Kevin Mckeever
Forum Replies Created
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Could be – and right, no way to know for sure. It’s for Apple to figure out, if they care to. Heart-stopping and cold sweats for sure. Thanks, I’m sure glad I got most of it back too. Did the re-shoot for the rest of it earlier today. Copied the card and then imported from the copy. 😉
Kevin McKeever | Director of Photography and Editor | http://www.image-generation.com
Sony FS7, Canon L lenses, full lighting and audio packages -
All footage was there and viewable in FCP. FCP froze. Force quit and immediately re-opened FCP and all footage was gone, XDROOT folder now rewritten and empty. To blame it on the card rather than FCP or the OS sounds “crazy” to me.
Kevin McKeever | Director of Photography and Editor | http://www.image-generation.com
Sony FS7, Canon L lenses, full lighting and audio packages -
Some fixes are easier than others. I was getting the error message for every comp I tested, even a simple text-only comp. Turned off computer, turned it back on. Everything works now. Nice to have an easy solution once in a while.
Kevin McKeever | Director of Photography and Editor | http://www.image-generation.com
Sony FS7, Canon L lenses, full lighting and audio packages -
Less real estate is indeed easier on the eyes, it’s a lot smaller, thus less overall light. I turned down the brightness on the 27″ all the way, still too much. Am looking into anti-glare screen covers, open to recommendations from users.
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Yes, I would expect as much for that type of project. Mine are rarely longer than 5 minutes, and most of my 4K clips will be simple stock shots. I did find an Apple Store with a 21″ iMac, I’ll check it out next week and test some 4K clips on it. I have not found anyone on the internet who has edited 4K on a 21″ iMac, just the 27″.
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A maxed out i7 27″ iMac with 32GB RAM, 4GB graphics card would likely be fine for basic 4K editing. However, my question is if anyone has had experience – success or failure – trying 4K editing on a 21″ iMac, which has lesser specs.
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Unfortunately on the 21″ iMac, 1GB is the limit allowed. Most of what I’ll do in 4K is stock video, so just 1 shot at a time with color correction. My regular editing jobs will remain mainly HD. I’m just wondering if that set-up will even play 4K and do simple edits without dropping frames.
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I’m replying to this old thread because this still is an issue for me in various ways when trying to make a DVD Studio Pro menu based on an existing square pixel graphic (e.g. a company’s logo).
I’ve had success using 2 methods, though I confess I don’t fully understand why.
1. I’ll create a new Photoshop file and set the “Preset” to “Film and Video” and size to “NTSC DV” or “NTSC DV Widescreen.” I’ll then usually change the pixel aspect ratio of the existing graphic to match, then copy and paste it into the new Photoshop file and finish by adding whatever additional elements are needed.
2. Sometimes the first method still doesn’t give me smooth lines/curves once it’s inside DVD Studio Pro. So if the initial logo is an Illustrator file, I’ll open it in Illustrator (a program I don’t know at all), simply select all and change the width to .9 of its current width. I’ll then save it as an .eps, bring it into Photoshop and finish up with method #1, and it ends up being smooth inside DVD Studio Pro. What’s confusing is that even though I’m changing it in Illustrator to .9 and then changing it in Photoshop to 1.2 for widescreen, it ends up perfectly smooth and proportional in DVD Studio Pro.
It’s obviously much easier if you can simply create everything from scratch in Photoshop using the Film and Video preset. Unfortunately it’s when we have to incorporate existing square pixel graphics that things can get very complicated.
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To import MXF files into Final Cut, simply download the Canon XF Plugin for Final Cut Pro:
https://software.canon-europe.com/software/0040354.asp?model=
Under “Preferences” in the FCP Log and Transfer window, you can choose whether to import the native 50mbps mpeg footage or transcode it to a version of ProRes. I’ve had no problems so far using “native”, but I do understand if some people prefer ProRes for robustness or ease of use within FCP.
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I know this is an old post, but it’s important for Panasonic owners to know that sometimes backfocus-like issues do come up in the cameras. I’ve seen it in multiple HVX200A and HVX200 cams, and an HPX170. I went through a year of repair-hell with Panasonic repair. They would say the camera was fine and send it back to me, but the lens was definitely not holding focus throughout the zoom range. They replaced the lens TWICE on one camera, but still couldn’t fix the problem, and it took three more replacement cameras before I finally got an HVX200A camera that focused as it should. Be aware that if you have the same issue, Panasonic techs may not be able to fix it (if you can even get them to see it), and replacement may be the only option. A colleague of mine had the same issue with his HVX200A and similarly had to argue with Panny repair for them to see the issue. Panasonic West Coast repair under Jim Fast may be a different experience.
A simple test to see if your camera holds focus throughout the zoom range is to open the aperture, zoom in all the way on a chart on a wall about 15′ away, set the camera to auto-focus and note the focus distance that comes up. Now zoom out to about 10mm and see what focus distance comes up then. Expect some variance (max 1-2 feet), but it should not be a huge change. I.E., if the focus distance comes up as 10′, your camera has problems. Perform a similar test on a wall/building 50′-75′ away. If the focus reading stays within the DOF range, you’re OK.
This link has an excellent DOF calculator to check acceptable focus variance. For a 1/3″ CCD camera, enter .004 in the “Custom CoC” box at the top right. https://johndudak.com/photographers/dof.php