Don Greening
Forum Replies Created
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Chromatic aboration IS a lens issue where the primary colours separate out, creating a rainbow-like halo effect in areas of differing contrast. However, your issue might not be entirely CA. If your camera is using a high compression recording format then it creates compression artifacts in regions of high/low areas separated by fine lines. The only way to test this theory is to use a 3rd party outboard recorder that records with a less compressed codec such as as Apple’s ProRes or Avid’s DNxHD.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
This sounds a lot like what has recently happened to many people and it has to do with F.C. Studio performing an automatic ProApps update. This actually breaks the relationship of the Quicktime Long GOP codecs to all the other programs you have that use Quicktime. Please read about the fix at the link provided below.
https://forums.creativecow.net/readpost/142/880836
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
I just tried an XDCAM EX mov. file in iMovie version 9.09. It transcoded the file on import to the Apple Intermediate codec. During the import iMovie said it was “optimizing” the movie. So I guess the way to do it is to first re-wrap the files from the BPAV folder using XDCAM Transfer or Content Browser, then import those files directly into iMovie. The A.I.C. iMovie files will be deposited into: Macintosh HD>Users>yourname>Movies>iMovie Events>new event.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
I think you can transfer picture profiles between those cameras using an SxS card. I know the EX3 has this capability. Create a profile you like then transfer it to the other camera. That might be all you need to do.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
Thanks for the movie Ian. Very informative. Although I didn’t think it would happen, you’ve outdone yourself yet again 🙂
– D
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
This tutorial might help you to figure out how to lessen the mess.
https://library.creativecow.net/articles/ross_shane/tapeless_online/video-tutorial
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
The current versions of Avid Media Composer, Premiere Pro and of course FCP X can all work with Pro Res. Quicktime for Windows is able to read Pro Res for use in any PC based editor but you can’t encode back to Pro Res. I’m not sure about the remaining NLEs like Sony Vegas etc. but you can’t support everything out there. It’s very difficult to recommend a course of action when the client is so vague about when the edit will happen but right now I’d have to say transcode to Pro Res.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
In Compressor activate frame controls. Set the output fields to progressive and set deinterlace to the middle setting (Better – motion adaptive). The highest setting doesn’t make much of a difference but takes 10 times longer to encode.
Go to the second box (called Encoder) in from the left in the Inspector. Click the settings button next to “Video” and make sure the Interlaced box is NOT checked in the “Standard Video Compression Settings” window.
Keep in mind that turning interlaced into progressive will never look as good as the media being progressive in the first place. If you’re still not happy with the look then just export an interlaced movie anyway and see what the final result looks like. It may turn out to be an acceptable product but you won’t know until you try.
If all you need to do is down convert to a smaller frame size and encode to H.264 at the same time then do it in Quicktime 7. it’s faster than Compressor and will do a fine job as well.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
[Aryn Leigh] “I received footage recently that was shot in 29.97i”
29.97i IS interlaced. Most refer to this as 59.94 or round it off to 60i. If the footage is NTSC progressive then it’s referred to as 29.97 or round it off to 30p.
[Aryn Leigh] “Not realizing this (oops) I’ve been editing in an interlace-based timeline.”
Interlaced footage should be edited in an interlaced timeline. Progressive in a progressive timeline. If you want to transcode interlaced to progressive then export an interlaced file and let Compressor to that little task.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com -
I was just thinking that since the anomaly is being described as a circle maybe it’s a loose lens element. I heard somewhere that sometimes the front lens screws become loose over time and that causes image issues. Maybe check that all the screws on the front of the lens are secure.
– Don
Don Greening
A Vancouver Video Production Company
Reeltime Videoworks
http://www.reeltimevideoworks.com