[Marvin Holdman]

Oh, forgot to add this caveat….

This ONLY works in 1080i SP mode. It will NOT work in HQ mode.

That being said, it’s a nifty portable keyer, as well as a waveform vector scope and full screen monitor. I won’t say we use if frequently, but it is invaluable when we do.

Marvin Holdman
Production Manager
Tourist Network
8317 Front Beach Rd, Suite 23
Panama City Beach, Fl
phone 850-234-2773 ext. 128
cell 850-585-9667
skype username – vidmarv

[Marvin Holdman]

Might try this;

https://www.dvdxdv.com/NewFolderLookSite/VeeScope/Products/VeescopeLive.overview.htm

Marvin Holdman
Production Manager
Tourist Network
8317 Front Beach Rd, Suite 23
Panama City Beach, Fl
phone 850-234-2773 ext. 128
cell 850-585-9667
skype username – vidmarv

[Marvin Holdman]

You didn’t say how you were trying to bring these MXF files into FCP. Was it via “log and transfer”? If not, I would give that a try. Also, you might want to download Sony’s XDCAM Transfer and give that a try.

If none of this works, then I can second the Calibrated Software recommendation. It is an EXCELLENT product and is quite reasonably priced.

Keep us posted. Good luck.

Marvin Holdman
Production Manager
Tourist Network
8317 Front Beach Rd, Suite 23
Panama City Beach, Fl
phone 850-234-2773 ext. 128
cell 850-585-9667
skype username – vidmarv

[Marvin Holdman]

Hi Randy,

I’ll ask the shooter if he remembers changing batteries around this time. This never came up in our discussions with Sony regarding this issue. I will pass along your information. So far, Sony has no idea how this is happening. Since this posting, I’ve had one other person call me and tell me they have encountered the same problem. Very troubling.

Marvin Holdman
Production Manager
Tourist Network
8317 Front Beach Rd, Suite 23
Panama City Beach, Fl
phone 850-234-2773 ext. 128
cell 850-585-9667
skype username – vidmarv

[Marvin Holdman]

BTW, I think it basically does the same thing that FCS does. We just have such a mixed environment that it was not feasible. Frankly, I would have preferred FCS, but have to work with what I found when I arrived here. While my preference has always been Mac, I walked into a house of PC’s. Interestingly, I was brought in because they couldn’t get all of these PC’s working. While we’re hoping to eventually transition to Mac’s, it is going to be a long, slow process (can you say, economy?) The reason that I recommended the CatDV system for this facility was two fold; 1. It is cross platform and scalable 2. Data can migrate easily out of this system, should we decide on a different database in the future.

You may find CatDV useful in the field, for logging and organization. I originally acquired it to manage time and date information from DV tapes. I’ve found myself using it a great deal.

Marvin Holdman
Production Manager
Tourist Network
8317 Front Beach Rd, Suite 23
Panama City Beach, Fl
phone 850-234-2773 ext. 128
cell 850-585-9667
skype username – vidmarv

[Marvin Holdman]

Sure. Currently, we are using CatDV in conjunction with Calibrated Software’s MXF codec. We convert our files to MXF for NLE and log this footage via CatDV. We offline our original BPAV folder (of which the files have the same names as the MXF files) and send our logged MXF files to near-line storage (a SAN server). The footage is logged with various metadata like job order, client, description, shooter, ect.

Once logged and placed on near-line storage, the catalog of the footage is published to the CatDV server, where anyone in the production department can query the data. At this point, it is ready to edit. The editor opens the catalog (via the server) selects the shots to use, copies them to a folder on their local drive and edits. Upon completion and approval of the edit. The editor appends the catalog with any additional media accumulated during the edit (like VO, script, music bed, graphics, ect.) updates the catalog on the server, archives the project and deletes the MXF files.

The BPAV folder is already in off-line storage, and can be retrieved for future conversions, should updates be needed.

It should be noted at this point that we are waiting for upcoming MP4 codecs which will allow us to skip the MXF conversions process. When these come out (hopefully within the next 30-60 days) we will edit and log directly with the MP4 files. This will present a challenge, as the Sony BPAV file structure is quite cumbersome. We are currently working on an automated script that will strip the MP4’s from the BPAV folders. While we may retain the BPAV folder (minus the MP4’s) We’re really wondering why.

We love the results we get from the EX cameras, but Sony’s determination not to be compatible with anything else but Sony, is a real pain. While the EX Clip Browser is an ok piece of software, compared to many other packages design to manage media, it is sadly lacking. As quickly as we can, we are trying to abandon this proprietary and restrictive software. Our feeling is that if we get out of the “world of Sony” for managing our media, we will have a much more versatile and useful system. Even with the MXF conversion process, we find that CatDV is a much better solution to manage our media.

Aside from the initial production, we also rely on CatDV to manage our deliverables. The playback machines at our transmitter uses MPEGs and CatDV does a magnificent job of managing them. As I mentioned before, edits require a wide variety of media to complete and the CatDV product ends up being a single source to query ALL of the data associated with a project and it’s deliverables.

Hope that helps to answer your question. If you were looking for anything more specific, give me an email and I’ll let you know. So far, we like the system very much. I will say that it runs MUCH better on Mac’s than PC”s. There are a few other limitations that we have found, but nothing that is a deal breaker.

Marvin Holdman
Production Manager
Tourist Network
8317 Front Beach Rd, Suite 23
Panama City Beach, Fl
phone 850-234-2773 ext. 128
cell 850-585-9667
skype username – vidmarv

[Marvin Holdman]

Proprietary long form GOP mpegs for storage. Limited output. Only capable of managing XDcam footage, could not manage any format other than MXF (via the proprietary format mentioned above). Limited data entry capabilities. Restrictive license structure for ingesting. Limited field logging capabilities. Will not export or import data.

I could go on.

Bottom line… it’s an expensive and incomplete solution.

Marvin Holdman
Production Manager
Tourist Network
8317 Front Beach Rd, Suite 23
Panama City Beach, Fl
phone 850-234-2773 ext. 128
cell 850-585-9667
skype username – vidmarv

[Marvin Holdman]

Thanks for all the input.

We have been working on implementing a MAM for the last couple of months and were coming up on a meeting to review where we were, and what our other options might be. I have suspected that many are still managing these files the way that tapes were managed. It’s been very difficult to find those who are attempting to manage this new form of media as more of a pure data management problem.

We have implemented a system that combines an on-line, near-line and off-line solution. Media in the field is collected and logged via laptops. Upon return to the main office, it is moved to a near-line SAN drive and the log data is appended to the central database. Editors retrieve the metadata from the central database, retrieve the footage from near-line storage to their machine for editing and complete their projects.

Upon completion of the project, it is archived and moved off-line along with the original footage and all media accumulated for the project. Part of the archival process the editors are required to do is append the central database with all ancillary media media used for the edit.

Currently, we have an 8 terabyte SAN drive for near-line and a Sony Petasite for off-line. After initial attempts to work with a Sony HDXchange, to manage the XDcam footage, we have abandoned it, due to it’s rigid limitations.

Currently, we are using a combination of CatDV and Calibrated Software codecs to manage the media. So far, it seems to work very nicely, provided you use more modern hardware for the implementation.

We have found this to be a very viable solution in a house that uses a wide mix of computers, camera’s, legacy media and editing systems.

Again, I appreciate your input on this and hope that there may be some benefit in this discussion. In asking around here, and other places, it would seem that our industry is in a state of flux, with no one really able to say how is best to manage this new media. It seems there are plenty of “computer” people who have clear ideas on how things should be, and many “old school tape style archival” people who have their opinions as well.

Closer observation of this trend has made me realize that the problem we are having is the older, more experienced people in this industry, are VERY resistant to relying soley on computer based storage of their media, while the younger, more computer literate people are simply too inexperienced in video production to really understand the criteria around which such a system needs to be designed.

While I am certain that this will eventually be worked out, I fear it is going to take time for the newer generation of production people to develop enough experience to design viable systems. I seriously doubt the “old dogs” will learn these “new tricks” and that’s a pity, because while their knowledge is great, the youngsters have a serious lack of respect for the older generations reluctance to embrace this technology.

I realize this is a bit of an editorial, but it does relate back to “how we manage our assets”. Perhaps I should have made the subject of this thread, “How we change the way we think”.

Thanks for your patience with my literary indulgence.

Marvin Holdman
Production Manager
Tourist Network
8317 Front Beach Rd, Suite 23
Panama City Beach, Fl
phone 850-234-2773 ext. 128
cell 850-585-9667
skype username – vidmarv

[Marvin Holdman]

Frankly, it wasn’t so much the money as the reported time it was taking to get the upgrade. By all reports it was 2-3 weeks to get the camera sent in and returned for this upgrade. We’ve upgraded 3 camera’s so far, and they all are working swimmingly. As with all risk, if it works, it’s always worth it, if not, never. Only hindsight tells. In our case, it was worth it.

Marvin Holdman
Production Manager
Tourist Network
8317 Front Beach Rd, Suite 23
Panama City Beach, Fl
phone 850-234-2773 ext. 128
cell 850-585-9667
skype username – vidmarv

[Marvin Holdman]

After speaking with Sony about this issue, here is their reply;

“None of the engineers I’ve spoken with have been able to reproduce the anomaly you reported, or think of what combination of events could have caused it.

If it happens again, please let us know as quickly as possible, and well see if there’s any additional troubleshooting data that can be gathered.”

Our hope, at this point, is to try and move away from Sony’s software (ex clip browser) as quickly as possible. Currently, we are exporting our clips, via the clip browser, as “MXF for NLE” at which point we assign new names. From here, we are using a combination of Calibrated Software’s MXF codec’s and CatDV asset management software to database our files. This is working great so far. Greg, from Calibrated Software, is working on an MP4 codec that should allow us to manage our EX-1 footage natively and eliminate the need for Sony’s software altogether.

Our hope is we will not have to retain the BPAV folder structure and will be able to simply remove the MP4 files and manage them like any other media. This would remove the need for the BPAV structure and it’s restrictive file naming and handling conventions. I think we are just around the corner from being locked into Sony’s somewhat disappointing software.

Simply being aware that our camera’s MIGHT generate duplicate file names gives us the ability to deal with it, but it certainly doesn’t take the stress levels DOWN knowing these camera’s might just duplicate file names at any given point.

Hope this helps someone avoid disaster. This incident came to light when we “dubbed” some of our footage by dropping clips to a timeline only to discover (by the CLIENT!) that not all of the footage was transferred. We know what we shot, and when our client called us back and ask us, “where were those shots I ask for?” we went back, found them and realized that the simple act of grabbing all of our files and dropping them to the timeline, in one action, had omitted the files with duplicate names. Disturbing when you make an assumption that your gear performs a certain way and it acts exactly opposite.

Watch out folks, this has some pretty heinous implications.

Marvin Holdman
Production Manager
Tourist Network
8317 Front Beach Rd, Suite 23
Panama City Beach, Fl
phone 850-234-2773 ext. 128
cell 850-585-9667
skype username – vidmarv