so we could make it white — safely — in post.”