[Michael Hanish]

I’ve been using it for the best part of a year with EX1 and EX3. While it does do essentially the same copying with CRC check as Clip Browser, it is very quick and can copy automatically to several locations at once. It’s been worth the price to me.

best,
Michael

[Michael Hanish]

Thanks Peter. That list is what I was looking for. And what is the best way to install or reference these filters for RED? Make an Alias?

BTW, I find RED’s filters fantastic, just wanted access to a few things I use in AE for when I use RED as part of Media100.

Thanks again,

Michael

[Michael Hanish]

Hi Wick,

I have also used the Canopus 110 with success.
Mainly I have been using dataVideo’s DAC-10, bi-directional, composite, S, and composite I/O, lione level audio, color correction built in. It is AC powered. It has worked great for I/O with Media 100 and preview for AfterEffects and Photoshop.
HTH,
best,
Michael

[Michael Hanish]

David,

Thanks for the input. I also am using CalDigit’s tower and have been really impressed with it. I think I will be using ProRes for this project unless some new info comes up.
all the best,

Michael

[Michael Hanish]

Also OK with 10.5.2 and M100 12.5

[Michael Hanish]

Floh,

Thanks for your advice, I always value and respect your opinions here and elsewhere. I have been leaning toward ProRes as well, I have a fast MacPro 8 core, so that should be no problem.
Another, slightly related question, if I may?
This project will be delivered in NTSC HD, but a number of the interviews and some b-roll will be shot in Europe and Asia. What should I be watching out for, lighting wise, in the sense of flicker from 50 Hz lights recorded on 60 Hz equipment?
I’m at the moment planning to take LED lights, small LitePanels and Zylight hopefully, as weight and portability are big issues, mainly because the EX1 does so smashingly well with available light. I know flourescents are to be avoided, but are there other flicker dangers lurking?
Again, thanks for the advice.
best,

Michael

[Michael Hanish]

Sorry about the four identicals.And glad I stopped trying. I just came back onto the site after working and thought I’d try it again, and there it is 4x.

Why are you playing card to tape? Is it for archive and then redig possibilities?

Michael

[Michael Hanish]

I agree that it’s a great idea to bring this discussion to the M100 board. I’m just starting to muddle through a proper workflow (for my purposes) with the EX1 and Media100, and I’ll repeat and expand a bit on what I wrote to Kieran.

I’m using both desktop and Producer based Media100 system, both 12.5. The MacPro is based around a Kona 3 card. It’s been working fantastically well, with just a couple of weird wrinkles. Been working on a current project in DVCProHD codec, as it plays back fine from a FW 800 array I can take with me when I have to be portable. It’s not always the best, but it works.

My workflow after shoots (I have a 16 GB and 2 8 GB SxS cards, so thus far I haven’t had to do card dumps on location, though that is in the near future), shooting 1080i, has been to make folders with date and descriptive names and put each card’s contents (BPAV) into them as backup/archive using either Sony’s transfer software or ShotPut. Then I have been digitizing identified selects via SDI into the Kona 3. When I have had to revisit a card’s contents, it has been easy enough to check clips using Sony’s software, and then reload any card’s contents back onto a card and capture stuff through the camera.

I haven’t been shooting in SP/HDV mode as I have not really cared for the look for my purposes, but I will try to shoot some and use Firewire for ingest (unless someone gets there first) when next I come up for air.

There are other issues with my workflow that I’ll post next time I can.
Hope this is of some help for the discussion.
best,

Michael

[Michael Hanish]

I agree that it’s a great idea to bring this discussion to the M100 board. I’m just starting to muddle through a proper workflow (for my purposes) with the EX1 and Media100, and I’ll repeat and expand a bit on what I wrote to Kieran.

I’m using both desktop and Producer based Media100 system, both 12.5. The MacPro is based around a Kona 3 card. It’s been working fantastically well, with just a couple of weird wrinkles. Been working on a current project in DVCProHD codec, as it plays back fine from a FW 800 array I can take with me when I have to be portable. It’s not always the best, but it works.

My workflow after shoots (I have a 16 GB and 2 8 GB SxS cards, so thus far I haven’t had to do card dumps on location, though that is in the near future), shooting 1080i, has been to make folders with date and descriptive names and put each card’s contents (BPAV) into them as backup/archive using either Sony’s transfer software or ShotPut. Then I have been digitizing identified selects via SDI into the Kona 3. When I have had to revisit a card’s contents, it has been easy enough to check clips using Sony’s software, and then reload any card’s contents back onto a card and capture stuff through the camera.

I haven’t been shooting in SP/HDV mode as I have not really cared for the look for my purposes, but I will try to shoot some and use Firewire for ingest (unless someone gets there first) when next I come up for air.

There are other issues with my workflow that I’ll post next time I can.
Hope this is of some help for the discussion.
best,

Michael

[Michael Hanish]

I agree that it’s a great idea to bring this discussion to the M100 board. I’m just starting to muddle through a proper workflow (for my purposes) with the EX1 and Media100, and I’ll repeat and expand a bit on what I wrote to Kieran.

I’m using both desktop and Producer based Media100 system, both 12.5. The MacPro is based around a Kona 3 card. It’s been working fantastically well, with just a couple of weird wrinkles. Been working on a current project in DVCProHD codec, as it plays back fine from a FW 800 array I can take with me when I have to be portable. It’s not always the best, but it works.

My workflow after shoots (I have a 16 GB and 2 8 GB SxS cards, so thus far I haven’t had to do card dumps on location, though that is in the near future), shooting 1080i, has been to make folders with date and descriptive names and put each card’s contents (BPAV) into them as backup/archive using either Sony’s transfer software or ShotPut. Then I have been digitizing identified selects via SDI into the Kona 3. When I have had to revisit a card’s contents, it has been easy enough to check clips using Sony’s software, and then reload any card’s contents back onto a card and capture stuff through the camera.

I haven’t been shooting in SP/HDV mode as I have not really cared for the look for my purposes, but I will try to shoot some and use Firewire for ingest (unless someone gets there first) when next I come up for air.

There are other issues with my workflow that I’ll post next time I can.
Hope this is of some help for the discussion.
best,

Michael