[John Bollenbacher]

Thanks Trevor,

Yeah I already tried moving and fiddling with the ND filter wheel with no luck.
It’s also been in cool AC’ed rooms all day. But I’ll write back if it goes away with what seems like humidity conditions.

J

John Bollenbacher
10engines

[John Bollenbacher]

Thanks Sascha,

That had been my experience with my hacked GH1, but I wasn’t sure if it was the hack I was using. I was hoping to save the $600 or so for the panny IS lens, but I guess there is no avoiding it. BlairWitch with Alzheimer’s is a bit to vérité for me.

John Bollenbacher
10engines

[John Bollenbacher]

Sascha,

Did you ever get an answer to your orignial question? I’m about to head out on a new doc project and I’m probably going to get the AF101 for it. I’m also curious if anyone has shot handheld with lenses with IS and without and if they noticed any difference in the footage. This would help me decide if I need to buy a lumix lens with the camera with IS or if I can use the Olympus micro 4/3s I already have. Good luck with your project.

John

John Bollenbacher
10engines

[John Bollenbacher]

Yes I have, and it hasn’t made any difference.

John Bollenbacher
10engines

[John Bollenbacher]

I don’t think this is an issue of one set of bars being wrong, and another being right. Bars are meant as a standard reference so that when an engineer at a station/studio gets a tape/file from you he can set up his deck/output to match your bars; and therefore your project will look like you wanted it to look on his broadcast.

The first thing I’d do is put bars from your Canon into it’s viewfinder and adjust whatever controls you have on the viewfinder to make bars look correct. Therefore you can be fairly certain that what you’re seeing in the cameras VF is what you’ll get on tape.

With that in mind, I would set up your monitor to whichever bars are coming from what you are feeding to the monitor. So if you are watching direct from your camera, set it up from bars on your camera. When you are editing from Vegas, set it up from Vegas.

But I think ideally you would set up bars in your VF, fed from the camera. Set up bars on your Monitor from Vegas. Roll bars onto the beginning of every tape. Capture some of the bars at the beginning of the tape into Vegas. You could then play the bars out from Vegas, adjust the levels with filters in Vegas, and that should give you a roadmap of what you might have to change on that footage to get the correct “look” after editing.

Kinda confusing I know, but this is much easier in the analog world, when you would roll bars on the tape, put it in a deck, and use the controls on the deck to adjust your signal, and then edit. But when you get into a digital transfer, you lose those controls at the deck.

Hope that didn’t make it more confusing.

John Bollenbacher
10engines

[John Bollenbacher]

Erik-

What do you mean that they don’t work? I have used .mp3s all the too, and not had problems.

Is it just not there? Or is the audio distorted/corrupted??

If you go to “render as” and don’t change any settings the audio should render out with the video automatically; but you can go in to the custom settings and not render out the audio. It could be possible to have the audio unchecked from a previous render and if you don’t change it back, it could keep ignoring your audio.

John Bollenbacher
10engines

[John Bollenbacher]

Yes, I’m using CS3.

John Bollenbacher
10engines

[John Bollenbacher]

Jerry,

It could be a single corrupted file. Have you tried rendering it from like minute 5 on? If it’s crashing right away, it could be a file near the beginning of th project?

I’ve also had strange things happen with pre-rendered files during a render as. You can try getting rid of any, or cleaning up any pre-rendered files.

What format are you trying to go to?

John Bollenbacher
10engines

[John Bollenbacher]

Hey Russell,

It sounds like it’s recording the footage with an anamorphic pixel ratio – so it could be that the settings for the footage would be the same as a 4×3 project save the pixel aspect ratio (you could change in the project settings to a 1.2 or 1.33 ratios)

You may also be able to use one of my favorite features of Vegas. The Match Media Settings option:

When you go to File>Properties (or type ALT+Enter) you will see this window. Click on the Match Media Settings button, and then navigate to one of clips from the camera, select it, click open, and Vegas will set up your project to match that clips settings.

But that’s assuming that you’ve captured it correctly, but if you are capturing over firewire, you usually don’t have many options.

John Bollenbacher
10engines

[John Bollenbacher]

Adam,

Sorry to hear about your troubles with a deadline approaching.

My best suggestion would be to find a level of compression you can live with. Completely uncompressed will create huge file sizes, as you’ve found, and that is probably what’s blowing up your render attempt. Just too big of a single file at 62 minutes (imagine a single 232.5 gb file) for the computer to handle.

Photo Jpeg A and B both look really good, and are about 1/6th the size of the uncompressed.

On top of that, you may want to ask the post house what kind of file they want. If they are going to put it in a NLE, they may not want to have a uncompressed file.
AND
you have to think about what the orginal footage was? Was it shot on some format that already had compression? If so – going to an uncompressed master doesn’t really make sense. It would be best to keep it the same kind of compression that came out of the camera.

Other than that – if you have a video card you could rent a Digibeta deck yourself and dump it to tape.

Good Luck.

John Bollenbacher
10engines