Don Greening
Forum Replies Created
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A short Google search came up with Adam Wilt’s test of the XH A1 from a while ago where he states that the camera resolves 800+ TV lines (800+ TVl/ph.).
https://www.dv.com/reviews/reviews_item.php?articleId=196602584
Keep in mind that the actual pixel count of this camera is 1440X1080 which is an anamorphic image.
– Don
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[Sarah Weinstein] “Now, I know you can divide it into subclips, so I’m going to try that and see if it will solve it.”
OK, so now you need to combine the two clip pieces back together. It’s pretty simple. Just make sure that the media from both cards is present in the Transfer tool window. The program will know that both pieces are present so all you need to do now is select the complete clip name (not the 2 pieces) and choose to import the whole thing. Transfer Tool will take care of the rest. If you highlght the complete clipname as well as the 2 pieces, the Transfer Tool will import not only the complete clip but will also import the two pieces as separate clips.
– Don
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[Sarah Weinstein] “‘ll wait to hear from you…”
Well don’t hold your breath or miss meals or anything. I can’t remember what I did, if anything, to resolve the problem. I just transferred 4 SxS Pro cards last night to my Mac Pro’s internal media RAID without a hiccup. Unless the problem crops up again for me I’m at a loss at the moment.
One thing you can try is to drag one of the card’s BPAV folders directly onto your external, then navigate to that copied BPAV folder using the Transfer Tool. When the clips show up within the Transfer Tool window then try importing, using the the same external drive as a destination.
Addition: I just thought of something: Make sure that the card you’re trying to import FROM is not selected when you go to do the import. If it is then the Transfer Tool may think that you’ve selected the card as an import destination. In fact, make sure that everything is deselected beforehand, then highlight an individual clip and choose import.
– Don
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[Chris Bryan] “I think I’ll start with 30. Do I have to worry about motion blur with 30p? Or will I be fine?”
Yeah, you’ll get some motion blur with 30p because you’ll be working with half the temporal resolution that 60i has. Think of panning with your subject of interest using a still camera at a low shutter speed. The subject will remain in focus and clear but with a blurry background. Depending on what you want the motion blur can be something that’s desirable to help achieve a film look. You’ll be the best judge of what looks good by doing some tests on your own. The test results will determine what camera settings to use.
– Don
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Are you able to save your files to another hard drive as a test? Just to make sure that the Transfer Tool is working and is able to successfully store the files somewhere. If that works then we can narrow the problem down to an issue with that particular drive. Try saving a couple files to your startup drive then open them in FCP.
Addition: Um, never mind. I just read your first post again and you’ve already tried this. I actually had the “insufficient disc space” warning come up with my system once or twice but I can’t remember what I did to resolve it.
– Don
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Try trashing the Sony Transfer Tool preference file and then try the transfer again. The path is: Macintosh HD>Users>”yourname”>Library>Preferences>com.sony.bprl.xdcamtransfer.plist.
Trash the com.sony.bprl.xdcamtransfer.plist file, restart Sony Transfer Tool then select the hard drive you want to store the files to within the Sony program. See if that solves it.
-Don
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[Chris Bryan] “So if I decide to go with 30 frames, what do people recommend? Interlaced or progressive? “
It all depends on what lighting you have available because your camera’s progressive mode will require more light to get the same shot as interlaced does. Shooting interlaced will give you slightly more low light latitude to work with, and sometimes that little bit is all you need to make the difference in the final shot.
But in a perfect world I’ll shoot 30p every time. Progressive looks better on LCD and plasma televisions which is what’s for sale these days. Ultimately, what you’ll be watching your final product on determines how you shoot and with what settings.
– Don
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[Chris Babbitt] “I don’t know what light level has to do with interlaced vs. Progressive.”
Well this one is easy to show you. Turn on your EX, go to the menu and switch between 1080i and 1080p. You’ll notice a substantial difference in how bright the picture is as you toggle between the two settings.
The rest of your questions are things I can’t comment on until I go through the workflow myself. This is also the first time I’ve shot interlaced with the EX. I’m going to try making an interlaced DVD as well as a progressive one.
– Don
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[Chris Babbitt] “So, should I stay away from shooting in interlaced, or do you think I have done something else wrong?”
Chris,
Perhaps we can figure out this interlaced-downconvert thing together. I’m about to do a FCP 3 camera edit where one of the cameras was my EX shooting interlaced. The final product will be on DVD. I decided on interlaced because of possible low light issues and also to be more compatible with the other SD cameras I’m using. Trying to get all cameras to match will be interesting. One thing we learned from yesterday’s 3 camera shoot so far: I wish all my cameras were recording to SxS cards.
If you wish you can correspond with me at: greening at shaw dot ca.
– Don
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[Kal Nyer] ” I know the setting must be done before bringing the footage in, but does anyone know of a work around. It would save me. “
Just go to the clip properties in the Browser and put a check mark in the Anamorphic box. That should pop the frame out to the correct aspect ratio. No need to recapture.
– Don