[Craig Seeman]

Are you saying that DV .avi is not readable on their system? In general I’ve been able to create DV .avi that works on Windows.

You could try MPEGStreamclip. It’s freeware.

[Craig Seeman]

MPEG 4 Part 10 by another name is H264. There are a variety of MP4 supported in Compressor. For example look at the Quicktime 6 compatible presets instead of the Quicktime 7 compatible presets.

[Craig Seeman]

When I produce or otherwise shoot, I tell everyone on site that cell phones must be OFF. Not on silent or vibrate but completely off.

For those who hear this issue, look at the waveform of the captured video. If it’s recorded then you should see the clicks as well as hear it.

[Craig Seeman]

I’m using Episode Pro because of its flexibility as well as broad input and output codec support. I certainly think MainConcept will get you there too but I believe it’ll cost quite a bit more to get the same broad codec support as Episode Pro.

[Craig Seeman]

[Rich Rubasch] “(no starting and stopping, which FLV is prone to do on a 512 DSL connection) was worth it. “

Hmm, maybe my perception is colored by my market. In my neck of the woods bottom rung DSL is 768 and I don’t even think small businesses purchase speeds that low. More typical DSL in my area is 1500, 3000, 7000. Cable modem in my area ranges from 5000 to 30,000 (I have the later).

15fps doesn’t bother me for the graphics but when I start seeing humans moving at that rate it’s just odd to me. The frame sizes are small to. I don’t mean this to be critical because you’re doing what you must if your target is 512 DSL.

Vimeo is using somewhere around 1400 for their 720p24 delivery.

[Craig Seeman]

Another way of saying the same thing.

Once you’ve copied both BPAV folders to your hard drive (each in a separate folder).
Add both folders to XDCAM Transfer.
Select both folder
Import All.

That “last” SMI file will pull in ALL the clips. If you select that last SMI after removing that first folder it can not select all the clips and of course it will be grayed out.

You are importing the clips in two parts and you should not be doing that. You are likely selecting that last SMI which can’t link to the first folder.

One ring to rule them all, one SMI to link them all (or something like that).

[Craig Seeman]

I’ve used the internal camera mic, mounted shotgun mic, wireless handheld, wireless lav, wired handheld and have not had any clicking. I would think if such clicking were being recorded I’d see it in the waveform display in my NLE and audio editing program.

Check the waveforms in a good audio editing program. If you’re seeing clicking maybe there’s a problem your camera’s preamp.

[Craig Seeman]

In Compressor, in the Inspector set File Format to MPEG-2, set Stream Usage to Generic, in Extras select Multiiplexed MPEG-1/Layer 2 Audio and check the Transport stream radio button. That’ll get you an .m2t (MPEG2 Transport Stream). It won’t “contain” H264 but you can certainly use H264 source to convert to MPEG2 Transport Stream.

Episode Pro has many more controls. You can set it to encode H264 as an MPEG-TS. You can download a free trial
https://www.flip4mac.com/episode_download.htm
Keep in mind it’s a $900 program but if you’re doing the kind of targeting the above indicates it’s worth the money. Just bill your clients accordingly.

[Craig Seeman]

I think we need more detailed step by step workflow to make suggestions.
Are you viewing on broadcast monitor as you work. If you’re doing color correction in After Effects and you lose contrast and color on down convert, maybe it’s the way you’re doing the down convert.

For the kind of workflow you’re doing I’d convert the EX codec to 10bit Uncompressed or Apple ProRes 4:2:2 for best color space handling.

[Craig Seeman]

You can set your sequence to the EX codec but have it render in AppleProRes (you can do this for HDV too). This means there’s no GOP reconform while editing/rendering FX. Easy setups don’t default to this so you click on your Sequence/Settings/Render Control/Codec/Apple ProRes 422.