Don Greening
Forum Replies Created
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Yes it’s a stand alone but I just checked and I can’t find any DVCPRO codecs in there. But Quicktime 7 will do it and you probably already have that anyway.
Start QT 7, open your final exported movie from FCP X and choose Export from the Quicktime 7 file menu. The dialogue box will give you choices on how to export so choose: Export to Quicktime movie. Then click on Options to the right of your choice and the next dialogue box that opens up will have
Settings
Filter
Size.Click on settings and another window opens and at the top of that window you’ll see Compression Type. Choose DVCRO HD from the list. The rest should be easy for you to figure out.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
I’m not a FCP X user but there should be a way of transcoding to DVCPRO50 during the export process. If not then my second choice would be Apple’s own Compressor 4. It’s only $49.99 at the Mac App Store and in my humble opinion at that price point it’s a steal considering what it’s capable of. It will transcode from whatever format your F3 footage is in now (either the native XDCAM EX codec or any flavour of Pro Res) into DVCPRO50 which is an excellent standard def. codec.
https://www.apple.com/finalcutpro/compressor/
Update: it will transcode to DVCPRO HD as well.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
You’re welcome. Best of luck, Nicholaus.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
Bob, keep in mind that if your intention is to put Mavericks on that laptop of yours there’s no guarantee that FCP 7 will still work. Apple officially stopped supporting it a couple of OS versions ago and it’s just luck that it still works with Mountain Lion.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
Hello Nicholaus,
Welcome to Creative COW.
The shaking you describe in your frame grab is actually an interlacing artifact that happens when there is movement. I suspect that the earlier Sony AX2000 is prone to this more so than with newer cameras. The PMW 200 will be much better at interlaced recording and motion artifacts should be reduced to a minimum.
There are various factors that affect how much interlaced ‘tearing’ is will be visible in your picture:
– shooting frame rate (50i 60i)
– shutter speed (1/25th 1/50th 1/60th sec. and so on)
– and to some extent F stop choice which will affect exposure and depth of field.Generally the faster the shutter speed and the higher the F stop number the less chance of seeing interlacing motion artifacts. If you want to eliminate the artifacts completely then shoot progressive with the PMW 200. With progressive you get one complete picture per frame of video instead of 2 interlacing odd/even fields per frame. With progressive you will get a certain amount of motion blur depending on your shutter speed but this is sometimes desirable depending on what your subject matter is and what ‘look’ you’re trying to achieve. If your final product is to be played on computers or flat screen televisions then shooting progressive is recommended.
In Final Cut Pro if you’re shooting interlaced with the PMW 200 then choose an interlaced timeline for your editing with the field order in timeline settings set to upper field first for HD. If you’re shooting progressive then obviously choose a progressive timeline.
Best of luck with your new camera.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
Terry, you have chosen wisely 🙂
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
If the 200 is similar in size to the EX1R you might like the Kata model CC-193. If you have a mic isolator you’ll have to remove the mic for transport but with a soft bag you should anyway. That’s if the 200’s mic mount is as sketchy as the EX1R.
https://www.kata-bags.com/cc-193-pl-hdv-case
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
Unless you’re really good at colour matching in post then go with the Panny 250. The only advantage the EX3 will have is the 1/2″ chips for a slightly easier job of creating a shallower depth of field (if that’s a consideration).
For starters the 250 shoots intra frame 4:2:2 whereas the EX3 shoots MPEG 2 4:2:0 Long GOP. With the Panny 370 and 250 you’re going to be using P2 media so stay with one format instead of using P2 and the EX3’s Sony SxS cards. The 250 is a more recent model than the EX3 so the picture noise might be less than the earlier EX3’s CMOS sensors.
The HPX 370 and 250 will most likely share the same imaging chip family, picture profiles and setups so colour matching should be a snap. The 250 has a 21X zoom whereas the X3 is 16X.
If you ever get a response in the Panasonic P2 forum it will probably be the same general recommendations as this one. BTW, I own an EX3.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
At the risk of oversimplifying the problem perhaps the software upgrade defaulted the audio monitor volume to completely off and the preference settings from your SxS card restored the setting to what it was before you sent the camera in. I know that if you hit the RESET ALL in the menu the audio monitor volume will default to zero gain. This fact has caught me more than once, trying to figure out why I can’t hear anything and then realizing that the monitor volume has been reset to zero.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
Joshua, great minds think alike: I did the same Google search and read that same article. It’s from 2005 and states that Marquee will only extrude something like a logo if you turn it into a ‘font’ first. There are programs that will do this but still cost hundreds. Which begs the question: is Marquee able to now do this task in 2013?
To Morton: thanks for the post and I will re-visit those 5 advanced episodes to see if Kevin has any info that I may have missed. There are 10 Marquee episodes in total, so hopefully I’ll find something.
Cheers,
Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com