[Phil Balsdon]

The article you’ve link to says it all, Mac monitors run on and should be set to 1.8 gamma.

What does your FCP wave form monitor say about the exposure levels?

Also you shouldn’t be using your computer monitor as a reference for image quality you need a broadcast monitor or Matrox MXO for this.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

I use “Truecolor” settings from Paul Ciccone available here:
https://www.paolociccone.com/hd100-calibration-3.html

For bright contrasty sunlight I have one of my user buttons set to +2 Black Stretch and always expose for highlights.

The ability of the JVC HD cameras to shoot true progressive scan (in a similar way to film frame capture) is an asset.

That said “Film Look” doesn’t come from camera settings alone, often a “Film Look” setting in a camera is set to create a flat contrast image so it can be manipulated in post production. This is because of the inability of video camera chips to resolve the high contrast capabilities of film.

Most of the film look effect is created with good lighting and lens selection and settings (f stop and focal length).

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

I had problems installing Shake4.1.1 over FCS2 with OSX10.5.
Lost Motion, Compressor, Smoothcam filter from FCP5. I also lost Aperture.
Apparently certain newer shared frame works in FCS are over written by older ones from Shake.

Uninstall FCS first and re install after installing Shake.

I ended up having to do a complete system re-install to get it all working again.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

When recording long takes using the JVC HD200 camera (or 100 versions) with a DR HD100 Firestore drive the files will be limited to 1.95Gb, however when this limit is reached a new file is created and no frames are lost. In post these files can be edited together with no lost frames and there will be a duplicate on the tape.

If the tape runs out the camera will continue to record to the DR HD100.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

The tutorial on my blog shows the complete set up, just start editing into the timeline as Pro Res.

I have read about the problems with audio and the DR HD100 but I never had the problem so I’m unable to comment. I’ve shot a lot of interview material for other clients who have their own edit facilities without one complaint. I’m also in PAL land maybe that has something to do with it.

The process I describe on the blog avoids the HDV Quicktime format so I’m again unsure about the audio problem that some people have.

At worst from what I’ve read it doesn’t happen when recording as M2T. You could always use Clipwrap to rewrap the M2T files as Quicktimes, although I’m not sure if that would re-introduce the problem, can’t see why though as it’s not a conversion, just a re-wrap process that’s very fast.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

I think what you’ll find is all the JVC cameras have 1280 x 720 3CCD true progressive scan block.

Any 1080i is created from the this within the camera.

The HDV is a short 6 frame GOP.

HD SDI output allows 4.2.2 recording to another device.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

Double post. See my response on the Final Cut Pro forum.

https://forums.creativecow.net/thread/8/1055400#1055400

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

Start a new project and import captured media to that project.

Or transfer imported media over to a single media drive and start a new project and import.

In both instances your time consuming problem is likely to be logging and sorting what is what. There must have been some method in the original editors madness that allows you to sort media into topics and / or format types. If you want to edit in HD and have some DV PAL footage you’ll probably need to up-res before bringing in to your project to retain a better quality. I’d also suggest you convert all footage to Pro Res.

You might want to invest in this https://store.creativecow.net/p/63/getting_organized_in_final_cut_pro

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

Would this help?

https://www.singularsoftware.com/pluraleyes/

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

I use a JVC HD111E and a DR HD100 with Final Cut 6.

My primary reason for buying the camera was its broadcast style ergonomics.

The workflow though is extremely efficient and proved to be another great benefit, Quicktime files import directly from the DR HD100 to the media drive (drag and drop) and the camera tapes become a secure backup and archive. Occasionally I’ve imported direct from the tape which I usually do as Pro Res SQ (See my blog for workflow https://www.steadi-onfilms.com.au/vlog/?p=61 ). (Check to see if the DR HD100 software will record 720p 60 / 50 to Quicktime, mine doesn’t when using a JVC HD 251E, otherwise you’ll have to record mtf and unwrap using Clipwrap https://www.clipwrap.com/ ).

Editing in Pro Res is more efficient and renders faster than HDV.

Until a more efficient and secure archiving system is available I prefer the tape / hard drive system (the HD DR100 records the same timecode as the tape). Currently archiving takes zero time and costs me the price of tape stock (which gets budgeted to the job) and adds the security of a dual record. Admittedly though the few record problems I’ve had were tape based and since changing to strictly using only one brand of tape (JVC HD Pro) I’ve had no problems at all.

The JVC-GY HD700 seemed to me to be very similar quality images and at this level of shooting (corporate and online video) I couldn’t see any financial reason to upgrade my camera especially considering the archiving changes I’d also have to make.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/