[Bob Pierce]

Welcome to the wonderful world of HD. The bars you get from the EX cameras are very much like traditional SMPTE bars. The pluge lines are there as before, and the blue-only lines up colors the same way. Hope that helps.
Bob

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.2 – Quicktime 7.4.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.3) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

God bless you, Bob Zelin. You just made my day – I needed a good laugh!
Bob Pierce

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.2 – Quicktime 7.4.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.3) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

Michael,
Did you ever solve your problem? I’ve come across the same thing – blocky green pixelation in renders. I’m working with Kona 525 29.97 Prores 422 (with media captured with same codec). I find that if I change the sequence settings to DVCPRO 50 and rerender, things look OK. I’m rending clips with CC and Magic Bullet Looks applied.
Bob

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.2 – Quicktime 7.4.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.3) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

I suppose if you’re mastering out to tape, setting the rendering to prores makes sense. If your master is an exported QT file, maybe not so much (though I guess it doesn’t hurt). I was going to test to see if there’s any speed advantage to using prores. Thanks for your help!
Bob

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.2 – Quicktime 7.4.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.3) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

I wouldn’t bother with the ex1 for this (or any video camera). I’ve done some great time lapse stars with my little Nikon D50 with an intervalometer called a “P Clix”:

https://www.pclix.com/pages/pclix_main.html

I then use after effects to create the quicktime movie. If you don’t have AE, you can use Final Cut or even quicktime pro to convert the folder full of jpegs into a movie with the resolution of your choice – even Ultra High Def, if you want.

I shoot with the lens wide open (of course – usually f 2.8) at 1600 asa, 30 second exposure for an amazing sky full of stars. I live in New Hampshire with very little light pollution, which helps. A bright moon makes for nice lit up trees and such in the foreground.
Good luck!
Bob

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.2 – Quicktime 7.4.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.3) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

I’m with Lars. I’ve basically considered Final Cut a program that likes you to keep all the media (in its glory, as Jeremy says). Fortunately, storage is cheap these days. The few times I’ve experimented with Media Manager to consolidate projects it hasn’t gone well. Media Manager is nice to create a backup of your project, with all the far-flung jpegs and audio files, etc. neatly compiled onto a single drive in a single folder. For this, it works great.

Bob

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.2 – Quicktime 7.4.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.3) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

That’s change I can believe in!!

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.2 – Quicktime 7.4.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.3) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

But, is it actually creating new media for the clip or simply pointing to the same original media? I tested this out using both methods (duplicate as a new master clip and Make master clip), used “reveal in finder” and found that in every case, they were still pointing the the same media. Making sublips has no effect on this.

Forgive me if I’m missing something here. I’ve read the manual over and over and I still find this whole Master/affiliate thing puzzling and frustrating. I’ve never been able to come up with a way to do what Matthieu is trying to do, other than manually exporting out each clip and reimporting, which is nutty.

Bob

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.2 – Quicktime 7.4.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.3) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

I’ve been exporting my final master out as an HD quicktime file (using prores). I drop this file into compressor to create the ntsc mpeg and ac3 audio files, then author the disk in DVD Studio Pro. The results have been superlative. Perhaps Ken Stone is going to DV to have a SD master file that is as compatible as possible for posterity (I’m guessing). Not a great workflow for your final DVD though I would say.
Bob

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.2 – Quicktime 7.4.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.3) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

I think the confusion here is that the EX1 and EX3 are are “XDCAM EX”, which (in HQ mode) is full raster 1920×1080 at 35Mbit/s. I’ve found the EX cameras blow away anything I’ve been able to do with HDV (to be fair, my HDV experience is limited to the Z1).

Bob Pierce

Mac Pro 2.66 – 8GB memory – Mac OS 10.5.2 – Quicktime 7.4.5 –
Mac Book Pro 2.33 Duo –
FC Studio 2 (Final Cut 6.0.3) – Kona Lhe
Adobe Production Suite CS3 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1