[Mark Thompson]

Derek,
I’ve converted that file to .mpg and at a lower bandwidth.
It should be easier to deal with but is not as high quality as the one you sent me.

https://www.dropbox.com/s/uk1lk6x2tmyq9zx/Clip0002_Mpeg2_1.mpg?dl=0

[Mark Thompson]

Derek,
everything I have likes that clip 🙂
SVP 13 build 453, Catalyst Browse (latest), DaVinci Resolve 12.5, Adobe 2015 (PPro and Media Encoder).
I could transcode it, what format are you going to edit/grade in?

As to why it is choppy for you – perhaps your software is not up to date? Perhaps a virus scan was running at the time, so if you were to try it again things might go better. I edit on an old HP box that has a similar spec to yours.

The suggestion I would try first is to create a proxy as has been suggested. [import the file to your SVP Project, look in the Project Media Tab, right click the clip and select “create proxy”.
Or you can get Catalyst Browse from Sony, it is still free. Catalyst Browse can transcode to XAVCI, this will be much bigger but should be faster to edit. Probably also depends on the latest software versions.

Btw – that is a great clip! It really shows how good the FS5 is in that slow mo capture mode.
I hope the guy on the receiving end is ok.
mark

[Mark Thompson]

Hi Derek,
alas that link is another .xml file.
I need the 1gb .Mxf file. It is probably named something like clip0002.mxf

Dropbox allows you to share a file or a folder. A folder would be better as long as you have nothing in there you wish to keep private.

1GB is no problem.

cheers
mark

[Mark Thompson]

Hi Derek,
you posted one of the .mpg files. The tools I have think that contains just over a minute of silence! No video at all. A minute of video ought to be much bigger than that file was.

Do you still have the original .Mxf file?

I’m trying to devise a workflow that allows those files to be handled.

thanks
mark

[Mark Thompson]

Derek,
put a clip [and the sidecar xml file if there is one] in Dropbox somewhere and I will have a look at it.

Just fyi -Mxf is a pro container format and is well supported by Vegas and other leading editors.
Particularly after the addition of the generic container you can put almost anything in there (even RAW).

The problems you are having are more likely to be due to the contained media format. What does it say in the project properties?

[Mark Thompson]

Hi Leonardo,
most people have these problems!
Firstly, “getting a good key” is almost impossible. Though nobody selling you equipment will mention that. There is a special color for green screen but is does not matter, most keying tools let you select and refine the color. What’s important is that the color is not used in your subject’s clothing. This is hard to achieve as many textiles blend in multiple color threads.
Stand further away from your green screen and back light your subject. You need to aim for a relatively bright but consistent halo effect around your subject. That is the only part of the picture you will key.
You need to aim for low video noise. Use a good camera and use it in a mode that minimizes noise. You may need to use noise reduction software to achieve this.
Isolate the subject using a simple key, known as a “choker” effect. Then using masking to get rid of the rest of the picture (a so called garbage matte). You should only be left with a consistent green halo and that is the only part you should attempt a fine key.

My main point is that your expectations about what keying can achieve are too high. The “green screen” effect is mainly achieved through hard work in post.

[Mark Thompson]

Will,
not that this will help you much but … the quick answer is to find a post house that deals with that upload center.

With time to spare there may be another possibility. Firstly; the fails you are getting are the technical detection that some metadata is missing. They [the upload facility] ought to have a higher level document that describes their expectations. For example something like DPP AS11. Should that be the case then Adobe Media Encoder has a preset that will add that metadata. If the requirement is close then it may be possible to coax AME to produce it. I think there is an open source tool that is floating around as well.

The best place to start is getting hold of the submission standard document and then perhaps people will have more suggestions for you.

[Mark Thompson]

Hi,
just agreeing with what Steve Hix said.

I would add calling it a “container” feels like a bit of an understatement. It is oriented to professional delivery of media and adds essential metadata to the package.

So, for the original poster, we would need to know more requirements in order to say whether it would work or not. Sony usually uses Mfx on any of their pro cameras. I didn’t spot Mxf on the list for the PXW-X70.

That said it is possible to wrap any footage in an Mxf package. As I use the Adobe CC Media Encoder I know it is easy to do in that.
I’ve not used them but I’m pretty sure there are open source implementations that would do that for you as well.

[Mark Thompson]

Ahmed,
in my codec name is the string 422 , which means 4.2.2 color. If it was to be 4.4.4 the same part of the codec would be 444.

I don’t think that camera will produce 4.4.4, even with the XDCA ProRes option.

IF you have the XDCA and option to record Raw then that might be a possibility but I’ve not tried Raw yet.

[Mark Thompson]

Hi Ahmed,
An easy way to read that metadata is to download Sony Catalyst Browse (think it is free but you have to register).

Another way is to look at the “sidecar” xml file. E.g. I have a clip 726_0001.mxf and the sidecar is 726_0001M01.xml. If you open that in a text editor and search for “videoCodec”, right next to it is a coded, but readable, name of the codec.