[Mark Thompson]

Moses,
I’m not sure I know what is meant by “stepping” . The only thing that caught my attention is that you have motion on the stills and it does not appear to be smooth when you zoom in.

Perhaps you could try a few things there, e.g. add easy ease in /out . Perhaps try tweaking the handle to make things a bit smoother. Or if you have used easing then take it out to see if that makes a difference.

The other thing to try is to say it’s a new video “fashion” ☺

You could also take motion off the images to see if that is what they were talking about?

[Mark Thompson]

Tim,
the correct configuration is the one with green screen footage on top. It is actually working for you! But not very well.

The settings being mentioned are the ones you are showing in the effect controls panel for Ultra Key.
One problem may be your expectations – Green Screen keying is much more of an art than a technique, you have to work on those settings as has already been suggested.

The most important setting is the actual green you pick. You need to click around the picture of the heads to pick the exact color that works for you.
One tip is to put a solid magenta layer under the green screen layer (only temporarily) that will more easily show you how well the keying is doing. The problem with using the mostly black starfield plate is that it is not to easy to see how well the keying works.

If you post a screen grab of the green screen movie I will have a go and see if I can pull a key .

Also, as has been suggested, have a look at some Ultra Key tutorials as they explain the settings.

[Mark Thompson]

Tim,
probably more information required. Perhaps a screen shot might help?

I just did a test on CC 2017 and Ultra Key is working just fine there.

Black is what you would see if there is no layer below the layer being keyed. Perhaps it is disabled or masked out or something.

[Mark Thompson]

Hi Dave,

actually I blame Sony! I think the idea of having that extra charger is great but I would have expected it to be compatible.
A bit like the square and round co2 scrubbers in Apollo 13 ☹

Still I’m sure it was done for a good reason.

mark

[Mark Thompson]

Dave,
the manual says you can’t use the battery charger, the BC-U1 or BC-U2. You have to use the supplied ACDP-060S01.

That seems to be used on many Sony bits and pieces, not just cameras.

See this document: https://www.sony.co.uk/pro/support/attachment/1237493097657/1237493098233/operationmanual.pdf?token=zYRHnRYl2H8bLQSJW9rGyj9mdWdvczkxxnaTeWRgvLN9t8DR0abiK0GMeMaPI4g5cRUu3nYXM3GqlCduVCT45yjKv1O1HVhhzQw34KNfvATv5t8itzyqjPhmv7HSh7CAmOhCT2ITKLx7RC7TIzeyCxdNrBA.

Page 17/18

Hope you didn’t throw that away when you got the camera 🙁

[Mark Thompson]

yes I did do that, I sort of guessed that was the problem once Ann mentioned to reinstall.

When I did the original install I did ‘Update All’ so I left the update order to Adobe. With hindsight I should have managed the order myself.

I do still have another problem though, when I do ‘edit clip with audition’ only one track shows up in Audition. Premiere does a render and replace on all tracks but Audition only [seems to] pick up one. I accidently discovered that if you edit the clip again in Audition – all tracks show up.

I think that is another problem though.

[Mark Thompson]

thanks Ann, that works!

It does seem to be much slower than before, doing a render and replace.
But I didn’t do a measured test, I will do that over the weekend.

[Mark Thompson]

Hi,
they probably monitor this forum:

https://community.sony.com/t5/Catalyst-Software/bd-p/SonyCreativeSoftware

[Mark Thompson]

Jim,
ok, the problem I mentioned would be repeated for all clips so definitely not that one.

I did think of another one though. A two hour clip would be huge. One weakness of Premiere Pro is that is does not do a good job on cache management. Often the cache will be left on the C drive for a default install so even if you have sized your data disks adequately you may be out of space on the cache.

So go to Edit > Preferences > Media and then push the “clean” button.

If you work with small projects you can get away without doing that for quite a while but it always gets you one day.

mark

[Mark Thompson]

Hi Jim,
no real answers for you but I have some suggestions.

You may have a workflow problem. MXF supports the notion of “related” files and the FS7 is a big user of related files. What you need to do is to copy the whole card of data onto the PC [or mac]. This guarantees the Clip and its related files are together on your computer. Then when you drill down the folder structure in Premiere Pro the software can locate everything it needs.

When you use the XQD card as the source of data it will look fine there, the related files are together on the card.
When you transcode using Catalyst Browse the clips will also be fine because Browse will have pulled the related files together.

When you say Premiere Pro shows a red screen I’m guessing the screen isn’t just red, it will contain a message about corruption in multiple languages?

It is possible that Sony have made changes to the format of the data and Adobe has not kept up with the changes however as your format is MPEGHD422, which is now well established for broadcast acquisition, I think that is unlikely.
The best way to deal with this is to try and get a short clip that reproduces the problem and then raise a support ticket with Adobe and supply that data.

It is theoretically possible for your producer to have corrupted the files but very unlikely. However they may have passed on the problem caused by the workflow issue I mentioned above.

Good luck and keep us posted.