[Paul Crowe]

I also import from the EX3 into M100 without any problems.

But I have a question for Michael and David, the answer to which Jim may find useful…

So, when I import from the EX3 I use M100’s File>import> from XDCAM feature which works, as you say, brilliantly – launching sony’s XDCAM transfer software and I’m away. However, what’s the best way to handle the media from that point. I don’t go any where near any BPAV folders and wonder why I’d ever need to? Would I copy these off to a drive in the field, if I needed to free up the sxs cards with out using the transfer software to select clips? But still wouldn’t I just select every clip using the transfer tool in the field or is it that it’s quicker to copy over the BPAV folder? Does this make sense, or am I missing something?

I note the data (ie QT files – I use the Proress codec) is all going into it’s own folder like it did when ‘Aquiring’ or ‘digitizing’ like the good old days. Is this all I need to do in terms of keeping the media? I already back up the drives I’m working on but should I actually be backing up those BPAV folders everyone keeps talking about?

Be glad to hear what others are doing . Hope this makes sense.

Cheers
Paul

[Paul Crowe]

I’m looking to do the same upgrade(s). Just downloaded the trial for M100 suite.

Did you upgrade snow leopard before or after M100 suite? I’m guessing everything was done via download. Do you use MPEG streamclip? (It’s a life saver for me). If you do use streamclip, is it still working? I assume QT pro is all good also?

Questions, questions.

Cheers
Paul

[Paul Crowe]

Check this out:

https://maltaannon.com/articles/after-effects/particular-2-overview/

Might be of use.

Other wise – are you in 3d space, using a 3d camera? More info please.

Cheers
PAul

[Paul Crowe]

As The Smiths once said…

How Soon is Now?

Cheers
Paul

[Paul Crowe]

Thanks for that Floh,

I think I will just upgrade to M100 suite. If I do this will the export out of M100 and import into AE (with Handles) be a straight forward thing? Or will I still have to go through some sort of set it up as per your instructions above?

I’d love to see a video tutorial walking dumbies like me through how to set up and use the M100 – AE workflow.

Cheers
Paul

[Paul Crowe]

I think that will make a big difference – I’ll upgrade now.

So here’s the flow I’m heading toward now.

Export out of M100 as Proress 422HQ ensuring Upper field first (as per existing footage).
Keep the same field settings as I Import into AE do my grade etc and possibly try the ‘interlace flicker removal’ fileer on a 0.5-1.0 setting. Then again check render settings to Upper first Proress 422 HQ on the way out of AE.

Then rely entirely on F4M Studio Pro HD to create a progressive file as per the settings we previously discussed (2-pass VBR). If that doesn’t work I might try exporting out of M100 and AE as progressive files and see what difference that makes.

I guess it’s just a matter of which program does the better job of it – is that right? It’s funny because I’d swear I’m still getting interlaced footage when I export progressive settings out of both M100 and AE. But I’ll double check that.

Thanks again.

Cheers Paul

[Paul Crowe]

Wicked. Thanks heaps for that Craig. Very helpful indeed.

Weird thing is though. I might be being dumb here but I can’t seem to get a two pass option out of F4M studio Pro V 2.2.3.7

I think I can see where they’re meant to be – with all the single pass CBR and VBR settings. But they’re not there. Am I missing something?

Cheers
Paul

[Paul Crowe]

Hi Craig thanks for your response.

No, I haven’t deinterlaced. But I’m trying to. Although on some tests I did change some settings to ‘progressive’ (out of M100 and in AE) thinking this would deinterlace the footage but it looked the same.

Yes, you are quite right we should have shot in 1080p or 720p. I can’t really answer your question re why we didn’t – a big oversight on our part.

Frame size: well I was aiming at the full 1920×1080 because I assumed it would end up looking better projected to 3mtr wide data projector screen. But I’d be guided by you on that. We’re happy enough with the overall quality of resulting wmv file via this workflow, just the interlacing is driving us nuts.

Data rate: If you mean the coding settings out of QT pro(?) the bit rate was set to 7200 (CBR). Which has run fine off the laptop set up being used.

Hope this answers your questions.

I thought I’d try exporting out of M100 as 720p and 1080p and process it through AE with the same settings and see if that helps. I know magic bullet does a deinterlacer as well. But I’m pretty sure I can do it with my current tool set. What do you think?

Thanks for your time and patience.

Cheers
Paul

[Paul Crowe]

Actually, I’ve just looked at the wmv via Power Point through a projector and the Jaggy interlacing looks really bad. I was feeling pretty relaxed about it because the same wmv (via QT/F4M) on my Cinema HD display doesn’t looks okay.

But now that I’ve seen it via power point – sheesh, those jaggies look crappy. So I really am going to need all your advice please.

Cheers
Paul

[Paul Crowe]

In Media 100 all you do is create a new bin and import straight into it direct from transfer tool – seamless! Surely it works as easily as this in FCP?

Cheers
Paul