Archive for December, 2011

Adobe CS5.5 Production Premium: Adobe Premiere: New Project & Orientation

Tuesday, December 27th, 2011

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

Adobe CS5.5 Production Premium: Adobe Premiere: Initial Run

Tuesday, December 27th, 2011

 Having got the suite installed and ready to use, I ran Adobe Premiere:

  • From Launcher, ran Adobe Premiere
    • A “First Use” dialog came up
      • Requested my Adobe ID
        • I entered it, consisting of an email address and password.
        • Response screen said: <<By providing an Adobe ID, you have set up access to Adobe CS Live Services during your trial period.
        • It also indicated it had sent email verification.
    • I received two emails.
      • First email
        • <<<
        • Thank you for providing your Adobe ID and downloading your Adobe Creative Suite® software trial. During your software trial, you will have access to CS Live services that further extend the capabilities of your Adobe Creative Suite software. Accessed from within your software, CS Live services enable you to accelerate creative reviews, streamline cross-browser testing, and easily host online meetings.
        • For quick and easy access to CS Live services, here is some important information you will want to save:
        • Your complimentary CS Live services subscription will expire with your product trial.
        • >>>
      • Second email:
        • Verify email address
          • Strange that this was sent after the email containing Personal Meeting Room address etc.
    • Thank You dialog gave link to tutorials:
    • I clicked the [Done] button
  • Adobe Premiere started up
    • Popup stated: <<Adobe Premiere Pro requires updated video card drivers for CUDA accelerated rendering.  Please download and install current drivers for your video card.>>
      • That’s what I was afraid of.  It’s making the same demands as DaVinci Resolve.  I cannot satisfy those demands, all updates are under Apple’s control – it is normal that laptops (as my MacBook Pro is) have customized versions of graphics card drivers…
      • I closed the popup.
    • Premiere prompted for [New Project] etc.
      • I clicked on [Help]
        • The Help panel, once populated (after a minute or so), included a [Getting Started and Tutorials] link.

Adobe CS5.5 Production Premium: Premiere: Run in Boot Camp Windows 7

Tuesday, December 27th, 2011

 Having got the suite installed and ready to use, I ran Adobe Premiere.  It created an account for me on [CS Live Services].  It complained that my video card drivers were insufficient for CUDA accelerated rendering.  Sadly I cannot update these – I must only accept those that Apple provide (via Boot Camp updates).  So no CUDA acceleration then I guess…

Nevertheless, how well does it work in other respects, and how usable is it overall?  The

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Adobe CS5.5 Production Premium: Launch in Boot Camp Windows 7

Tuesday, December 27th, 2011
  • Installer for CS5.5 Production Premium
    • For viewing the license conditions, it offers language choices including [English (North America)] and [English (International)].
      • It’s not clear what the difference is.  I wish it showed some examples in each.
      • I’m not the only confused one, e.g:
        • http://forums.adobe.com/message/1227810
          • Peter Spier
            • 3. Jan 14, 2009 10:21 AM (in response to rpollack-2)
            • Re: CS4 English International vs English US
            • To add to the confusion, I think the difference is in the default dictionaries and the spellings in the interface, i.e. it presumes you want British-style spelling (as you have), and has nothing to do with licensing.
            • I have no clue how to change that election other than to re-install. If you can live with the funny spelling in the menus, you can set the default dictionary to US English in InDesign, and probably other apps.
            • With nothing open, click the text tool and set the control panel to character mode options. Change the language in the dictionary dropdown near the right end. This is also available from the character panel (which which is where you’d change it in Photoshop, it’s in the prefs under Hyphenation in Illustrator — and you may be able to reset the interface language in the Photoshop prefs, too)
      • I chose [English (International)]
    • Next it asked for:
      • Serial Number or else check the Trial button.
        • I did the latter
      • Also it asked for Language
        • I assume this to be the operating language for the app
        • Again I chose [English (International)]
    • Next, [Install Options]
      • Apps:
        • Flash Pro CS5.5
        • AIR for Apple iOS Support
        • After Effects CS5.5
        • Audition CS5.5
        • Encore CS5.1
        • Flash Catalyst CS5.5
        • Illustrator CS5.1
        • OnLocation CS5.1
        • PhotoShop CS5.1 (64..)
        • PhotoShop CS5.1
        • Premiere Pro CS5.5
      • Location:
        • [C:\Program Files\Adobe]
    • Next it began calculating the total time for install and began installing.  After a few minutes it returned its time estimate as around half an hour.  This (initial conservative estimate?) rapidly dropped to around 20 minutes.
    • Next it asked for web browsers to be closed
    • Finally it displayed what looks like a Launcher window for the Production Premium suite, withbuttons labelled akin to Periodic Table elements, except that one of them [Ps] (PhotoShop) appeared twice, identically labelled.
      • On mouse-hover it emerged (from tooltip text) that the second [Ps] was 64-bit, the first then presumably being 32-bit, though its tooltip text did not confirm this
  • Possibly unrelated, Kapersky AntiVirus reported
    • <<Detected a potentially dangerous modification of the application BMDSTREAMINGSERVER.EXE without a digital signature>>
      • That application was installed yesterday, as part of DaVinci Resolve Lite for Windows.
      • (I got distracted by domestic events)
      • The Kapersky prompt appeared to time-out, I don’t know whatit assumed/did…
  • The Launcher highlighted the followingTutorials link:
  • From Launcher, ran Adobe Premiere
    • A “First Use” dialog came up
      • Requested mu Adobe ID
        • Ientered it.
        • Response screen said: <<By providing an Adobe ID, you have set up access to Adobe CS Live Services during your trial period.
        • It also indicated it had sent email verification.
    • I received two emails.
      • First email
        • <<<
        • Thank you for providing your Adobe ID and downloading your Adobe Creative Suite® software trial. During your software trial, you will have access to CS Live services that further extend the capabilities of your Adobe Creative Suite software. Accessed from within your software, CS Live services enable you to accelerate creative reviews, streamline cross-browser testing, and easily host online meetings.
        • For quick and easy access to CS Live services, here is some important information you will want to save:
        • Your complimentary CS Live services subscription will expire with your product trial.
        • >>>
      • Second email:
        • Verify email address
          • Strange that this was sent after the email containing Personal Meeting Room address etc.
    • Thank You dialog gave link to tutorials:
    • I clicked the [Done] button
  • Adobe Premiere started up
    • Popup stated: <<Adobe Premiere Pro requires updated video card drivers for CUDA accelerated rendering.  Please download and install current drivers for your video card.>>
      • That’s what I was afraid of.  It’s making the same demands as DaVinci Resolve.  I cannot satisfy those demands, all updates are under Apple’s control – it is normal that laptops (as my MacBook Pro is) have customized versions of graphics card drivers…
      • I closed the popup.
    • Premiere prompted for [New Project] etc.
      • I clicked on [Help]
        • The Help panel, once populated (after a minute or so), included a [Getting Started and Tutorials] link.

Adobe CS5.5 Production Premium: Download for Windows

Monday, December 26th, 2011

Given my poor experiences on my [MacBook Pro (2009) > Boot Camp > Windows 7] with Boris Blue and with DaVinci Resolve, it is by no means certain that [Adobe CS5.5 Production Premium] will fare any better.  But it’s worth a try.

So I downloaded a trial.  As part of that I had to first allow [Adobe Download Assistant] to be nstalled and executed.  It prompted for my level of expertise.  I answered: <<Novice: I could use all the help I can get>>.  In response it gave the following link:

The download is apparently 7.116 GB, estimated download time between 5 and 8 hours. Overnight in other words.

iTunes New Legal Conditions (All 56 pages of them…)

Monday, December 26th, 2011

Like many, I was staggered by the inundation of new terms and conditions unleashed upon me, for my perusal and acceptance/rejection, out of the blue when all I was trying to do was purchase an iPhone app.  It was late and I’m not a solicitor so I aborted the purchase.  Now I’ve had the chance to see what other people are saying about them, I guess it’s time to move on (for me – I’m not advising anyone that that would be good (or bad) advice).   Legal stuff is always worrying…

Anyhow, here are some links I found helpful:

DaVinci Resolve on MacBook Pro > Boot Camp > Windows 7

Monday, December 26th, 2011

Basically it won’t work on my MacBook Pro (2009) with Windows 7 running under Boot Camp (3.3).  I guess Boot Camp doesn’t make sufficient of the GPU’s capability available.

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Winclone Obselescence

Sunday, December 25th, 2011

I’ve been using Winclone, a Mac OS app, to back-up my Boot Camp – Windows 7 partition onto a HFS+ (Mac OS compatible) external disk drive.  However tonight it failed, early in the attempt, repeatedly.  Also when I asked it to look for updates, it failed to connect to the internet, whereas I could access websites OK over Safari.  Searching round, I found a later version, downloaded it, deleted the existing one (2.2) and installed the new one (2.3).

The new one similarly failed to access the internet.  On the other hand it did not fail early on in the process.  I aborted it anyhow, for reasons that will become clear (below).

Web-Search:

  • Google: [winclone alternative]
    • Several posts stated:
      • Mixed experiences when using Winclone under Snow Leopard and the impossibility of using it (straight) under Lion)
      • To minimise problems under Snow Leopard, [Compressed] should be disabled.  Also select [.dmg] format.
      • This product (Winclone) was no longer being developed
    • Best Example:

Big-Time Movie Maker: Michael Bay

Friday, December 23rd, 2011

I serendipitously discovered a forum website for Michael Bay, the Executive Producer of Transformers and Producer of Pear Harbour, amongst others.

It has a Film-Making and Movie Discussion forum.  What I’ve so far skimmed through suggests its more for film fans than film makers, but it does give production news/snippets/oddments and draws attention to trailers and makings-of movies, so who knows, maybe there’s more to be found in there.

iPhone: MobileSync Backups: How to move & purge

Friday, December 23rd, 2011

I’m doing a tidy-up of the MacBook. The application [Disk Inventory] revealed that one of my largest disk-occupying items is MobileSync Backups, which I assume to be from synchronizing iPhone with MacBook.  It consists of several roughly equally-sized files.  Overall I wonder:

  • Is there a way to store the backups somewhere else than the system disk?
  • Do the  “several roughly equally-sized files” imply I have more than one backup on the disk (in which case I’d like to purge all but the most recent).

Google: [mobilesync backup files]

FCP MultiCam: PreRes not always the best standard?

Friday, December 23rd, 2011

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.

R: Random Numbers & AutoRegression

Monday, December 19th, 2011

Matt’s YouTube Battle-Game Video Makings-Of (e.g. Freddie Wong)

Monday, December 19th, 2011

Some budget CGI-inclusive YouTube Makings-Of  e.g. for battle video game vids /ads by Freddie Wong (FreddieW), that were drawn to my attention:

Faux Log (Camcorder Response Profiles)

Friday, December 16th, 2011

I’ve heard of S-Log from Sony, C-Log etc.  Also on a forum I came across a reference to a Log-like matrix config for the Sony XDCAM-EX cameras.  Alister Chapman has been experimenting with this, and apparently makes some profiles available as zip files, in his article at http://www.xdcam-user.com/camera-setup/log-style-picture-profiles-for-pmw-f3-and-ex1r/.

The zip files contains a SONY folder with [.suf] (settings) files as follows:

  •  SONY
    • PRO
      • CAMERA
        • XDCAM EX
          • PMW_EX1R
            • PPDATA.SUF
          • PMW_F3
            • PPDATA.SUF

No settings files for the EX3, but Alister Chapman advises that If you manually copy the F3 settings into the EX3 (folder) they should be extremely close.

  • Folder: PMW_EX3
  • FileName: SETUP.SUF

However he indicates that for EX1/EX3 camera, the log profile’s advantage (just under a stop of extra latitude) is marginal, given their noise issues (when used in this way), requiring -3dB gain and possible use of a good de-noiser like Neat Video (my favourite) in post. He lists other picture profiles at http://www.xdcam-user.com/2011/06/ex1-and-ex3-picture-profiles/ and also at http://www.xdcam-user.com/forum3/viewtopic.php?f=4&t=107.

Just now, leafing through Philip Bloom’s blog, I came across a reader response with:

<<<

…I’d love to see a flat profile on the FS-100. Perhaps something like:

G-LOG B:
Black Level: +11
Gamma Cinematone1
Black Gamma: High, +7
Knee: 75, -3
Color Mode: Standard, +8
Color Level -5
Color Phase -7
Color Depth: R-1, G+2, B-3, C+5, M+1, Y+3
WB-Shift: LB-7, CC+1
Detail-7

These are settings from Frank Glencairn’s blog.

>>>

The original Frank Glencairn blog article, which features more than one variety of G-Log profile, is at http://frankglencairn.wordpress.com/2011/11/22/new-free-g-log-s-logish-picture-profiles-for-the-sony-fs100-version-1-0/

iMovie: Project Creation & Media Ingest

Saturday, December 10th, 2011

Having obtained a ProRes version of my footage, how does one edit a movie using it in IMovie?  I have never used iMovie before, just played with it, and even that was quite a while ago.

  • iMovie
    • Intro-Help movie assumes you’re importing from a camera
    • Tried dragging video ( [.MOV] file) from location (Videos folder) to iMovie. No-go.
    • Created a new event (how?).  Named it [2009-11-20 Lady of the Silver Wheel]
    • Dragged video file to that Event.  It was accepted.
      • Q: Does that also put it in iPhoto?
        • doesn’t look like it.
      • Q: So should I ideally have imported it first to:  iPhoto (somehow?

XDCAM-EX to ProRes: How

Saturday, December 10th, 2011

I have a Sony XDCAM-EX clip at 1280x720p25 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 (1280x720p25) 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

iMovie: Import/Ingest

Saturday, December 10th, 2011

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.

Avid Media Composer 6: The Installation Experience

Thursday, December 8th, 2011

First I installed it to my MacBook Pro, on the Mac OS side, where I have not previously installed any Avid applications.  The latter is significant because from reading forums, it appears wise to remove all traces of any previous Avid installation (beyond what Avid’s Uninstaller does).

Installing and testing the basic Media Composer application:

  • Installer stated (correctly) that I had MacOS 10.6 (Snow Leopard) yet the application was qualified for 10.7 (Lion).  From searching, I discovered that some others were nevertheless running it under 10.6.
  • The installer stated that the space requirement would be 6 GB.
  • Installation took about 15 minutes.
  • Then it did a system restart.
  • On restart, an Avid MC icon was present in the Dock.
  • Double-clicking the icon produced a prompt asking if I wanted on-line activation, use hardware dongle or 30-day trial.  I selected the latter as it seemed the least-hassle option.
  • Avid launch paused on an error message whose significance was not clear to me:
    • “ArthurQuinell-DataTrans” is in use by another application and cannot be used by Deck Control.
    • I am not sure what that means but vaguely remember naming one of my previous mobile phones as that (after an aldershot cat that used to “invade” our art-centre stage during performances, then sit washing in the spotlight – a born entertainer…).
  • Clicked [OK] to let it continue…
    • Got the same message about “Arthur…”.  Clicked [OK] to continue…
  • Finally the initial launch completed.
  • Got the usual Project dialog.  Chose [External]
    • Actually, before that, it asked for a Projects Path.
      • I defined it to be on my main external hard drive, a GRAID Mini, at the following location: [/Volumes/GRm HFS+/_App_Specific/Avid/Projects]
      • I wonder if people generally tend to put their Avid project-folder somewhere like in their Documents directory.  But my logic is that if I plug the hard drive into another Mac, it should still work there.
  • Prompted for some basic project settings.
    • Quaintly, its default display aspect ratio is 4:3 (how nostalgic!)
  • As usual, clicked the wrong thing at the wring time, resulting in a new project called [New Project].  Oh well, I am only playing/testing…
  • Selected the default Bin, [New Project Bin].
  • With that Bin:
    • Import an short existing MOV-DNxHD file.
    • Double-click that file.  It opened in the Monitor pane.
    • Clicked the [Overwrite] button, it laid-down in the Timeline as expected.
  • BUT there’s a missing expected pane at bottom-left corner.  I can see through to the desktop background (purple galaxy-space etc.).  Presumably OK but unsettling…
  • Window panes act independently e.g. re being above/below any other apps.  Similar to Final Cut.  I hated that about Final Cut also…
    • Is there a Preference for getting the whole app to work like “Single Document” ?

AMA Plugins

Effects

  • AvidFX 6.0.1 64-Bit
  •  Boris?
    • BCC
    • Boris has FEC = Final Effects Complete for Avid = Visual Effects Filters and Transitions for Avid
      • Installer said “FEC5 AVX 2   MC 2.5, XPressPro 5.5 or later:”
        • Makes me wonder if there is a later version for MC 6.0
        • I installed it but no “FEC” items showed up in Avid’s Effects Pallete.
          • Maybe it’s 32-bit and MC 6 only recognises 64-bit effects?

Avid Media Composer 6 – Upgrade Questions (Dongle, BCC)

Thursday, December 8th, 2011

I phoned Avid for advice re Media Composer 6:

Movie Recommendation: Sucker Punch (2011)

Thursday, December 8th, 2011

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:

FloatCam FC-12 ShowReels

Tuesday, December 6th, 2011

I am the proud owner/operator of a FloatCam FC-12, which I just used on a film course assignment, partly as a pseudo-dolly for a tracking shot, and partly for a path-walking scene.   One of my peer-reviewers asked about it.  That prompted me to see what there was on the web about it.  Here I record the main useful links I found.

There are a number of FloatCam demos and showreels on YouTube.  Here is a small selection of good ones I found just now.  And of course their “related” links can be valuable.

Movie Recommendation: Southland Tales

Tuesday, December 6th, 2011

Movie recommended to me (haven’t seen it yet):

This is a dark-sci-fi (good, I like those) with observations on the post-catastrophe balance between security and freedom/rights.  The cast involves numerous famous actors, encouraged into roles beyond their normal types.

The film was drawn to my attention by someone (Matthew Roberts) with whom I was discussing the process of movie critical/constructive feedback and consequent reworking.  Apparently the above movie was a case in point:   An early (and unripe) version of it was initially screened in Cannes, resulting in some negative feedback but also support.

The moral of this story (about that film):  feedback can be priceless.  The consequent partial re- write/shoot/edit of that film, subsequently released on DVD, arguably elevated it to “one you have to see”.  Thanks Matt, I’ll check it out.

Unshake: A Tool to Un-Motion-Blur (deconvolute) a Still Image

Tuesday, December 6th, 2011

Vimeo Accepts 720p @ 23.976 fps

Monday, December 5th, 2011

I shot a one-minute movie (as a learning assignment on “Shooting People”) at 23.976 frames per second, and wondered whether Vimeo would accept this and play it properly – e.g. at same rate (not some blurry blend to 30 fps).

Sony Vegas 11: A Positive Review

Saturday, December 3rd, 2011

Colorista Free

Thursday, December 1st, 2011

…and a one or two other free downloads from Red Giant

DropBox Tips for Video Production

Thursday, December 1st, 2011

Tips from Stu Maschwitz (Magic Bullet, DV Rebel’s Guide,…)

Adobe After Effects – Setup Tips

Thursday, December 1st, 2011

Links:

Review/Comparisons: RED (Scarlet,Epic), Canon (5D-II, C300), F3, FS100, AF100

Thursday, December 1st, 2011

How best to get the 35mm look?  “Traditionally” the DSLRs like Canon’s 5D Mk.2 or 7D (or, at lower frame-rates, the D500).  But now the RED Scarlet and the Canon C300 have been announced (3rd November 2011).  Then there’s the AF100 (with or without hacks) and the FS100, also the Sony F3, with or without dual SDI link 10-bit recording to S-Log.

Here are some comparisons:

A particularly interesting “argument/opinion of comparison” between F3 and C300:

  • http://www.dvxuser.com/V6/showthread.php?266329-Canon-C300-Day-Light-Exterior-Footage.
    • (Yes, the URL has a dot on the end)
    • <<<
    • Because (the C300 has) a great sensor with very good RGB color filters on its bayer sensor, great dynamic range, zero aliasing, crisp as hell 1080p, oversampled green channel, 14-bit processing, recording to log? 8-bit MPEG-2 is not as big of a disadvantage as people think if you feed it with awesomeness to start with
    • The F3’s sensor is perhaps not quite as good though – it doesn’t resolve full 1080p without aliasing – eg Barry’s brick wall color moire test. BTW Talking of that test… what exactly is the advantage of the 4:4:4 output on the F3 if its sensor can’t resolve 4:4:4 color detail anyway?
    • >>>
  • http://prolost.com/blog/2009/12/3/you-didnt-believe-me.html
    • A demonstration of moire on the Canon 5D Mk.2

Canon C300 – Great Reviews & Posts

Thursday, December 1st, 2011

The Canon C300 is of interest to me as a potential “workhorse” video camera (replacing my current EX3) for both cinematic projects and live events (incidentally, after having written that sentence, I reassuringly found the same phrase uttered by Philip Bloom, so hopefully I’m on the right track here).

Cinematic projects in particular can benefit from more controllable DOF and both can benefit from light sensitivity, while the live events (indoor or outdoor) in particular can benefit from latitude.  Of course these things are handy in general, but those are the occasions when I’ve felt they were lacking in the past.

The C300 addresses most things, apart from lack of 10-bit output.  Hopefully I could trade-up to that in a couple-or-three years’ time when Canon upgrade to that.  And investing in “glass” (lenses) for it is probably a better investment than external recorders (buy or hire) for my current EX3.  The price stings a bit though, so I won’t just leap into it.  I’ll definitely begin by hiring/renting.

My Canon C300 research-in-earnest begins here with a (great) review I initially heard about (via private IOV forum).  That’s the UK’s Institute of videography by the way.  Here:

The following thread at DvInfo includes rolling-shutter-provoking tests (flash, jerk-motion):

The main points about the camera (for me at least, and not in this particular order) are:

  • Ergonomics / practicalities:
    • Better (some say) than the F3.
    • Weatherproof, sensor-cooling
    • ND Filters (three) in-camera
      • Seems fairly unique in this kind of camera
    • Handy proper buttons for Zebra, Peaking, Magnified views.
    • LCD and button-panel orientate in various directions.
    • Fits on a standard DSLR rig.
      • But Zacuto supply a tailored rig.  CVP are among its agents.
      • And there’s Redrock’s inspiringly-named UltraCage.
    • Solid construction, feel and mounting threads, better than “single central bolt” like many cameras have.
    • Wi-fi adaptor transmits a low frame rate version to your computer. If the lens is set to autofocus, you can actually change the focus remotely.
      • Wifi controller is an additional item – not part of the basic package
    • Battery lasts 5 hours
  • Sensor
    • Latitude (recordable, depending on settings):
      • Quoted as “13+ stops in the field”
      • But there is uncertainty over this, since apparently <<Canon thinks that with their Canon-Log color space, the camera allows “800% overexposure… which translates to …an Exposure Latitude of 12 f-stops.” Graeme Nattress of Red disagrees.>>>
    • Less noise, moire and jello than 5D Mk.2 etc.
      • Noise & moire reduction largely result from 4K sensor + DSP to HD.
        • Moire tends to result from significant interpolation inherent in less dense sensors
    • The “less noise” hence less need for low fstops (coupled with smaller sensor than 5D) means greater DOF (the antithesis of the 5D).
      • Greater DOF is preferable at times, for practical as well as aesthetic reasons (when you want to see the background).
  • Lens Mount
    • Camera comes in two lens-mount varieties, not interchangeable:
      • EF-Mount for Canon lenses (ordinaire & “CN-E”).  This is the one for mortals like me.
        • Permits iris to be controlled via dials on camera.
        • Greater available selection of lenses (also usable on stills cameras) e.g.:
          • Telephoto: “EF 70-200mm f/2.8L USM” telephoto zoom lens and tilt-shift lenses.
          • Macro: “EF 100mm f/2.8L Macro IS USM” (article photos include an image of ants)
          • Fisheye: “EF 8-15mm f/4L Fisheye USM”
          • TiltShift: “TS-E 90mm f/2.8”
        • Image Stabilisation (IS) is reported to be good e.g. with the Canon L 70-200mm F2.8 IS Version II
      • PL-Mount: More for movie professionals.
  • Recording:
    • Resolution: HD 1080p & 720p
    • Frame-rates: variable 1 to 30 fps in 1080p mode, and 1 to 60 fps in 720p mode, 1 fps increments.  Also time-lapse and stop-motion/claymation (latter is several frames per “click”).
      • But, like F3 (and unlike FS100), overcranking requires dropping to 720p
    • It can also shoot 50i and 60i (interlaced), useful for deriving 50p and 60p in post.  Historically (e.g. for DV or HDV (Z1) footage), I have done this using freeware (AviSynth and its TDeint filter) for this, but Apple Compressor and other alternatives exist too.  Stu Maschwitz apparently covers this topic in his book << The DV Rebel’s Guide>>
    • Gamma: includes Canon’s Log Gamma.  LCD & V/F display flat and corrected.
    • Audio: uncompressed 16-bit audio at 48 khz (info from FAQ).
  • Recording format:
    • Compact Flash (over 5 hours for a 128GB card)
    • MPEG-2 Long GOP 4:2:2 MXF codec with a constant bit rate of 50 megabits/sec.
      • Philip Bloom says “It is the bare minimum for HD acquisition, but it at least reaches it.”.
      • Sample recording (MXF as stated) is available here (according to here).
      • {Does MPEG-2 imply 8-bit?}
        • Yes.  That is highlighted in several other sites e.g. this and this.  Some believe (rightly or wrongly) that this limitation is a “corporate rather than technical” decision, and a future generation will have 10-bit.
      • {What of the Log Gamma? 8-bit (is it ?) would limit its usefulness or not?}
        • Opinions differ.  Obviously the extent to which it matters depends on the scene.  Some views and image comparisons are here, for 10, 8 and even 7 bits.
          • At that link, one poster suggests dithering as a work-around to reduce banding (from any camera): adjust camera to give noise then (in post) use a good noise-reduction plugin.
      • The only Super-35 sensor camera in its price category (as of fall, 2011) that records 4:2:2 color sampling on-board.
  • Ports:
    • XLR (via clip-on monitor assembly?)
    • Time code, Genlock, HD/SD-SDI and HDMI
      • {But how many bits? 10 (as I’d hope) or still only 8?}
        • Only 8-bits, surprisingly.  It is reported that: “SDI output (is) limited to 8-bit 4:2:2”
  • Monitoring
    • RGB histogram, vectorscope and an Edge monitor (focussing)

More links:

Other Misc. Links: