[Erick Stoll]

An update to this vexing problem:

Canon has had my camera 3 months or so now, trying to diagnose the problem. They sent me a loaner camera meanwhile. But…

The loaner camera produced clips with similar problems!!! Here’s the thing–it happened on the same 64 Sandisk extreme SD card that it did on my other camera.

Has anyone heard of an SD card being at fault for a problem like this?

Also, is there anyway to tell from c100 metadata what size sd card the footage originated from? I’m trying to figure out if this has happened accross multiple cards, or just the 64gb card, where I first noticed it.

[Erick Stoll]

Thanks Todd. I finally got an answer back from Canon, telling me to send the camera in. There is no way I could have changed settings for these clips!

Thanks for the help with merging frames, I’ll see how that looks.

– Erick

[Erick Stoll]

Sorry if I was vague–I was just wondering what tips people had for shooting and exposing in direct sunlight. I’ve got no problem using nds and iris to get a decently exposed image, but the disparity between shadow and highlight is so great that if I stop down to keep highlights from blowing out, I find the rest of the image has an ugly, greyish look to it that grading can’t really solve. I know there’s only so much you can do with 10 or 11 stops of latitude, but I was just hoping some EX-geniuses in here had any good strategies. Thanks.

[Erick Stoll]

Specifically I’m concerned with my GPU. iStats routinely shows that it’s memory is filled to capacity. Is this something to worry about?

(Thanks so far, I’ll try using the QTs for XDcam)

[Erick Stoll]

Thanks! I just might make deadline now!

[Erick Stoll]

[John Heagy] “His footage is XDCAM so there is no rendering if he does a Current Setting export. It will be a fast flatten only, no render required. Rendering to ProRes will take longer and gain nothing. Now if he does have some rendered elements, titles or effects – they will benefit from a ProRes export – again assuming he has the seq render and or codec set to ProRes… which goes back to my earlier advice.”

John – I have titles, 3 ProRes files, and a single SmoothCam effect.

Can I still export out to XDCAM using “Current Setting” export? Or do I need to specifically choose 24p 720p XDCAM? Or should I even export to XDCAM, this being the case?

Thanks.

[Erick Stoll]

Thanks for the suggestions. This leaves me with two questions.

1. Rather than using XDCAM Transfer or FCP Log and Transfer to make QT XDCam files, I have a plugin made by Calibrated that allows FCP to use the .mp4 files that are native to the camera. Does this have any bearing on your suggestion to output my sequence as XDCAM?

2. What’s the best way to export my sequence as XDCAM?

3. I don’t need to worry about upresing to 1080p do I? I just assumed that the post house would do that when going to HDCAM.

Thanks again.

[Erick Stoll]

Rafael – I am not exporting to XDCAM; XDCAM is my original codec and I intend to export to Pro Res HQ to deliver my film to a post house, where it will then be put on an HDCAM tape to be shown at a festival.

What does it mean to “render in high precision”? Is this relevant to exporting and converting?

[Erick Stoll]

Lee – I actually meant HDCAM. This is for festival exhibition, not broadcast. (thanks!)

[Erick Stoll]

Clip behavior is back to normal, and I have to export my film for a master in the next few days. The audio sounds just fine, but do I risk having worse audio if I export in a format FCP might not love, or will that only effect timeline behavior?

I’d rather not to have to go through the trouble of running all my audio through Quicktime or Compressor if I don’t need to, I’m strapped for time enough as it is.

Thanks for the help.