[Olof Ekbergh]

I am seeing black on Media100 SD lossless codec in 2.0.1.

Prores422 seems OK.

Olof Ekbergh

[Olof Ekbergh]

[Aindreas Gallagher] ” do you really think tho, that you can do everything with that colour corrector that you could do in Color?”

The way I do CC is very simple.

First I adjust the luma, if needed. Often this is all I have to do. This is easy and I like the scopes in FCPX, soon I hope to be using my externals as well with evaluation monitors. The only way to really grade.

Then I adjust color and sat if I need to, many ways to do this in Color and in FCPX, just different interfaces.

Then I add secondaries if I need to fix the sky or whatever. This is also easy in FCPX.

And often I do a traveling matte, for a secondary, like to lighten someones face, this is also easy in FCPX.

I found I can build looks in FCPX as easily as in Color, it is just different.

I always do keying in AE, I may try FCPX for this but I am so used to AE. Even w/o XML you can open Prores files in AE key them the way you want and then import into FCPX.

So for me FCPX works great. Now if I had bought a hardware Color interface, I would not be happy. I was considering this, now I am glad I did not.

And I am sure XML will be available soon, if you need to use 3rd party CC.

Olof Ekbergh

[Olof Ekbergh]

Black magic just got back to me with this positive message regarding FCPX and Ultra Studio Pro (Thunderbolt):

“Hey Olof,

Thank you for contacting us.

“The new Final Cut Pro is a complete rewrite of the software and because of this, not all the features we need are included in the first release. Blackmagic Design and Apple are working very closely to improve compatibility and to iron out any compatibility issues etc. Please be patient while we work to improve compatibility.”

Braeden Burns
Support Representative
Black Magic Design Inc. USA
1-408-954-0500″

Olof Ekbergh

[Olof Ekbergh]

I figured out how the new interface with RED works. It is quite different, and if you close RED then you are stuck having to force quit M100. The tricky part is you have to display the timeline (this is not the standard window config as the tabbed text window is open instead by default) in order to get the accept or cancel buttons from the earlier versions.

For me red quits when I close the window and I can not display the windows again.

I have a workaround with the other problem I have with the new version.

There is a definite bug when using blackburst as a Genlock. It always worked fine in the earlier versions. But in v2 it only works for me if I use internal timing.

This was causing all kinds of problems with the AJA Kona HDe card.

Tomorrow I will probably install on the Martox MX02 Suite as well to see if it works there.

Olof Ekbergh

[Olof Ekbergh]

I just installed the 2.0.1 in my AJA Suite, I have 3 Suites.

Whenever I launch RED by editing a title M100 freezes when I close that title. I see no update button on the RED interface. So I just close RED (upper left).

Well then I am left with a dialog saying M100 is busy or similar. And I have to force quit M100.

I tried deleting RED prefs, This made no difference.

This happens 100% of the time and even on brand new projects.

I hope there will be a fix soon as this renders one of my Suites useless. I have a call i to M100 and I will report back what I hear.

I am running 10.6.5 on a 2 x 2.66 GHz DC Xeon

5GB RAM

QT 10.0 (118)

NVIDEA Gforce 7300 GT

ATTO ExpressSAS R380

KONA LH Driver 8.1.1

Olof Ekbergh

[Olof Ekbergh]

Did you add motion blur?

If not then do.

If you did then increase the amount. 180 degree shutter is what I use most of the time, (in AE).

Olof Ekbergh

[Olof Ekbergh]

Sounds like you may have HD problems.

Run DiscWarrior on all your discs.

Here are a few other things to try, if you have not done so yet.

Trash your M100 prefs. Do an uninstall and reinstall of the Suite. Remove any odd QT files from the Library/Quicktime folder.

Sometimes it helps to buy a new HD and reinstall everything clean on that. If you have an open bay in your machine this is easy and cheap to do. And then when everything is working well keep a clone of your system drive. If you have new problems after installing something then just go back to the system that works.

Olof Ekbergh

[Olof Ekbergh]

I work on a lot of legacy projects that are 4:3 60i SD, this is my workflow:

I work with 30p XDcam and 5DmkII clips a lot.

I preview and pick the clips in FCP. Even put together short sequences there, and do some Color round tripping in FCP even.

Then I export as ProRes422 1080p.

I batch import all those files into a my legacy M100 project, as HD still, they just update most of the time.

Then I create a 4:3 30p timeline and drop all the clips into it. I conform them into 4:3 30p there. Uncheck the reacquire later box.

Then I drag all those clips (one by one, to avoid creating a compound clip) into a new bin labeled SD 30P.

Those clips are then ready to be dropped into a 60i timeline, just interpret them as interlaced.

I know this may seem to be a pain, but it works very well. Unfortunately M100 can not conform media to 4:3 SD footage on import without crashing. That is why these steps are necessary.

Be careful about mixing Prores and M100 lossless codecs, there is a big gamma shift. Set project up as one or the other and stick with it.

Olof Ekbergh

[Olof Ekbergh]

I have been using EX3 and EX1R footage for 3 years in M100 now, without a singe problem.

I always use/used the latest version of M100 and Sony’s XDcam Transfer.

I never used he M100 plugin. I use the transfer to rewrap the footage, then FCP to view and decide on the clips to use or part of clips, export by ref from FCP. Then batch import into M100 re-incoding as ProRes in the process.

This has worked very well for me, just don’t try to import HD footage into SD it does not work with M100 and XDcam footage in one step. You have to do this in 2 steps. First import and convert to Prores or whatever, then drop into a SD timeline and it will convert and re-incode to your specs. Then you can work in SD just fine.

I would love to be able to do this in one step, but it is not a huge deal anymore because most of my work is now HD. Well actually we still do about 70% delivery in SD but edit mostly in HD and then down-convert in the final step, and we archive everything in HD when working in HD.

Olof Ekbergh

[Olof Ekbergh]

To be sure I would rent the EXcam and do a test shoot.

There definitely is a skew effect in fast pans, but only on the background, if you are following an object.

I do a lot of shooting of boats and jet-skis. And I have never had a problem with a shot, that a client pointed out, even though I can see the effect, because I know of it.

If you want to see a good demonstration of the effect do rapid swish-pans continually changing direction, with vertical lines like doors and windows or distant houses or flagpoles. The effect is like a funhouse mirror. But how often do you shoot like that? I have never actually used a shot like that.

I do know some shooters that do car races with long lenses that find CMOS chips unusable. But I also know several who shoot Nascar and short track, for broadcast, with EXcams and never even commented on the effect.

Olof Ekbergh