[Craig Seeman]

The actual “essence” as Sony calls it is MPEG2 Long GOP wrapped in MP4. On Windows Sony Clip Browser rewraps to MXF. On Mac the Transfer Tool rewraps to MOV. I know there are a far number of Mac users who aren’t using Final Cut Pro who’d like to rewrap to MXF on the Mac side too since that is something most professional NLEs can handle

[Craig Seeman]

A utility called Pacifist will allow you to install QT 7.3.1 over QT 7.4.x. The alternative is do an archive/install of the OS (which really isn’t that painful since it’s not an erase/install).

I’m probably repeating some stuff in the thread but:

Make sure you see the EX codecs in FCP 6.0.2’s Easy Setups. You don’t need to select them to see the video in the XDCAM Transfer Tool. That’s a later step.

Make sure you have XDCAM Transfer Tool 2.5.1 and not 2.1 (which came with the camera on CD).

Another thing to try in the Transfer Tool is File/Fetch Metadata from source and then import the file (even if you don’t see the video). I’ve had the odd clip or two where I didn’t see video but that worked. Probably not your problem but I’d thought I’d mention it.

BTW I used the Transfer tool on my G5 Dual 2.3GHz, FCP 6.0.2, OS 10.4.11, QT 7.3.1 and that combo worked.

Pacifist
https://www.charlessoft.com/
XDCAM Transfer Tool 2.5.1
https://servicesplus.us.sony.biz/sony-software-model.aspx?model=PDZKP1

[Craig Seeman]

My understanding is that a DSR-11 can play a DVCPro25 tape analog out only, not firewire. I haven’t tried this first hand but have heard that from others. You’d need to take the analog out and put it into another device to convert to DV or otherwise get it into the computer.

[Craig Seeman]

Every time you start record you create a new clip. Thought I’d mention that in case you weren’t aware of it.

You can mark clips while recording. You can put markers on an assignable button. Another neat trick is using time of day time code. If you match the EX1 clock time code to your watch and know what time a specific thing happened, you’ll be able to go right to it.

[Craig Seeman]

-3 is DECREASING the gain. I start with -3 Gain as is recommended by many professional shooters.

The Cine Gamma Curves can also compress the highlights to prevent loss of detail in peaks. Try CG4 for example.

[Craig Seeman]

Thanks for getting that info!

It begs one more question but I think the answer is implied (or at least I infer).

What if one has to deliver both HD and SD or at least use an HD edited source for something? My guess is you can edit in HD and one can cut and paste that entire edit (Nest maybe) in to an SD anamorphic timeline with field dominance set to none and use that for SD and SD DVD source.

[Craig Seeman]

Me three.

What and how you’re shooting can have impact on overall results. If you’re not pushing the codec 1080 may look better than 720.

If I were shooting sports I might choose 720p60 because that kind of motion may well result in more obvious artifacts at 1080.

Note Marco seems to have been testing “extremes” as far as I can tell.

Like anything involving compression, there’s always a juggle. If you’re dealing with fairly low motion I’d bet 1080 will look better in those cases. Shooting fast motion 720 may be better.

Keep in mind that while 720p24 may have the most bits per frame there are potential motion issues incumbent to the frame rate also to take into account.

It’s also why I don’t like compressing video for web at 15fps. Given a common data rate, 15fps may have more data per frame compared to 29.97 but there’s also greater distance between frame motion and of course the codec may have to work harder since the motion distance between frames is greater.

In other words more bits per frame isn’t necessarily better when you’re dealing with moving subjects or moving camera. The answer is . . . it depends.

[Craig Seeman]

Right now it’s that DVD you’ve seen plus the forums.

I understand that VASST (Douglas Spotted Eagle in fact) is working on their training DVD also.

Have a look at this
https://www.youtube.com/watch?v=ez9tOS11meU

Someone BADLY needs to do a DVD on Picture Profiles.

Some contents or functionalities here are not available due to your cookie preferences!

This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.

[Craig Seeman]

[Marco Solorio] “720 deployment: shoot in 720”

Although sometimes shooting 1080 and putting it into 720 timeline allow you room to keyframe some moves.

The same goes for 1080 in 480 timeline. Makes for some interesting pseudo pan and dolly moves.

I thought it was important to mention some exceptions to the rule.

[Craig Seeman]

That DVD is a good basic run through. There really is so much more to learn. Stick around here and you’ll learn quite a bit. It is still a fairly new camera so many of us are learning “trial by fire.” Reading some of the messages in this forum going back a couple of months will show you some of what we’ve been bumping into.