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DebugMode FrameServer (DMFS) can be made to work with Sony Vegas 8-10 on a Windows 7 64-bit system:

• http://www.sonycreativesoftware.com/forums/ShowMessage.asp?ForumID=4&MessageID=789939
• http://groups.google.com/group/frameserver-discuss/browse_thread/thread/167cd94d7bb48d30
• http://forum.videohelp.com/threads/332602-[Guide]-Using-DMFS-on-Windows7-64bit-(with-Sony-Vegas-Pro-10-64bit)

 Can the Canon D500 be connected to an external monitor?

Not tried it yet - need to purchase a HDMI Type C cable - but it sounds like one way or another it could be coaxed into doing so.  My web-research leading to this view (right or wrong) is below.

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I have a Vodafone USB Modem Stick (cell broadband dongle) which was obsolete even when I received it (free/gratuit).  Its design intention was you plugged it into a computer and, like some storage devices (e.g. memory sticks) the computer installed its driver software and you were ready to go.  In practice however it does not work either under Windows 7 or Mac OS Snow Leopard.  Some things report failure to install and/or the machine crashes if yoy try to boot up with the dongle already plugged in, or if plugged in after restart, a message requests further restart.  There is no way out into a state where it can perform its main function.

The dongle is a Vodafone K3765, which I have heard is actually an Icon 411 made by Option .  It will allegedly run on Windows 7 but not pay-as-you-go.

I wonder if a newer version of the dongle (and any associated application software or drivers) is available.  Then again, what’s the point if I can use the phone, especially as it’s less hassle all round (fewer technical complexities and hence possible issues, simpler purchasing all-in-one contract including data). Maybe I should just get it crushed?

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• http://www.dvinfo.net/forum/techniques-independent-production/492355-sliders-sliders-everywhere-but-way-go.html
• http://www.kesslercrane.com/dolly-sliders-s/49.htm
  • CineSlider
  • Pocket Dolly
    • Ordinaire
    • Philip Bloom
      • Has drag as per Cineslider

While discussing trailers and caravans etc. with my father, he mentioned that the legendary comedian/presenter Ade Edmonson had been on TV with a series where he travelled britain with a small caravan towed behind his car.  So I thought I’d look into it (the type of caravan that is…).  Here are the links I found helpful:

About Ade Edmonson and his particular caravan:

• http://www.adrianedmondson.co.uk/
• http://www.itv.com/food/programmes/ade-britain
• http://www.itv.com/food/articles/about-ades-caravan

Caravan Introductory Elements:

• http://www.caravanclub.co.uk/media/1022859/choice-of-trailer-caravan.pdf
  • Choosing a caravan

Purchase:

• http://www.leicestertrailers.co.uk/new-trailer-sales.htm
• http://caravans.autotrader.co.uk/berth/1/search?locationName=Alton%20Amery&latitude=51.1546&longitude=-0.9816&postcode=GU34

Started a new project

• Decided to make it a real project - [2011-12-12 (NG) Carol Singing]
• Prompted for a project path and file name:
  • Path:
    • (scratch area etc. are then, by default, set relative to (within?) this - much nicer than FCP7 )
    • Chose: [I:\_Media\_Projects\2011-12-12 (NG) Carol Singing\030 Projects\Adobe\Premiere]
  • FileName: [Carols 001]
    • This created project-file [Carols 001.prproj]
• Dialog [New Sequence] then prompted for sequence settings:
  • Choose Sequence preset - to match the recorded footage, namely 720p25
    • Chose XDCAM-EX > 720p > XDCAM EX 720p25
    • Change the [Sequence Name] from default ([Sequence 01]) to [010 Assemblage 001]
• The main Premiere timeline etc. GUI appeared.
• At its lower-left was [Media Browser]
  • In this I browsed to the source files, being MXF versions of my EX3 footage, selected those files and [Import]
    • The files then immediately appeared at the upper-left pane.
    • However for 5-10 minutes afterwards, the hard drive light flashed, indicating data-transfer.
      • How come?  What was it doing?  Surely it’s already in the right format?
  • In the upper-left pane, I double-clicked one of the source files.
    • It appeared in the Source preview-window (akin to FCP and Avid)
• In Source pane:
  • Played intuitively.
    • SpaceBar for Play/Pause
    • Arrow keys for frame-at-a-time
    • Shift-Arrow for a few frames at a time
    • Control-Arrow for Beginning and End.
    • Easy-to-see*grab&slide timeline cursor (blue blob)
• Tried dragging source (pane) media to Timeline
  • Not as I expected
    • I expected the video and audio to “want” to go in the existing video and audio tracks.  Instead, while I could drag the video component anywhere (including the existing video tracks), the audio component only went to new tracks (that it automatically created).
    • Four audio tracks were created, not the two that I was expecting (given it was only a stereo recording).
    • No audio waveforms displayed (I expect there is a setting somewhere)
• Found an [Info] tab in the pane at the lower-left of the app.
  • It showed that file [929_3798_01.mxf] contained 3 video channels, of which only vchannel 1 was populated, and 7 audio channels, of which the last four (4-7) achannels were populated.
• Found [Preferences] under [Edit > Preferences]
  • Discovered cache location was at [C:\Users\David\AppData\Roaming\Adobe\Common]
  • There was also an option <<Save Media Cache files next to originals when possible
    • Possibly inappropriate when using straight XDCAM-EX source-files?
      • Don’t want to corrupt the BPAV file structure with “foreign” additions.
    • Should be OK though when using MXF format though I guess.
    • Can [Clean] the cache, under same [Preferences] window.
• Audio Waveform display
  • In each audio track-header, Twirl the Disclosure-Triangle.  Independently for each audio track.
  • Having done so, it was apparent that two of the audio elements (hence two of the four audio tracks) contained no audio - their waveform displays were simply flat-lines.
• Effects
  • Extremely intuitive.
    • [Effects] tab in lower-left pane of app GUI
  • Tried e.g. [Effects > Video Effects > Auto Color]
    • Dragged it to item on timeline
    • Saw its effect in the main Timeline preview pane
      • Provided the cursor was somewhere on that item in the timeline.
    • In [Source] preview-pane, selected [Effect Controls] tab
      • [Video Effects] included [Auto Color]
      • Clicking the [fx] button toggles the effect on/off
• Cuts & Transitions
  • Snapping on/off Toggle-button (looks a bit like [C], meant to be a horseshoe-magnet), left of timeline top-ruler
  • Transitions
    • Basics
      • Ensure handles are present and that the clips are abutted (e.g. have snap enabled)
      • In Effects palette (tab in lower-left pane, [Video Transitions > Dissolve > Cross Dissolve]
    • Iris Transition
      • I fairly frequently use this in another NLE, but with feathered edges.  The settings for this transition in Premiere do not appear to include feathering.  Nothing obvious came up in Google or Help searches.
      • One suggestion, from July 2009, was to instead use Gradient Wipe, which has a Softness control, together with a suitable image for the required shape (e.g. circle).
        • DOH !
• Text
  • Row of buttons on left of GUI at mid-height
  • Button [New Item]
  • Select [Title]
  • A special GUI-ette (window) appears.
    • It has background image (for assistance only, and toggleable on/off)
  • There is a good video tutorial on this at [http://tv.adobe.com/watch/digital-video-cs5/gs07-creating-titles-in-adobe-premiere-pro-titler/]

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 am told that this slightly dark-comic-like movie features classically composed scenes, nearly every scene, making it good film-techniques study material.  I have yet to see it but from the trailer it seems like a cross between a real movie and watching a computer game.

Links:

• http://www.imdb.com/title/tt0978764/

I have a friend/colleague with a Canon 7D and girlfriend with 500D.  Also I am aware of “Super” (reduced size) “35mm” sensor video cameras.  I’m keeping an eye on all the options, as currently I have no 35mm etc. capability and hence limited shallow DOF and low-light capability.  And to share / compare info with those mentioned people.

Starting with Looking at Philip Bloom’s site to (routine check see what’s new there), I came across these useful links (even though they’re not all new).  I’m attracted to getting a Magic Lantern-ed second-hand 5D Mk.II for creative purposes, especially since my typical work-pattern is not that time-critical and I am reasonably fluent with frame-rate conversion where necessary. I’ll try it out on the 500D first.  The 500D can only do 30 fps at 720p (drops to 20 fps at 1080p) but its sensor is almost an inch across i.e. about double that of my existing EX3.

Incidentally, I previously covered sensor sizes and their names at http://blog.davidesp.com/archives/433  and there’s Canon’s take on it at http://learn.usa.canon.com/resources/articles/2011/c300_for_cinematographers.shtml which (oh yes) is about their new C300 camera (will cover that in a separate blog-post).

Here are the links:

• http://philipbloom.net/2009/10/01/5dmkii-or-the-7d/
  • In a nutshell, 5D has (fairly uniquely) a full “35mm” sensor, giving the ability to achieve correspondingly uniquely shallow depth of field.  But it shoots at a non-standard frame-rate of exactly 30 fps (not 29.97 fps).  This can matter e.g. when intercutting with standard 29.97 material.  On the other hand when using the camera on its own (and I guess with possible allowance for the time duration change and audio pitch change if you fiddle the metadata) it need not matter.
  • Magic Lantern firmware is available for the {original} 5D but not the 7D.
  • Meanwhile the 7D has less shallow DOF capability and slightly more noise but slightly less rolling-shutter effect and, crucially, a number of standard frame-rates.
• Magic Lantern - unofficial extended firmware for Canon cameras like 5D
  • Magic Lantern gives many improvements to modes, metering displays (e.g. zebra & peaking) and quality (e.g. more shutter-speed choices and greater recording bitrate).  However it does not (yet?) provide additional frame-rates.
  • http://magiclantern.wikia.com/wiki/Magic_Lantern_Firmware_Wiki
    • As of today (2011-11-28) it is reported that Magic Lantern is still not available for the 7D, though progress towards this is being made (slowly).
    • There are limitations to shooting movies on a 5D Mark II, notably the limited 12 minute recording time.
    • (An image illustrates a 5D “tooled-up” with rods, mattebox, audio box etc. to serve as an outside rig)
  • http://magiclantern.wikia.com/wiki/Todo_list
    • Altering frame-rates is still on the to-do list.  Hence not yet done!
• http://philipbloom.net/2011/10/18/1dx/
  • FINALLY the full frame Canon 1DX DSLR featuring “improved video”.
  • STandard frame-rates: 24,25, 30p in full HD and 50 and 60p in 720p mode
  • Intra-frame and Inter-frame compression (H264), easing editing.
  • Single clip length of up to maximum of 29 minutes and 59 seconds (reflecting an EU tax rule {on what constitutes a stills - as opposed to video - camera} )
  • will retail body-only for around $7000!
    • {Not as cheap as the 5D Mk.II then…}
• Canon 500D
  • http://www.cameralabs.com/reviews/Canon_EOS_500D_Digital_Rebel_T1i/lens.shtml
    • {Great site, reviewing it and breaking-down the tech-specs.}
    • Thanks to its APS-C sensor size, all lenses effectively have their field of view reduced by 1.6 times.
      • {This is smaller than the 5D’s full-frame but still not bad at almost an inch wide, which I take to be about double that of my EX3’s “Half-Inch” sensor}

Decades ago I was an avid DX (e.g.shortwave) radio listener / band-scanner / radio ham.  At that time, of the “cold war”, tining around the short waves revealed strong German language stations on unusual frequencies starting with four rising notes on a slightly violin-sounding crude electronic synthesizer.  This was followed by a woman (dubbed by some as “Magdeburg Annie”) reading five-figure number groups, apparently to spies.  Intriguingly, the german numbers were read in some kind of non-standard form, which my german teachers at school could not recognize.  To me they sounded like “zvo” (zwie/two), “fun-ef” (funf/five) and “noi-hen” (noin/nine), and maybe another one “trinnif” that I never figured out.  I wondered if these were nautical german pronunciations, but now it seems they were East German spy number-pronunciations.  So guess that puts my German teachers in the clear!

Anyhow, in a burst of nostalgia, I now want audio copies to use as ringtones on my phone.  Google [numbers stations] revealed the following sites linking to downloadable audio recordings (mp3 and wma files):

• http://www.simonmason.karoo.net/page30.html
  • Links to audio recordings, a commercial CD archive (used in musical works e.g. by Moby), and many lovely little stories and anecdotes, including various sides of the argument about whether or not the pirate radio station RNI ever sent numbers (for whatever reason).
  • Leads on to more recordings at:
    • http://www.simonmason.karoo.net/page72.html
• http://www.damninteresting.com/number-stations/
  • Conet Project - archive of Numbers Stations recordings
    • http://irdial.hyperreal.org/the%20conet%20project/disc%201/
    • http://irdial.hyperreal.org/the%20conet%20project/disc%202/
    • http://irdial.hyperreal.org/the%20conet%20project/disc%203/
    • http://irdial.hyperreal.org/the%20conet%20project/disc%204/