[Michael Palmer]

I believe both versions of FCP5 can edit DVC Pro HD, this isn’t the very best FCP5 can edit but I wouldn’t think your client could edit uncompressed since you originated with XD cam. I suggested DVC Pro because it is a comparable compressed HD codec that works in FCP5. I hope it works for you.

Good Luck
Michael Palmer

[Michael Palmer]

I believe you will need to first use the XD Cam Transfer and convert the raw to .mov, then download Streamclip (www.squared5.com) and try converting to DVC Pro HD.

Good Luck
Michael Palmer

[Michael Palmer]

I think you may need the SxS driver.
https://www.sony.co.uk/biz/view/ShowContent.action?logicalname=ssw-bc-xdcamex-0807&site=biz_en_GB

Good Luck
Michael Palmer

[Michael Palmer]

The Clip Browser program has the ability to verify that all of the data has been duplicated exactly, where as dragging and dropping could possibly miss something.

Good Luck
Michael Palmer

[Michael Palmer]

Have you tried coping the original BPAV folder onto an SxS card and reinserting it into the EX1?
I would first recommend coping the original BPAV folder before I did this. Perhaps this process would repair any issues with the original BPAV folder when replaced into the camera.

I just performed a small test with a San Disk 16 gig SxS card that had 3 clips (no smi or spanned files) and I inserted it into my Mac Book Pro and copied the BPAV folder onto my desktop, then I delete the BPAV folder from the SxS card using the MBP and I then ejected it and put it back into the EX1 to make sure the card had no clips in Media mode and it didn’t. Then I removed it and put it back into the MBP and copied the same BPAV folder back onto the San Dick 16 gig SxS card and a message came up that said a newer BPAV folder is on the card, stop or replace, so I replaced it and ejected it from the MBP and inserted it back into the EX1 where it plays the 3 clips properly. If nothing else works I believe you could place the original complete BPAV folder back onto an SxS card and use the camera to play back the clips and digitize/capture the media into his NLE.

Good Luck
Michael Palmer

[Michael Palmer]

1.) How do you light a person that will eventually be placed over an animated background that will have dark and light values while the background animates slowly?

I believe you will be shooting this person on a green screen and there is much posted here on proper techniques for this. There are no rules to where light comes from and it can even move during a shot depending of the action of the animation. If you’re just shooting a head and shoulders on green screen decide on the look, as you mentioned dark so try the key light from the camera left or right side, then add enough fill from the opposite side so the person will cut out against the background.

2.) How can you measure if the lighting level of the screen is about a stop lower illumination than the foreground using just a Zebra?

I would use a light meter, you can use an ambient light meter that measures the amount of light falling on an area of the set from a certain direction or use a spot meter to read the level of light reflected back to the camera lens. I mainly use my eyes and I believe the green screen should be at least a stop less than the Key using a spot meter. The biggest no-no when lighting green screen is over lighting it to a point the green bounces back onto your subject, you must control each light and have proper separation keeping your subject far enough away from the green screen. Remember to give enough light on the subject so the editor has an image to work with even if there is a significant amount of contrast between the Key and Fill lights. It is amazing what compositing/editing softwares can do these days. Have fun.

Good Luck
Michael Palmer

[Michael Palmer]

Rick,
It is refreshing to read about the techniques outline here from a true professional who knows the art of lighting. I have the ultimate respect for this craft and commend you for taking the time to open the minds of the faithful creative cow members to your expert experience. Lighting has always been and will always be a passion of mine.

Bravo Rick,

Michael Palmer

[Michael Palmer]

Is there a trick to working with spanned clips? Any settings that I’m missing? Is version 2.8 right for EX1?

In the XD Cam Transfer program you will see an Information/Logging window at the bottom right corner, by selecting Logging you’ll see a sub clip tap to expand, look to make sure when selecting the .smi extension spanned clip you check the boxes for it in the Logging Subclip area.
Because these spanned clip have a different extension (smi) they fall at the end of the media list in the selection area. I don’t really use the Clip Browser program so as to the timecode issues I have no thoughts.

Good Luck
Michael Palmer

[Michael Palmer]

The Sony SxS card reader works great, $249.00

Good Luck
Michael Palmer

[Michael Palmer]

We have 3-EX3’s and 1-EX1 and haven’t have any issues yet. I set the 4 digit clip name with an A for A camera somewhere in those 4 digits and so on for the other cameras on a project. I hope you aren’t mixing BPAV folders together in the same folder. You must keep the BPAV folder for every card in a separate folder and name it accordingly (Project ?? A cam-Card#1). On multi day shoots it helps to rename the clip digits each day with a number as one of the digits and start with a fresh card to manage the data, this will help to find out when you had an issue. On the EX3 you can even start the clip counter at say 200 for day two of your shoot and keep the 4 digits for camera and project coding.

Good Luck
Michael Palmer