[Don Greening]

Basic instructions for using XDCAM Transfer:

You can also use Sony’s XDCAM Transfer Tool as a stand alone app. Here’s how to do the initial set up. Start the program and go to preferences. There, you’re presented with 3 tabs:

• general
• cache
• import

Choose “Import” and in the text field for “Import Location” type in the name of the folder on your external hard drive you want your XDCAM EX .mov files to reside. After you’ve typed the location in then click on “choose.”

Now every time you import from the cards the converted files will go to that folder. Then it’s just a simple matter of starting FCP and importing those clips into the program. They’ll appear in the Browser window.

Follow these steps for using XDCAM Transfer Tool within FCP:

Start FCP and from the File menu choose: Import>Sony XDCAM. The XDCAM Transfer Tool will start automatically and you can use it the same way as you do when it’s a stand-alone app. The difference here is that once you’ve gotten to the point where you choose “Import” in the XDCAM Window the files will be converted, imported into the perviously chosen XDCAM folder but will also appear on FCP’s Browser automatically.

– Don

[Don Greening]

What type of media please:

• SxS Pro memory card
• SDHC memory card with adapter

If it’s an SDHC card could you provide particulars about the card and its adapter – make, model, size, etc.

– Don

[Don Greening]

[David Geary] “s there a way to re-connect the media using the log and transfer utility or via an EDL etc?”

To reconnect offline media in FCP right or control click on a clip in the browser or timeline. In the pop-up menu choose: “Reconnect Media.” In the dialogue box choose: “Search” and navigate to your clip. A lot of the time FCP will advise you that it has found the rest of your offline clips in that particular folder and will ask if you wish these to be made online as well. Just choose OK.

See if that works for you.

– Don

[Don Greening]

[jon pinkney] “I love the camera and the results just not sure if the base and handel will cope?”

Handel died 251 years ago (almost to the day) so I suspect he’s coping just fine. I’m not sure if he played the “base” but he was an awesome composer.

With your EX3 base plate I’m sure your new camera will cope just fine. I have an aftermarket base plate on my own EX3 and it’s rock solid.

BTW, welcome to Creative COW.

– Don

[Don Greening]

The EX1 only shoots square pixel 1920×1080 in 24p. The EX1R has a 1440×1080 anamorphic mode but not the EX1. Both cameras record true progressive 23.98fps (24p) to the cards but output 24psf from the SDI port for a smoother picture on a 29.97fps (30p) display.

psf = progressive segmented frame – essentially an interlaced stream but a complete picture for every frame.

Did I get it right, folks? I’ve never shot or edited 24p.

– Don

[Don Greening]

Well then, Happy New Year, Raf.

I buy my friends, that way they have to look at my work. Sometimes I pay them more money so they will agree with me, too. 🙂

– Don

[Don Greening]

[Rafael Amador] “Field order is always more important than a good story. “

So what happens if you’re shooting progressive? 🙂

[Rafael Amador] “Wish I would have the same help for “contents” issues. “

You do have the same help. Your friends are only an email or a phone call away.

– Don

[Don Greening]

[David Burch] “I’m not really sure why you had better light gain in 60i than in 30p,”

Because that’s the way it works. Check it out for yourself. If you have a camera shooting 30p @ 1/60th sec. shutter and then change to 60i with the same shutter speed it will always be brighter. There is a slight gain in exposure over the above mentioned shooting modes when shooting in 23.98 (p) @1/48th shutter because the slower the shutter speed the longer the light has to hit the sensors.

Addition: I just did a little test and interlaced has a 7% light gain advantage over progressive with my EX1R. If you change to 1080p 24 with a shutter speed of 1/48th sec. there’s only a 2% light gain advantage over 1080p 30 @ 1/60th sec. shutter.

– Don

[Don Greening]

[Brad Mirman] “So is that the nature of the smooth cam filter, in that I will have to constantly render it every time I opening FCP?”

Yes, indeed. Or at least until the bug gets fixed. Right now any smooth cam renders don’t stick once you’ve closed the project. The work around is to render the segment, export as a self-contained movie then import it back into that spot on the timeline.

– Don

[Don Greening]

[Cade Muhlig] “So 24p is easier to work with in post than 30p?”

Not easier to work with. Just easier to transcode to different delivery formats than 30p. Formats that include PAL.

– Don