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Want a mobile “suitcase” editing system, something more (and more expandable) than a laptop but not too expensive.  Primarily to be used for Adobe CS5.5 for media enhancement / editing / compositing etc.

Nearest I found was NextDimension’s range around $7000 I think (but just guesswork - could be way off - would need to get a quote).   That would (if true) be around £4500 at current rates.  Plus import…  NextDimension call such machines “flextops” (Maybe they coined the term? Google searches on it mostly come up with them.)

Apart from the (mil/broadcast-lite but me-heavy) price, it might possibly be undesirably heavy to lug around much.   If so (just guessing, not assuming), it would make more sense to go for a modular quick-setup system.  So, starting to “think different” in this direction:

• Standard tower, capable of taking new CUDA etc. graphics cards etc. as they emerge, but no need for more than say a couple of disks, maybe if SSD could even get away with just a single disk? (For system and media - inadvisable for traditional disks of course, what about for SSD’s?  I have much to learn about SSD’s though).
• “Laptop-Lite” to talk to it.  With robust shuttered-stereoscopic HD monitor.
• Gigabit network to NAS fast storage (SSD and/or RAID ?).

Maybe in that case it would be far more logical/affordable to use an existing laptop as a client working together with a luggable tower server, sufficiently light and robust for frequent dis/re -connection and travel.  And remote access of course (no heavy data to be exchanged, assume that’s already sync’d).  And some means to easily swap/sync applications and projects (data) between laptop and tower, giving the option to use just the (old) laptop on its own if needed.  All such options are handy for the travelling dude (working on train, social visits etc.) who also occasionally has to do heavy processing.  Then would just need a protective suitcase for the tower, plus another one for a decent monitor for grading etc.

I certainly won’t be spending anything just yet, but it’s good to have at least some kind of “radar”.

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When multicam-ing in FCP 7, one user reports <<I have found it much better to convert the 5D footage to the XDCAM EX codec instead of converting the EX footage to a ProRes 422 as the file sizes are absurd and there is still a gamma shift problem)>>.  It’s the gamma-shift that would bother me.

Additionally the user explains how to convert DSLR footage to XDCAM-EX format:

• http://mrmagicproductions.wordpress.com/2011/12/21/multi-cam-editing-with-a-sony-ex1-or-ex3-and-5dmk-ii/
  • To Convert the DSLR Footage:
    • Copy the exact file structure from the 5D card to the desired place on your hard drive.
      • Example tree should read:  5DCAM/”DCIM”  ”MISC” (both of the previous words in quotes are two separate folders as one will see in the native card structure)/100EOS5D/”MVI_0001.MOV”  ”MVI_0001.THM” (Again…multiple files in this folder)
    • Open MPEG Streamclip (Just google it to find and download the free program) and go to “File”, “Open Files” and select as many of the .MOV files from your hard drive that you need to convert for a multi-clip.
    • Go to “File”, “Export to Quicktime”
    • At the top of the dialog box where it says, “Compression” choose one of the XDCAM EX compression methods that fit with how your footage was shot.
    • Example:  I shot at 1920 x 1080 at 24 frames per second so I will choose, “XDCAM EX 1080p24 (35Mb/s VBR)” since this also matches the settings of the EX footage.
    • Make sure your frame rate in Streamclip on the lower right area is set to 23.98 if you shot at 24fps in your session
    • Click “Make Movie” and select your target destination
  •  The following will explain how to get the footage into FCP
    • After using Log and Transfer for your EX footage, simply select “Import” under the “File” menu and browse to your new media.
    • Double click your EX clip so it opens in the Source window.
    • Go to a point you would like to use as a sync point, stop playback and hit the letter “I” for “In-Point”  Repeat this exact process with your 5D clip.
    • Select both your 5D and EX clip in the Project area where your clips are listed, right click and select, “Make Multi-Clip”.
    • Select for the clips to be synced using In-Points and you now have a multi-clip.
  • Editing in Multi-Cam Mode
    • Drag the new multi-clip into the main timeline.
    • In the main timeline, click the “RT” button to the upper left of the video tracks.  Make sure that “Multi-clip Playback” is checked.
    • In the source window, look for the button with two playback heads and an “X” between them.  It is located at the top of the window directly in the center.  Click this button and choose, “Open”.  This will sync the source and canvas windows.
    • Double click your multi-clip in the main timeline; this should open both camera views in the source window.
    • Click anywhere in the main timeline and hit the space bar.  You should now see both videos in the source window playing and available for you to click on the angle you want.
    • When you’re done you should highlight everything in the main timeline, right click and select, “Collapse Multi-Clip”.  Don’t worry, you can easily turn it back on to continue multi-cam editing; this will just save on RAM.

I have a Sony XDCAM-EX clip at 1280×720p25 to be transcoded to ProRes, so it can be used as source for iMovie (for another user on another machine).

In principle it should be very simple: go on Mac, use Compressor to transcode the XDCAM footage to ProRes.  But as usual, things are pernickety…

Sequence:

• First tried dragging the XDCAM [.mp4] file into compressor.
  • Not recognised.
  • Likewise the BPAV folder.
• Next, I transcoded the XDCAM footage to “MXF for NLEs” format, using the Mac version of Sony Clip Browser
  • Not recognised.
•  Next, opened the XDCAM Transfer app.
  • In this app, open the XDCAM’s BPAV folder.
  • The footage displays OK but how do I export it to a QuickTime [MOV] file?
  • Looks like I can’t.  It only offers to export to an [MP4] file.
  • Instead, I guess I’ll have to open it from FCP.
• FCP
  • I opened a random existing FCP project.
  • The footage is 720p but the project/sequence settings are arbitrary (unknown to me)
  • FCP: File > Import > Sony XDCAM…
  • It imported to somewhere … but where?
  • FCP Browser: file > RightClick > Reveal in Finder
  • It was at [/Volumes/GRm HFS+/_Media/_Projects/2010-05-30 (Esp) Alison Doggies/020 Source/Sony XDCAM Transfer/SxS_01]
• File System:
  • In other words, at whatever destination was last used by some app - presumably XDCAM Transfer or possibly FCP
  • The destination path was in fact specified in XDCAM Transfer, under its Menu: [XDCAM Transfer > Preferences > Import]
  • Moved the file instead to [/Volumes/GRm HFS+/_Media/_Projects/2009-11-22 (JRM) Lady of the Silver Wheel]
• Compressor:
  • Open it in Compressor
    • Drag it to the “job-strip” (my term) in Compresor.
  • Compressor displays data about that clip (e.g. 1280×720, 25 fps)
  • Select jobstrip settings:
    • Select Setting
      • Settings: Apple > Formats > QuickTime > Apple Pro
        • Name: Apple ProRes 422
        • Description: Apple ProRes 422 with audio pass-through. Settings based off the source resolution and frame rate
    • Apply (Drag) Setting to Jobstrip
  • Destination
    • Leave destination unspecified.  Then it will be the same folder as Source.
  • Processing (transcoding) of this footage (1280×720p25) took about 3 minutes (on MacBook Pro 2009).
  • Result was not that much bigger than the original:
    • Originally recorded [.MP4] file: 1.19 GB
    • Rewrapped [.MOV] from XDCAM Transfer: 1.14 GB
    • ProRes [.MOV] from Compressor: 1.97 GB

I wanted to pass on some of my XDCAM-EX footage (from my Sony EX3 camera) to someone using only iMovie. But would/could iMovie recognize that format, or possibly the “MXF For NLEs” rewrapped-format offered by Sony Clip Browser?

The best route is to provide iMovie with a ProRes version of the footage, because it converts anything else to (the older inferior format) Apple Intermediate Codec (IAC).  I can convert to ProRes (and deinterlace) via Apple’s Compressor, which comes as part of Final Cut Studo.

Web-search:

• Google: [xdcam ex imovie]
  • https://discussions.apple.com/thread/1882215?start=0&tstart=0
    •  iMovie converts all assets to Apple Intermediate Codec (AIC).
      • So does Final Cut Express. Only Final Cut Studio uses Apple ProRes as codec.
      • When going the Full HD and BluRay route you WILL see this. For instance when panning, you’ll see that Final Cut Studio is superior over AIC.
      • Yet I use the iMovie and Toast route because it is fast and good. Toast delivers better results than iDVD08. I havent tested iDVD09 yet but am about to do so. Remember that Toast can handle BluRay and iDVD not. Even for normal DVD you’ll see that Toast renders better than iDVD. The menus have improved in Toast10 but still cannot match iDVD. DVDstudioPro is very nice in results, but has a learning curve. Consider the Ripple Training DVDs to tackle the possibilities.
    • iMovie will edit many QT codecs directly including ProRes 422, H.264/AVC, DVCPRO HD. It converts to AIC only when you import from a camera.
      • So if XDCAM EX is converted to ProRes outside iM — then iM will edit the ProRes. Even HQ.
      • You do have export correctly — to ProRes — in order to get full 1920×1080 from iM for burning BD.

I attended, working on one of the camera units.  Had a great time, learnt lots, at all sorts of levels.  Even how to make good use of the Movie Slate application on my iPhone!  Link: http://www.fstopacademy.com/

There exist various HD-SDI device to record 10-Bit 422 video data.  10 bits is useful for shallow gradients especially when expanded (steeper contrast curve) by grading, while 422 gives better detail, that can matter when pixels are big (e.g. when close to a big screen or when digital zoom employed in post).  In any case, such recorders tend to compress less than on-board camera systems, or in some cases not at all, improving the quality.  But to what extent can the various NLEs cope with this?  From my web searches it seems that the answer is “sometimes”.  For example some NLEs will accept 10-bit only in their own favourite formats, otherwise they discard two bits, interpreting the footage as 8-bit.  One might (naively) have thought the way to be sure was to experiment - but there is plenty of room for confusion when doing experiments, for example Avid’s color correction tool allegedly only displays to 8-bit resolution even when it is importing/processing/exporting at 10-bit.  Other “loopholes” may exist, like it seems (if I understand it correctly) that if you AMA or import 10-bit ProRes then Avid only sees 8-bit, implying one needs instead to transcode ProRes->DNxHD externally (e.g. via MPEG StreamClip?) and import that.  But even that might not be possible, as one post suggested DNxHD 10-bit encoding could only work from Avid, not external apps.   Furthermore, whereas all ProRes formats handle 10-bit, for DNxHD, only formats with an “x” suffix do; the only one I know of is DNxHD 220x.  There exist further subtleties/loopholes/pitfalls, hence more research to be done on this… and I’ll tread very carefully…

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I am interested in a new PHU-60 hard disk for my Sony XDCAM-EX video camera.  So what’s around, and what’s the cost?  While I’m at it, what other options are there, e.g. for recording off HD-SDI ?  From my web-research today, the answers seem to be:

• PHU-60 is no longer supplied or supported by Sony, or hence their authorised service centres.
• PHU-120 is however available, at just under £1K.
• At that price I’m willing to consider alternatives… Depending on price and capacity of course.
  • Mend it?
  • Record to a standard hard disk?
  • Go instead for SxS etc., e.g. the cheaper alternatives.
  • Think bigger - go for a HD-SDI recorder, get better quality and more gradeable recordings!  But at what price?
• (To be completed)

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http://www.dvxuser.com/V6/showthread.php?239950-KiPro-mini

•  <<32Gb CF card that is approved will …yield 18-24mins.>>
  • Surely depends on bitrate
• <<be sure to review the “approved CF Card list”>>

http://neilsadwelkar.blogspot.com/

•  Recording durations:
  <<
  32 Gb CF card
  - 88 mins of ProRes Proxy
  - 40 mins of ProRes LT
  - 28 mins of ProRes
  - 19 mins of ProRes HQ
  >>
• Whereas for KiPro (bigger):
  <<
  500 Gb hard disk
  - 1384 mins of ProRes Proxy - 23 hrs
  - 637 mins of ProRes LT - 10 hrs 37 mins
  - 450 mins of ProRes - 7 hrs 30 mins
  - 300 mins of ProRes HQ - 5 hrs
  >>
  • http://www.markertek.co.uk/Catalog/Digital-Hard-Disk-Recorders-DVRs/AJA-KI-PRO
    • (Seems like 250GB is standard)
    • (And the 500GB disk unit costs about £270)

http://www.dvinfo.net/forum/aja-io-ki-pro/484627-ki-pro-mini-specification-request-3.html

•  <<1080i 25 or 720p 50 Apple ProRes 422 (HQ) = 36 minutes, approximately 56.36GB>>
• <<1080i 25 or 720p 50 Apple ProRes 422 = 54 minutes, approximately 56.67GB>>

http://www.aja.com/pdf/KiProMini_qualifiedCF_cards.pdf

•  Largest is SanDisk Extreme Pro CompactFlash 64GB

Based on other people’s experiences, I am always wary of new versions of QuickTime.  I haven’t tried this one, and don’t intend to.  Some evidence of potential problems:

• [http://www.lafcpug.org/phorum/read.php?1,260877,261037#msg-261037]
  • Problem:
    • … when I exported my sequence using the Prores Codec, … it changed the colour of my sequence, adding a reddish hue/ saturation to it.
    • On my search round the web there seems to be quite a few people with this issue, but is there any fix for it ?
  • Likely cause:
    • QT 10 (QT X) is the worse thing Apple has unleashed to the Apple audience. It is NOT ready for release…and why it is on these systems…really only for consumers, but still…not ready.
  • A proposed fix (if QT X has already been installed):
    • Look in your UTILITIES folder for QT 7. Move that into the APPLICATIONS folder. Right-click on QTX and COMPRESS it. Then trash the app. This way you still have it, but it won’t be available as an application, and any QT file will default open with QT7.
      • This “hack” was advised by Apple to Shane Ross.  Pretty credible then…
    • Alternatively, use the Get Info dialog to set all QuickTime movies to open with QuickTime 7 Player
      • (although for some reason if you set a WMV to open in QuickTime Player 7, Flip4Mac keeps changing it back to QT X).

Problem:

• In Windows I export from Sony Vegas to AVI (CineForm).  In OS X I read the file into FCP and apply the SmoothCam effect, then export to ProRes.  In Windows, Sony Vegas, I replace the original file with the smoothed one.  The levels/gamma are wrong.

Solution (Search):

• Sony Vegas forum http://www.sonycreativesoftware.com/forums/ShowMessage.asp?ForumID=4&MessageID=718371
  • Use DNxHD
    •  Couple of tips re DNxHD:  709 color level assumes 16-235, and RGB assumes 0-255.
  • Force it back again: www.kenstone.net/fcp_homepage/gamma_mac_pc.html
    • But this presumably implies getting re-quantized twice (the roundtrip issue and the forcing), which for 8-bit footage I imagine could reduce the quality (banding).
• Uncertainties
  • Where and how does this gamma get applied?  In FCP I didn’t (knowingly) alter the levels (eg until it looked right), I just applied the SmoothCam filter.  So I guess it would look wrong on the (pre-SnowLeopard) Mac but I wouldn’t care.  Wouldn’t FCP then export back whatever it got but smoothed?  This one is really confusing.    Experiments needed (when I get time…) I guess.