[Tim Kolb]

I haven’t gone from PPro to AE very often… I know that the comp structure in AE doesn’t seamlessly interpret a PPro timeline…

What happens if you use the project manager and trim the project? Then you could load the trimmed PPro timeline in and you shouldn’t have the handles (trims) to deal with…

I’d try it with something small first…I’m not in a place where I can try this right this minute.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

You have to save the file?

How do you even do that?

I’ve never had a problem with this. I open an existing file and make a change and close the titler window…

Is your titler window always open in your UI?

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I’ve liked the P2 equipment that I’ve worked with…

It’s a mature technology and it works pretty well. The 500 is a lot of camera for the money, however if you put one beside a 2700 or a 3700, I suspect you won’t want to setle for a 500. The 2700 and 3700 are worthy heirs to the original Varicam and I’ve seen shockingly good pictures from each…

Of course, it’s a matter of a fair cost spread between them as well.

If you’re looking for a lot of camera per dollar, I’d also check out the Sony EX-1 and EX-3. I’ve been stunned by what I can get out of my EX-1. The Sony shoots long-GOP MPEG at 35/25 Mbits/s, but physically, it’s a similar data-card system to P2…it just uses an Express 34 form factor instead of PCMIA.

…it all depends on what you’re looking for I guess.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

[Bill Ravens] “Amberfin has a free utility that will deconvolve the Sony mxf into m2v video stream and aes audio files.”

I edit EX1 footage every day natively in PPro CS3 and CS4…no conversion is necessary.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Adobe actually handles XDcam MXF files more elegantly than FCP. No conversion is necessary.

Of course, EX (-1 and -3) cam files are not MXF…they’re MP4. (This is why FCP can load them through QT…FCP needs to convert MXF files) XDcam files written to optical disc are MXF wrapped.

Don’t ask me why this is…I wish some standard would establish itself as it’s a pain to have to concoct a new workflow for every new model of camera that hits the market…in this case you end up with two different workflows for what is technically the same video format (XDcam).

Ugh…

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I’ve had one SDHC card fail…I lost a few shots, not the whole piece of media…and I’m pretty sure that I’m to blame for it as I think I punched pause and roll too quickly and didn’t take the time the SDHC card needs to finalize the file into account after stopping roll.

Are SxS cards better? Probably…but in SxS card capacity terms I carry about the same value in record time as about 5,000.00 worth of SxS cards (16 GB at 530.00 USD at B and H) for around 400.00 USD. I do keep an SxS card around for overcranking of course.

I’ve never actually offloaded an SDHC card through the Express adapter as I tried it once and it was slow relative to popping the SDHC card and using a regular old multicard reader.

Are these adapters a compromise? Sure. Are they any more of a compromise than a plastic camera or screw thread on matteboxes? Remember when P2 was strange and felt risky?

I think the bigger question is how in the world we ever felt safe when we were running a thin layer of poly with some metal particles adhered to it through various physical friction and tension points in a device that regulated that friction and tension with little springs and belts and motor speed controllers lubricated with lithium grease that was sometimes millimeters from our recording surface…with no redundancy whatsoever.

I think back to the precious few times a professional field tape recorder ever failed me and just shake my head in wonder…

I’d say the biggest risk in any data-based workflow these days is cheap harddrive technology. Anyone who is retiring SxS or SDHC EXcam media to less than two separate, cloned harddrives before erasing the field media stands a far greater chance of storage failure ruining their day than simply using SDHC cards in an adapter.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

[arc nevada] “I don’t think Cinform NEO is going to help you out at all. If the system you use is trashed”

Trashed systems may not be helped, but systems that are below spec to handle HDV native satisfactorily will certainly be helped by Prospect. This I know for a fact. I was editing HDV on a laptop that would have been hopeless for editing HDV on Premiere 6.5 using CineForm software.

That should tell you something.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

Anytime you have an interlaced video clip and play it on a progressive display, you’ll see the interlacing on scenes with moderate to heavy motion.

It has nothing to do with AVCHD itself, the same would be true for HDV, DVCProHD, or even uncompressed. If you are creating material to ultimately be viewed on a progressive display, the best strategy would be to shoot progressive, or at least to output progressive (no fields) from the timeline.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

[Jeff Kosmicki] “No it doesn’t help, even doing like a quarter rez quality makes no difference, and normally that would make a huge difference”

…exactly. Weird.

Let us know what you find out when it gets solved please. I can’t help but think I’m missing something rather basic here…

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

[Bill Ravens] “Dichroics uses selective polarization to seperate out various wavelengths of light, either for metering or for capture by the 3 different (RGB) color sensors.”

This would be the reason behind what is called a “circular” polarizer.

You might get less of a shift (though you will still have a shift) with a circular polarizer.

(and yes, I know they’re all round…)

TimK,
Director, Consultant
Kolb Productions,