[Chris Wiggles]

I don’t know if that is possible, but you can send the file directly to compressor, skipping the render out to quicktime step.

I have never had luck doing this on my machine, and I like an archived version of the finished project before compression so I’ve never bothered to do it that way, but you should give it a whirl.

Regards,
Chris

[Chris Wiggles]

For the blurry dreamy effect, I’d think you’d want to take this into Color, that would make control over the look much easier, and you could create that foggy kind of look pretty simply.

You could try messing around with something like this if you’re lazy:
https://www.coloruser.net/grades/28-old-soviet-film-svema-bandw

And there is also some kind of ‘dream’ look already in the Color defaults, and if you just desaturated the footage in the primary room and played around with the settings a little bit and curves if you want to get a little fancy, I think this would take you no time at all.

Regards,
Chris

[Chris Wiggles]

Log and Transfer is transcoding whatever the record format, which in the case of a DSLR should be h.264, into an edit format which you chose in the settings, such as ProRes, etc. These files will be very much larger than the camera files.

So yes, it will take up a whole lot of space, depending on the resolution of what you’re shooting, and the format you’ve chosen.

There is no reason to copy the camera files onto the same drive you’re going to log&transfer to anyway. The point to copying the raw camera files would be for backup purposes, and you’d obviously want to do that on a DIFFERENT drive than your scratch disk. That way you could recover your files if the drive with your project media dies, and by using the more heavily compressed camera files you save space.

Regards,
Chris

[Chris Wiggles]

Another victim of marketing.

“LED” monitors are LCD monitors.

The LED just describes the backlighting. They use an array of LEDs behind the LCD panel to produce light, rather than flourescents which have for years been the norm.

Whether it’s better or worse depends on a million different variables.

Stay away from really thin LCD panels regardless, but particularly so with the LED-backlit panels.

Also note that while generally something you’d want to disable in the interest of stability for critical viewing, some LED-backlit displays do offer some form of dynamic contrast either globally or locally by dimming the LED backlighting based on the video APL.

This all being said $100-150 for a monitor is dirt cheap. You don’t always get what you pay for, but you DO have to pay for what you get. I wouldn’t expect much in the way of quality with either of those…

Regards,
Chris

[Chris Wiggles]

[David Roth Weiss] “Matrox devices (except for the now defunct first generation MXO) are I/O devices that display to video monitors, not computer monitors. They are entirely different display devices. Video monitors display video fields properly and display color and luminance of properly — computer monitors don’t. “

A display is a display.

Whether it has “computer monitor” printed on the cardboard box it comes in, or “video monitor” or “professional” printed on the box is immaterial.

What matters is the feature-set/connectivity of the display, and the performance capabilities (and adjustment capabilities) of the display.

Whether a display is accurate or not, or usable or not as a reference monitor doesn’t depend on what a marketing guy decides to print on the box.

There is nothing that is inherently universally different about displaying an image from a computer.

Regards,
Chris

[Chris Wiggles]

Why are you not considering leaving the footage at 1080?

You don’t even know what kind of projector we’re talking about here. From a resolution perspective, scaling between 1080 and 2K should be avoided because the change is so slight, all you’re really doing is softening everything.

Also, I have no idea why the OP mentioned putting this on a DVD, since DVD can’t handle 1080 *or* 2k. Unless that’s not what he meant.

Regards,
Chris

[Chris Wiggles]

Um.

That is in no way anything considered “calibration” by any kind of professional I have ever encountered.

Regards,
Chris

[Chris Wiggles]

Great, thanks for the help guys!

Good to know these are normal readings when going at full tilt.

Regards,
Chris

[Chris Wiggles]

I actually decided to try directly off the camera first via USB, Log & Transfer to the internal WD Caviar Black drive.

I transferred two clips in their entirety without failure. One was 2 hours long, another about an hour long. So that is good news. So it would appear that the problem was something to do with the existing USB external drives which both were meagre WD MyBook drives.

So I’m giving up on those drives as being useful for anything beyond archival use.

Regards,
Chris

[Chris Wiggles]

I am aware of that, but thank you for thinking to post it. Fat32 has a maximum file size limit of 4GB, so you just can’t transfer long chunks of video to a Fat32 drive (common with windows drives). However, I formatted my external drives as Mac OS drives which have no file size limit, so that should not be the obstacle.

I just recorded another very long show last night, so later today I will be Log& Transferring the footage.

I am going to try eliminating USB altogether. I got a new 2TB internal drive for use as a scratch disc. I am going to transfer the camera file folder onto my internal system drive, and then log & transfer to the internal scratch drive (a WD Caviar Black which performs wonderfully and is much faster obviously than the external USB drives). I’ll report back if that makes any difference. Hopefully it does! 🙂

Regards,
Chris