Olof Ekbergh
Forum Replies Created
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Sony offers a recovery service as well, contact your dealer. He/she may be able to help, you get in touch with Sony help.
Olof Ekbergh
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Is it possible that you had 2 cards in the camera, and the file was split between the cards. If so there are a few ways to join them.
1. Have both BPAV folders mounted in the trans program, and then transfer normally.
2. Use Clip Browser to transfer each clip as mxf, then use Transfer to save as .mov or whatever.
Olof Ekbergh
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Try the reduce interlace flicker in AE. It is adjustable and blurs in the vertical direction, it works on progressive as well.
Olof Ekbergh
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What I have done a few times is used the monitor settings in the system prefs, to match a NTSC or PAL monitor.
You can build a profile and call it NTSC or PAL, and just play with the settings until they match your reference monitor as close as possible.
Just don’t forget to switch back if you work on WEB pages or print as well.
It is easy to do and works pretty well, just remember they are totally different color spaces. Macs and PC’s are very different as well.
Olof Ekbergh
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As you probably know you can use Nikon lenses on the Canons with adapters, if they are the older manual iris ones anyway. There may be newer electronic adapters as well. I used a 50mm 1.4 Nikon with a $40.00 adapter in the beginning with my 5D to get manual Iris control, this is not necessary with the new firmware. It worked very well.
You can also use Nikon lenses on the EX3, though 200mm is probably as long as you would like to go, this is also with an adapter. Mostly people do this to get longer tele capability.
I have not used Nikons since the 70’s, but from what I understand the only HD they currently do is 720, not 1080. I am sure that will change soon.
Olof Ekbergh
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You are comparing different fruit.
That said I have an EX3, an EX1R, a Canon 5DmkII, and a Canon 7D as well as a couple old SD cams.
I have several times used footage from all those in the same production. Not as A B cams in an interview or even the same scene from different angles. I go either EX or DSLR in each scene. It is probably possible to match them somewhat, but the looks are very different.
The EXcams especially with NanoFlash are excellent video cameras.
The Canons are fantastic low light and SDOF cams, but have terrible video cam ergonomics, and the codec has huge problems with lots of detail or straight lines in focus, incredible moire problems etc. But used for what they do well they are fantastic. Wide angle interiors are a real strength as well as shooting very stealthily.
I guess the sort answer is yes they complement each other very well. But they are very different animals.
Olof Ekbergh
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There definitely are issues with the EX lenses, some are great and some do stutter.
Sony replaced one for me on an EX3 and now it works very well.
My new EX1R (last December) is not as smooth, but it is acceptable for a $6,000.00 camera.
I would definitely buy from a dealer that will allow you to try the camera and replace it if it is not smooth.
It is not a $20,000.00 lens so don’t expect it to behave like one, but for a cheap HD lens it is very good.
Olof Ekbergh
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My workflow with M100 and XDcam is:
Transfer and archive every shot on 2 FW800 HD’s and Bluray, after shooting. I also put all the shots into a database for quick retrieval.
Then when I need to use the footage I take all the shots from the pertinent shoot and drop them into FCP. I use FCP to pick the shots / portions I may want to use and and export them by reference.
I then open M100 and import them into M100 bins with appropriate names, import settings usually Prores. This import puts all the footage on our 12TB raid, the original footage stays on the archive FW800 drives. And get on with the project.
It would be really great to work natively in M100 with the EX footage, but I find this way pretty fast, and you only transcode the parts of the shots you really need. If you need more just go back to the FCP project find them and import those to M100.
I kind of use FCP as a preview app for M100. I also sometimes do cc in FCP before importing into M100. Final grading is usually in Color. I keep the FCP project files in the same folder as the original clips on the FW drives, thus it is quick too find all the footage in the future.
Olof Ekbergh
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I use a program that is called Discribe Bravo 7.0 with a Primera Bluray burning Robot (it burns and prints Bluray and standard DVD’s).
Once you have made a Bluray/DVD, Discribe makes an image from it and then it will reproduce as many as you want, including confirming burn (this takes longer) on the Primera Pro robot.
The initial 1 hr disc takes about 2 hrs to burn with Toast or FCP (2.66 8 core 12GB ram, with a fast RAID), then the copies take about 20 minutes each w/o verification, with verification about 40 min.
We produce several short run up to 100 Blurays as well as lots of standard DVD’s and CD’s with this system. We even have a shrink wrap machine , clients love this. They can buy 20 Blurays from us shrink wrapped for $200.00. Bluray blanks are now down to $4.00 or less in bulk.
I just set up the machine to run overnight, in the morning I have pile done. Standard DVD’s are way faster 7-8min for 1 hr long w/o verification 15 min verified.
Olof Ekbergh
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Toast will compress as well.
You can also just open the exported movie in FCP 7.x and export to Bluray from there it will compress and author.
Both ways gives you limited menus and titling, but the video is great in both.
Olof Ekbergh