Mac Additional Partitions to Boot Camp

January 7th, 2011

Special instructions, e.g. to have a data partition alongside Mac OS and Windows partitions:

Avid Tutorials by Douglas – Latest List

January 7th, 2011

Latest list of Avid Media Composer Tutorials by Douglas (Gaijin-Eyes):

Mac OS 10.6.6 – Upgrade? (No)

January 7th, 2011

Some people have reported problems:

  • http://discussions.apple.com/thread.jspa?messageID=12881918&tstart=0
  • <<I upgraded to 10.6.6 from 10.6.4. I installed 10.6.5 a few weeks after it was released and cause under exposing in all Final Cut Studio programs so I downgraded back to 10.6.4. I was hoping that 10.6.6 would solve this issue but it has not!  >>
  • http://discussions.apple.com/thread.jspa?threadID=2710542&tstart=0
  • << while I edit, I got a “Out of Memory” Error and an “Invalid Operation”. Can’t reopen the sequence on my MacBook but it opens with no problem on a Mac Pro.>>
  • << Did a fresh install of 10.6.6 and no luck. Still the same error. Reverted back to a vault version of the project and worked slowly with it. No errors so far. Seems if I import in a particular PSD file, that out of error message comes back eventually. >>

Mocha

January 7th, 2011

Great video tutorials giving both overview and details of this track/matte/rotoscoping (roto) product (pronounced “Mow-Kah”), at http://www.imagineersystems.com/products/videos.  Example:

  • http://www.imagineersystems.com/videos/steve-wright-mocha-workflow/view
    • Learn mocha: Chapter 2. mocha workflow.  Steve Wright covers the basic mocha track and roto workflow for new users.
  • http://www.imagineersystems.com/what-is-planar-tracking
    • <<<
    • Imagineer’s Planar Tracker doesn’t employ point trackers, but tracks an object’s translation, rotation and scaling data based on the movement of the user defined plane.
    • When you work with the mocha tools, you will need to look for planes in the clip. More specifically, you will need to look for planes that coincide with movements you want to track.
    • The Planar Tracker respects layer priority similar to a camera: Objects in the distance should be lowest in the layer stacking order. Objects closest to the camera should be stacked higher in layers.
    • While the most common planes are flat surfaces, objects in distance or with little parallax form patterns that can be considered successful planes to track as well.  Our customers have been know to get rock solid tracking from unthinkable objects such as faces and spheres.
    • >>>
  • http://www.imagineersystems.com/videos/how-to-shoot-for-planar-tracking/view
    • Great demo of what it can and can’t do, when it’s “overkill” and workarounds (usually in-plane markers or casual objects) for problem-shots.
      • Is “overkill” when subject is fixed and relative motion is only due to camera pan/tilt.

Apple Motion

January 5th, 2011

At startup (by default), in addition to “new project” options, it offers:

On my system at least, these load surprisingly slowly, then if either of the above are selected then the Motion GUI closes, leaving the Motion app active (but, as far as I can see, useless).  Maybe I’m missing something?

Canon 5250 Printer Software – Mac OS (10.6.5) Install & Initial Experiences

December 28th, 2010

Differences from the Windows (7) experiences:

  • As is typically the case for any device, the Mac installation dialogs etc. differed slightly from their Windows counterparts.
  • Once installed, its Print dialog seemed somewhat over-minimal, there being no obvious way to specify duplex printing for example.  The solution was found by experimentation, as follows:
    • In the dialog, under “Paper Size” and “Orientation” was a multi-choice selected as Preview
    • Clicking on this revealed that the other choices were the missing (expected) printer properties options (such as duplex):
      • Preview
      • Layout
      • Color Matching
      • Paper Handling
      • Cover Page
      • Scheduler
      • Quality & Media
      • Color Options
      • Borderless Printing
      • Duplex Printing & Margin
      • Supply Levels
      • Summary
        • This would have been the best default option, for first use, because it shows all(?) of the other options in a twirlable (expand/collapse) tree.

Once installed, can get to the printer’s optons & job-queue as follows (no obvious options here to define duplex as default):

  • Apple > System Preferences > Print & Fax > Canon MG5200 Series
    • Open Print Queue
    • Options & Supplies
      • General
      • Driver
      • Supply Levels
      • Utility
        • Cleaning (regular cleaning, eliminate smudges and lines)
        • Deep Cleaning (un-clogs nozzles that cannot be cleared by regular cleaning)
        • Bottom Plate Cleaning (prevent paper smudges during printing)
        • Roller Cleaning (for smoother paper-feeding)

Using it:

  •  From NeoOffice (3.1.2) Writer, with a three-page document:
    • File > Printer Settings
      • NeoOffice crashes…
    • File > Print
      • Print-dialog appears
      • Has a multi-choice (default selection = Layout)
      • Select Duplex Printing & Margin
      • Enable Automatic Duplex Printing
        • Staple-side = Long-side stapling (Left)
    • Result: It worked!
      • But these settings were not retained for a further printing even of the same document.
      • So you have to check duplex etc. every single Print operation…
      • Duh!

Canon 5250 Printer Software – Windows (7) Install & Initial Experiences

December 28th, 2010

On Windows 7 / Boot Camp 3.1 on a MacBook Pro (MBP) of January 2010 vintage, I installed the Canon printer software for their Pixma MG5200 printer (as supplied with my MG5250 printer).  Installation was unexpectedly lengthy (one or two hours) due to a USB issue, a one-way-only Setup application (and consequent need to do a System Restore and fix knock-on effects of that)  and finally an unexpected confusion over paper source. The latter was explained by popup dialogs but these were not noticed at first as they were hidden under the document being printed (a user-interface issue – application or windows?).  The solutions I immediately found to these issues were:

  • Unplug all other USBs from the machine – which in this case was a cheap Microsoft wireless mouse.
  • Set the paper source specification to Manual, then manually specify it to be the rear tray.
    • But there is a better solution – read on.

Having subsequently read the manual, and indeed having looked at the setup dialogs more attentively:

  • Rear tray is intended for speciality paper such as photo paper.
  • Plain paper should normally be loaded into the Cassette
    • This is a paper tray located low-down on the front of the printer.
    • To open it, don’t try to pull via fingernails through thin gap, instead use purpose-made “gripper” on underside of “Cassette”.
  • Note: The multi-lingual nature of the Manual’s pages is hard on the eye…

This is better really, as it reduces the printer’s “visual clutter” and “space invasion”. It worked fine, for duplex too.  It is also possible to configure the printer to use the rear tray as an additional source of plain paper e.g. if the Cassette runs out:

  •  In Windows System Tray:
    • Canon My Printer >RtClk> Open My Printer > Paper Source Settings
    • (Not recommended though)

Read the rest of this entry »

Boot Camp 3.2 Update – Yes or No ?

December 28th, 2010

NO! …Not at the very least until such time as I have no pressures and fancy an experiment (everything backed-up of course). On my Jan 2010 MacBook Pro (unibody), most things “ain’t broke” at present, the only issues are that the FW800 port and ExpressCard ports work only in Mac OS, not Windows 7, but I’ve found no explicit mention of these issues having been fixed. Shame, quite a few Windows people are put off Macs for that kind of reason.  On the other hand while some people report no problems, others do report issues (sometimes due to old/unhandled existing nVidia drivers on their systems), as follows.

  • nVidia driver problems affecting install, display (and possibly keyboard).
    • Installation may hang or fail or appear to succeed but not completely in practice.
    • Screen may appear at low-resolution (e.g.VGA) or may black-out
    • Sleep (power management) may give a BSOD.

Read the rest of this entry »

Cramming a Multi-Hour Movie onto a DVD

December 27th, 2010

http://www.sonycreativesoftware.com/forums/ShowMessage.asp?MessageID=741147&Replies=2

  • Very simple estimation method is to divide the length in minutes into 600.
  • Example: 5 hours is 300 minutes, so 600/300 = 2Mbps.
  • Assuming you use 192Kbps for the AC3 audio, 2Mbps – 192Kbps = approximagely 1.8Mbps for the video

My proposed workflow for Sony Vegas / DVD Architect (DVDA):

  1. In Sony Vegas:
    1. Render the audio on its own first, as AC3-Pro.
    2. Check the remaining space. Allow say 4% headroom (safety-margin). Maybe more, to create deliberate physical margin at edge of disk (where handling-marks are likely to occur). Adjust video rendering properties to achieve this.
    3. Render the video on its own. Check its size is as expected.
  2. In DVD ARchitect:
    1. Add both audio & video to a DVDA Project.
    2. In DVDA, do a Prepare, skipping past any warnings about disk space.  Presumably if source files (audio and video) are in same format as target and no “Fit to Disk” is selected then it should only do Wrapping, not Compressing (?)

Storyboarding

December 27th, 2010

http://www.sonycreativesoftware.com/forums/ShowMessage.asp?MessageID=742713&Replies=16

Forms, Spreadsheets and Tools for Film-Making

December 27th, 2010

Forms, Spreadsheets and Tools for Film-Making:

  • http://dependentfilms.net/files.html
    • Editing Log
    • Field Tape Log
    • Location Contract
    • Camera Shot List
    • Talent Release Form
    • Call Sheet Template
    • Location Relase Form
    • Personal Release Form
    • Location Scouting Sheet
    • Production Budgeting Proposal
    • Call Sheet
    • Daily Editors Log
    • Cast Contact Sheet
    • Crew Contact Sheet
    • Daily Continuity Log
    • Daily Progress Report
    • Easy Script Breakdown
    • Script Supervisor Notes
    • Daily Production Report
    • Continuity Synopsis Sheet – (18.1K) *
    • StoryBoard Tool – Windows based program with simplistic, yet effective tools.
    • Sample Location Contract *
    • Sample Performer Release *
    • Sample Script Agreement *
    • Sample Compensation Contract *
    • Camera Journal
    • Equipment List in Excel format. – (7.09K)
    • Detailed Budget in Excel format.
    • Databases for your Palm Pilot
    • SMPTE Color Bars for your computer Screen – (6.80K)
    • Time Code Calculator for Camera number crunching – (247Kb)
    • Vid Prompt – Turn your computer screen into a teleprompter. Good program to have – (89.2K)

Great informative review of Avid Media Composer 5

December 27th, 2010

http://dylanreeve.com/videotv/avid/2010/review-media-composer-5-0.html

Avid has no Secondary Color Correction (but there are workarounds)

December 27th, 2010

Avid Media Composer (up to V5 at least) does not have secondary color correction.

  • http://www.sonycreativesoftware.com/forums/ShowMessage.asp?MessageID=743013&Replies=10
    • Avid (Media Composer) does not have secondary color correction. At least not like Vegas does.
  • http://en.wikipedia.org/wiki/Media_Composer
    • (Avid) Media Composer differentiates itself from Avid Symphony because it is missing Advanced/Secondary Color Correction and Universal Mastering.
  • http://dylanreeve.com/videotv/avid/2010/review-media-composer-5-0.html
    • Now all we need is secondary color correction…
  • http://community.avid.com/forums/t/63155.aspx
    • I heard Media composer does not have secondary color correction
    • Idea 1:
      • Colorista does full screen or square/rectangle/oval/circle windows (not custom).
      • You can achieve “power windows”-style secondary results in Media Composer by duplicating the clip onto a higher track, using Animatte tools to isolate an area within the clip and applying different correction to that area.
    • Idea 2:
    • Idea 3:
      • Colorista combined with Magic Bullet Looks should be able to do everything you’re looking for.
      • I believe Colorista has masks or what’s commonly called Power Windows but I don’t believe they have a tracker. I suggest you download the demo version of each and try them out.
      • In the Media Composer you can use the Paint effect to create a shape and apply basic corrections to that shape and track it.
    • Media Composer has a tracker. Here’s a tutorial:
    • Using the Paint Effect or AniMatte with two layers of video a very basic correction can be applied and tracked. For example, I’ve corrected a scene where the subject was looking at a computer monitor and their face was blue from the reflection of the screen. I was able to draw a shape, make color adjustments to remove the cast and track it.
    • Additionally Boris Red/Avid FX has a powerful color corrector and motion tracking:

Convert [.flv] to [.mp4]

December 27th, 2010

How convert a [.flv] file to a [.mp4] file?

Avid & Boris FX

December 27th, 2010

Some good links with tutorials and documentation on Boris BX, within and without Avid:

AviSynth FrameServer: Virtual AVI/WAV Files

December 23rd, 2010

DNxHD & 1080p50

December 23rd, 2010

Avid DS allegedly supports it:

ffmpeg to transcode XDCAM-EX [.mp4] files to QT-DNxHD

December 23rd, 2010

It is possible to use the open-source ffmpeg to transcode XDCAM-EX files to other formats, such as DNxHD.Information from http://www.dvinfo.net/forum/sony-xdcam-ex-cinealta/112018-mfx-details-compatibility-what-about-ffmpeg.html as of 2010-12-23:

  •  ffmpeg -i input.mp4 -vcodec dnxhd -b 60Mb -acodec copy output.mov
    • 60Mbit is a 720p bitrate.
  • This is a good ffmpeg for pro users help site:
  • This is the command line I got from Baptiste who is developing the DNxHD stuff in ffmpeg.
    • Progressive:
      • fmpeg -i inputfile.mp4 -vcodec dnxhd -b 185Mb -acodec pcm_s16le outputfile.mov
    • Interlaced: (The difference is the -flags +ildct)
      • ffmpeg -i inputfile.mp4 -vcodec dnxhd -b 185Mb -flags +ildct -acodec pcm_s16le outputfile.mov
  • And this is a link to a DNxHD white paper:
  • We are thinking of using 36Mbit DNxHD but all people we talk to say to use 185Mbit or maybe 120Mbit and that 36Mbit is for offline.
  • But if you don’t have a problem using allot of GB on disc then go for Max Mbit for the specific resolution and framerate you use:
    • 1080p/25 DNxHD 185 1920 x 1080 8bit 25fps = -b 185Mb
    • 720p/50 DNxHD 175 1280 x 720 8bit 50fps = -b 90Mb
    • 1080i/50 DNxHD 185 1920 x 1080 8bit 25fps = -b 185Mb
  • More settings for other framerates:
    • http://www.itbroadcastanddigitalcine…#Encoding_VC-3
      • Had many commandlines and DNxHD settings, though sadly none for 1080p50 (as I require).
      • …and link is dead – as of 2016-08-18

Information from http://forum.doom9.org/showthread.php?t=130781

  •  FFmpeg is now providing Avid DNxHD (SMPTE VC-3) encoding and decoding features

64-bit version of Mike Crash’s Smart Deinterlacer plugin for Sony Vegas

December 23rd, 2010

There is more than one development of this, the Craig Longman one covers both the functionality and the 64-bit-ness of this filter:

Cineform Settings – which ones to use for what

December 23rd, 2010

Which modes of Cineform are appropriate under which circumstances:

  • Paraphrased from [http://www.sonycreativesoftware.com/forums/ShowMessage.asp?MessageID=742985&Replies=3, as of 2010-12-23]
    • NeoScene and NeoHD uses can select 4:2:2 in any quality.
    • High quality is for finished material (e.g. to be output to DVD/BluRay) but if further grading is a possibility then use Filmscan 1
      • Filmscan 2 is overkill.
    • Neo4K and Neo3D users also get 4:4:4 and 4:4:4:4 support.
      • Requesting these modes with (other variants of the software?) will result in a watermark.
      • For extensive post, filmscan and 4:4:4 is probably a benefit.
      • 4:4:4:4 requires lots of power and raid arrays.
    • The uncompressed mode should generally be avoided – it is only intended for camera acquisition to save battery power.

Cineform is a codec for digital intermediates.  When used in appropriate ways, it offers visually lossless compression/decompression.  Some quality reduction does occur but only to a degree that is not important to (or even noticeable by) most people’s eyes, even after several rounds of compression/recompression.  In contrast, delivery formats such as DV, DVD, XDCAM-EX are suitable only for a single round of compression/decompression, and even then are lossy (lose quality) to a degree that many people can notice, especially when playback is paused at a single frame.

QuickTime 10 – Warning

December 22nd, 2010

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).

MacBook Pro FW800 useless under Boot Camp

December 19th, 2010

No solution noted as of March 2010: http://discussions.info.apple.com/thread.jspa?threadID=1972915&start=15&tstart=0

Fast Shutter Speeds for Action Scenes

December 19th, 2010

For action scenes like fast ski-ing, what shutter speed is best?

Apple Compressor – Start-Up Hangs – Fixed

December 18th, 2010

On MBP, I tried starting-up Compressor but its icon just bounced up & down (on the task-bar) for ages.  Attempts to right-click it revealed a “Not Responding” condition.  So I searched for a solution.  I discovered a check-list Compressor: Troubleshooting basics at http://support.apple.com/kb/TS1888?viewlocale=en_US.  From that check-list, the fix that worked was to delete my account’s Preferences for Compressor, as follows:

  • In the Finder, go to ~/Library/Preferences
    • (where the tilde (~) represents your Home folder).
  • Remove the following files from the Preferences folder:
    • com.apple.Compressor.CompressorSharedService.plist
    • com.apple.compressor.Compressor.plist

I discovered the checklist at http://discussions.apple.com/thread.jspa?threadID=1408723, which also gave some more tips.

EX3 Shooting-Mode & Shutter Effects on Exposure

December 17th, 2010

The traditional degree of motion blur, broadly consistent with what the eye normally experiences, is obtained by using around 1/50 sec shutter (no problem in practice for shutter speeds 1/48-1/60).  What shutter setting (mode /value combination) can best achieve this for different shooting modes, e.g. 25p, 50i, 50p ?  I am no expert on this but from my web-search I assume the following:

  • For progressive modes around 25-30p, where light level allows, use Shutter On.
    • But for double-rate progressive (50p-60p),  use shutter-off.
  • For interlaced modes or double-rate progressive or for low light situations, use Shutter Off.
    • In interlaced modes, Shutter Off is equivalent to 1/50 or 1/60 (depending if 50i or 60i)
  • Warning about Angles: in Interlaced modes, “180 shutter” acts more like a 135 shutter.
    • The “Angles” option is really aimed at film veterans, who by definition only use progressive.

Read the rest of this entry »

Shutter Speeds – progressive (24p,25p,50p) and interlaced (50i)

December 17th, 2010

On an EX3, what’s best for indoor shots of lectures etc?

  • Normally film runs at 24fps, with a 180° shutter – which is 1/48th second.
    • Hence for 25 fps, ideally use 1/50 second, or nearest available match to this.
    • Uncertainty: For 50i, each field is at 25fps, so presumably still use 1/50 second ?  Depends on how camera works?
  • For a shot of someone talking, it would be hard to see the difference between a 1/48th shutter time and a 1/60th shutter time.
  • To avoid (conventional) light flicker, frame rate should divide by integer into twice the power frequency.
    • EX3 has no 1/50 shutter speed, at least when specified by Time – nearest equivalent is 1/60.  This may risk some degree of light-flickering in 50Hz mains countries.
  • For 1080i50
    • Initially, used “No Shutter”, to maximize exposure with least Gain.  But gave noticeable motion-blur.
  • For 50p or 25p
    • 1/50 or nearest equivalent (on EX3 is 1/60)
  • For 50i, opinions vary:
    • UseEX3’s nearest equivalent time-based shutter time of 1/60
    • Use 180 degrees (assumes this angle relates to frames-per-second, namely 25fps for each frame – but is this valid when interlaced)
    • Use No-Shutter (assumes 50i shoots each field alternately, at 50fps, hence no-shutter is inherently 1/50 – but is that assumption true?)

Read the rest of this entry »

Final Cut – Lightweight Intro & Basics

December 17th, 2010

Links:

Final Cut – Markers

December 17th, 2010

One of the uncertainties holding me back from weaning myself off Sony Vegas to FCP for real projects is over Markers.  In Vegas I can do everything easily, and routinely use markers to identify cue-points, ideas, problems, all kinds of things.  I use them at media, timeline and project/sequence levels, sometimes promoting them from one level to another.  So how easily can I follow a similar practice in FCP?  Google: [fcp markers]:

  • markerTool
    • http://www.spherico.com/filmtools/markerTool/index.html
      • markerTool … allows to move markers from clips to the sequence level, from sequence level to selected tracks, moving an arbitrary selection of sequence markers in time, exporting the marker settings to the clipboard and finally creating sequence markers with data from a tab delimited text file.
      • It also does allow to collect all sequence markers from nested sequences.
  • Markers
    • http://www.geniusdv.com/news_and_tutorials/2009/09/all_about_markers_in_final_cut_pro.php
      • All about Markers in Final Cut Pro, by Sandy on September 1, 2009
      • Varieties: Chapter Markers, Compression Markers, Scoring Markers, Sequence Markers, Clip Markers, and the list goes on
        • Clip Markers are Pink, Sequence Markers are Green
          • …with Final Cut Pro 7:
            • …you can … color-code clip and sequence markers of your own.
            • You can add notes while the clip is playing and when you export your marker list, your custom names are exported also.
        • … default marker is the Note Marker.  This is the marker that is created when you add a marker to a clip or a sequence.
      • Markers can be used for making comments, synchronizing multiclips, adding DVD chapters, and even making subclips.  Usually, markers are placed only on a specific frame, but you can also create a marker with a longer duration.
      • To add markers:
        • …add markers to clips or sequences by hitting the “M” key.  To name your markers or add comments to them, simply hit the “M” key twice.
        • …you can also go to the Mark Menu > Markers and add them from there.
      • Varieties in more detail):
        • Our default marker is the Note Marker.  This is the marker that is created when you add a marker to a clip or a sequence.
          • Wonder if can have different colours for different purposes (e.g. problems, opportunities, suggestions, review status).  Looks like FCP7 might alow this.
          • Ideally would like user-defined type where each type had customizable look (size, colour, font, whatever) and one could filter the display to only show the required combination of types (e.g. via list-of-types checkboxes).
        • Chapter Markers automatically become DVD chapter markers to be used in DVD Studio Pro
        • Compression Markers can be added to tell Compressor or DVD Studio Pro that it should generate an MPEG1-frame during compression.  You want to add these where there is an abrupt visual change from one frame to the next within a clip, to improve MPEG compression.
        • Scoring Markers are used to make visual cues to sync music to and can be exported to Soundtrack Pro
        • Audio Peak Markers, when you have them activated, can show you where in your clips that the audio level should be reduced at that point.
          • Sounds highly useful.  In Vegas I instead preview everything and watch the meters.
        • Long Frame Markers can be added if your clip has long frames that you might want to avoid using in your sequence.

Generate a Wiki table from Excel

December 16th, 2010

Links:

Mpeg StreamClip to Transcode

December 15th, 2010

Steps:

  • (Mac or Win): Mpeg StreamClip
    • For the purposes of this explanation, it is version 1.2.
    • It is a stand-alone executable, no “installation” required.
  • Mpeg StreamClip:
    • List > Batch List > Add Files
      • (select file
      • Click the [To Batch] button
    • Select [Export to QuickTime]
      • Say NO to [Join all the files] and [Fix timecode breaks]
      • Specify a destination folder
    • [Movie Exporter] dialog
      • Slide Quality up to 100%
        • Why would anyone want anything less than 100%  What’s the cost / tradeoff involved here?  File size or execution time?
      • Select the required codec.
      • If source footage is progressive then deselect [Interlaced Scaling]
      • Click the [To Batch] button
    • [Batch List] dialog
      • Confirm the displayed list of files to transcode
      • Click the [Go] button.

Mac Cinema Tools to “Conform” (alter fps playback rate)

December 15th, 2010

Suppose you have footage shot at one rate e.g. 25 fps and require it to be played at a different rate e.g. 24 fps.  Possible reasons: you shot at 25 fps and want to edit on a 24 fps timeline, or maybe want a crude but quick way to alter footage duration or to speed up or slow down the action that was shot.  The process below lets you alter the metadata  in video files so that they play back at a different fps to that at which they were shot.  That’s all it does, there’s no frame interpolation etc involved here.  This is a destructive process, the selected files have their metadata altered, to specify the required playback rate.

I’ve only just discovered Cinema Tools here, thanks to Den Lennie’s Creating the Film Look course, and quite clearly have only just scratched the surface.  Looks like its main function is to serve as a database for translating digitaal edits into film edits.  Not something I’ve been involved in thus far.

Iomega NAS – Initial Experiences

December 12th, 2010

Bought an Iomega Network-Attached Storage (NAS) device for a home network.  Here are my experiences:

  • Plugged it in and (naively) looked for it on Windows Explorer (networks section) but it didn’t appear there.
  • Ran its setup CD. Wary of bloatware, I selected Custom setup.  At the very least, that should list what kinds of thing could potentially be installed, then I can find out about them first.
    • Only installed the basic (non optional) software.
    • There is a backup tool, potentially useful but don’t want to dive into that just yet.
  • The result: a number of extra “drives” (drive letters) appeared, each being mapped to a network drive. The IP address was the same in each case: [192.168.1.68].   Although there was only one NAS, each “Network Drive” (letter) was mapped to a different folder on it, as follows:
    • music
    • photos
    • ActiveFolders
      • The NAS config (webpage) lets you define these, e.g. a folder where you can drop a file and it will turn up at your YouTube account.
    • public
      • What’s that for?  How”public” is it?
    • movies
    • backups
  • Reactions:
    • I had not expected that, just expected a single drive letter underneath which I would make my own folders, one for each user plus a shared one.
    • Presumably they are all intended to be shared among all users.
    • Maybe I can still make my own folders per-user etc.?  Maybe also can configure each user’s account to be tied to the appropriate one of these?
    • The NAS is a server, maybe it doesn’t allow access to root, only to folders?
  • User Manual
    • The Setup (disk) offers to Install the User Manual. Slightly concerned over that – only really want a PDF, not (potentially) more unknown bloatware.  Went ahead anyway.
  • NAS Config
    • To access the NAS Config (webpage):
      • In browser, for this particular device, can simply enter its name.
        • The default name was [Iomega-110496/], the numeric suffix being from the NAS’s MAC address.
        • One can change this name in NAS Settings, explained further below (where I indeed did so).
      • Its initially-displayed page is a demo ActiveFolder which presents a slideshow of any photos dragged into it.  So you can e.g. use your laptop as a photo-frame.  This is but one of several types of ActiveFolder.  More on these later…
      • Go to the Home page (via left-most menu)
        • Go to Remote Access tab (via upper tab-selections)
          • Ensure that Remote Access is disabled (for security).
          • Also can see the full MAC address there.
      • Go to the System page (via left-most menu)
        • Go to Date and Time tab (via upper menu)
          • Change it to the appropriate timezone.  By default was the US’s EST.  Changed it to GMT.
        • Go to Settings tab.
          • Change LED brightness down to minimum.  These gimmicks are simply annoying.
          • Change Machine Name from default
            [Iomega-110496] to memorable [magibox].

            • Test it works by entering magibox as the address in a fresh browser page.  Used Opera, which asked to put a “http://” at the front.
          • Change machine description to read “Julie’s Home Network Drive”.
      • Go to the Folders page (via left-most menu)
        • There is only one tab, “Folders”
          • Click the [+] button at lower-left (scroll-down) to add a new folder.
          • Add folders for each user- in line with my original scheme, to see if I can make that happen.
            • When create folder for self it says something like “since this is the first time you are accessing this folder, would you like to assign a password for it?
      • Go to the Active Folders page.
        • Go to Photos and Files tab
          • See the demo (slideshow) folder is there
          • Add a new folder, [Julie’s YouTube]
            • Inspected its Settings and it appeared already to have some YouTube details (username and password).
  • The NAS offers other features like Bittorrent (in some way) but I haven’t investigated those yet.

Reintroduction to Microsoft Visual C++ (v6.0)

December 10th, 2010

Picking up an ancient software project in C++, edited in Microsoft Visual Studio for C++.  Where to start?  So I don’t have to work it out again, here are the basics:

  • Double-click a [.dsw] file.
    • That is a Workspace file, plain text, not a lot inside it.
    • It includes a reference to a [.dsp] file, which is a Project file, plain text, serves as a Make file.
    • Do not double-click a [.dsp] file directly.
  • Now to compile.  There are two Compile modes: Debug and Release.   The former makes debugging easier and the latter is slimmer and fitter (more optimized, hence smaller and faster).
    • To select mode, do [Build > Set Active Configuration]
  • If select Release mode, then result, the expected [.exe] file and a bunch of clutter (some [.obj] files etc.) appear in a Release subfolder.

Checksum-based Backup Methodology – Thoughts

December 10th, 2010

Looks like I’ve evolved a hybrid system:

  1. Proper backup / synch tool: SuperFlexibleFileSynchronizer (abbrev to “SuperFlex”).
  2. Procedural with lower-level tools: File drag-copy combined with MD5Summer.

The idea is that normally I would use SuperFlex, but for occasions where I already have manually-created (supposed) mirrors, I can retrospectively check consistency at content (not just datetime and size) level.  Have yet to experiment with SuperFlex to see if it can verify existing copies of files (as opposed to copies that it is making).

File Backup / Sync / Verification

December 9th, 2010

I was looking for an app to assist in synchronizing of copies of file systems, for example main and back-up copies.  I chose a good-looking application available for both Windows and Mac:

Read the rest of this entry »

md5 Check-Sum Apps for Windows

December 9th, 2010

md5 Checksumming in Windows:

  • There is no in-built checksumming tool I know of in Windows, but they are standard in linux etc.
  • The best third-party md5 checksum tool I have discovered for Windows is MD5Summer (V. 1.2.0.11)  [http://www.md5summer.org/download.html].
    • When you run it, it first checks file associations and offers to set it as default for [.md5] files.  In W7 an attempt to do so may be denied (admin status required).
    • You first select a root-folder then files within it (or all, recursively).  To select files, it’s not sufficient to highlight them, you have to double-click them (or click the Add button), so that they appear in the right-hand pane.  Only then will the OK button be enabled.
    • By running it recursively from a root folder, rather than on individual folders, a single [.md5] file is created that does not pollute the subfolders (e.g. BPAV folders as recorded by XDCAM-EX).
    • Had a slight issue once where I manually copied from XP to W7 machines, then generated MD5 on source machine (XP) and verified on target machine (W7).  At first, the verifier immediately returned all mismatches.  So immediately in fact that it seems likely it was not performing any computation.  Later on it worked as expected.  Not known what changed to cause this, maybe simply the act of opening the md5 file in NotePad..

Concepts (to the best of my understanding):

  • A check-sum of some data is a “fingerprint” numeric value that is probably-unique to that data.  A fingerprint is useful when it is much smaller than the data it represents yet (virtually) uniquely identifies the content of that data.  A checksum of a file reflects that file’s data-contents but is not affected by the file name etc.
  • Various checksum schemes/algorithms exist, one of the most popular being md5.   An md5 fingerprint is extremely unlikely to be the same for any other file and will (for that reason) almost certainly change in value if the contents of a file is changed by even the tiniest degree.
  • A typical md5 tool will take one or more specified files and generate their fingerprints as corresponding entries (each entry being a filename and a fingerprint) in a [.md5] file.  Correspondingly it will take a given [.md5] file and report whether or not the stated and (re-) computed fingerprints agree.
  • An [.md5] file is a text file with one or more lines consisting of a checksum value (in hexadecimal) then a space then an asterisk then a file name, possibly preceded by a folder path (with respect to the folder containing the [.md5] file).  It can also have comment-lines, each beginning with a hash (#) character.  Example entries:
    • eb574b236133e60c989c6f472f07827b *fred.exe
    • [eb574b236133e60c989c6f472f07827b *tmp/fred.exe].
  • Some download sites include [ .md5] files alongside or along with their associated  files.  Some sites just display the fingerprint itself on the webpage.  Typically the purpose is to allow the user to check whether a download was complete or was corrupted.
  • The fingerprint computed by a typical checksumming application is not affected by a file’s name or read-only status etc., only by its data contents.  Thus it is not a total basis for consistency-checking of system configuration.

Read the rest of this entry »

Command-Prompt as Folder Right-Click option in Windows Explorer

December 9th, 2010

In Windows XP, wanted a folder right-click menu option to bring up a MSDOS command shell.  This proved very simple to add, and gave the further benefit of the text-based (command-line) user interface (TUI?) retaining customisations (e.g. green text).  The steps were (for Windows XP):

  • Windows Explorer: Tools > Folder Options.
  • Select the File Types tab.
  • Go to NONE / Folder.
  • Select the entry labeled Folder
  •  Press Advanced button.
  • Select New
  • In the action block type “Command Prompt” (without the quotes).
  • In the app block type “cmd.exe” (without the quotes).
  • Save and exit Folder Options.

Read the rest of this entry »

Moire pattern (shirt) fix in Sony Vegas

December 8th, 2010

Moire pattern on presenter’s shirt when footage’s image size shrunk from HD to much smaller.  Was a corporate shoot where lecturer wore a finely lined shirt (doh!).  Tried a few experiments but a googled solution worked best, as follows.  I applied a Gaussian blur as a MediaFX, so it (hopefully) got applied before the pan/crop downscaling.  Worked well in any case.

  • http://www.sonycreativesoftware.com/forums/ShowMessage.asp?ForumID=4&MessageID=675814
    • Your problem is moire. If you want to understand why you have this problem Google “Optical Low Pass Filter”. This is a vital part of any digital camera both still and video. When you downscale an image to a lower resolution the OLPF is no longer enough to filter out high frequency detail at the lower resolution and hence you hit problems with the Nyquist Limit.
    • You fix this by reducing the resolution BEFORE downscaling. This is easily done by using the Gaussian Blur FX in Vegas. You only usually need a tiny amount and can adjust the amount depending on what is in front of the camera. Values of 0.001 to 0.003 should be more than adequate. You may only need to apply it in the vertical direction. …you will need to experiment to get just enough image softening to stop the aliasing without making it too soft.
    • …you need to do this BEFORE downscaling. Render at Best quality mode. Do some quick tests

Sony XDCAM-EX & Letus Extreme

December 8th, 2010

Canon 5D mk II DSLR vs Sony XDCAM-EX and RED One

December 8th, 2010

Great comparison of Canon 5D mk II DSLR against Sony XDCAM-EX and also Red-One etc.:

Capture from Sony HDR-SR12 (LenCam)

November 30th, 2010

Can simply dig-down, locate and drag the MTS files, but these are really just components of clips, limited in size to around 2GB, hence more numerous than the clips themselves.  To get clips as single files, use e.g. Sony Vegas Device Explorer.  The result is MTS files that are (typically) larger and fewer in number.

LED Light Pulsing (Filming Aberration & Interesting Phenomenon)

November 26th, 2010

http://vimeo.com/7124347

FCP Project Startup – Steps

November 20th, 2010

Steps: (may be useful for making a checklist?)

  • (Day-book 2010-08-16 12:30)
    • Did it at office.

MacBookPro ExpressCard FW Adaptor

November 20th, 2010

Need a TI-chipset based ExpressCard FW adaptor.  Ideally should be compatible with both FW400 devices (e.g. camera) and FW800 devices (e.g. external storage).  See what PCWorld have:

  • http://www.pcwb.co.uk/catalogue/item/A0431491?cidp=Froogle
    • “StarTech.com 2 Port ExpressCard 1394b FireWire Laptop Adapter Card – FireWire adapter – 2 ports, … £43.46 inc. VAT” (as of 2010-10-11)
    • This 2 Port ExpressCard FireWire Adapter Card adds two 1394b FireWire ports to a laptop computer, providing a cost-effective way to add IEEE 1394A and IEEE 1394B FireWire devices even if the laptop doesn’t have a built-in FireWire 400 or FireWire 800 port. Simply insert the IEEE 1394B FireWire 800 card (EC1394B2) into an ExpressCard slot, and you’ll be able to connect a broad range of FireWire devices to your laptop, while relying on data transfer speeds of up to 800 Mbps . Plus, the card is backward compatible with 1394a devices, so you can connect both FireWire 400 and 800 devices to the notebook, using the same adapter.
    • http://us.startech.com/product/EC1394B2-2-port-ExpressCard-1394B-FireWire-800-Card
      • ” Chipset: TI – XIO2213A “
      • ” OS Compatibility: Windows 2000/ XP(32/64bit)/ Vista(32/64bit)/ 7(32/64bit), Mac OS 10.5.x and up, and Linux “
  • Tried an ExpressCard FW adaptor (unsure which one) but it didn’t even become visible to W7 as a device…

    DNxHD Tips

    November 20th, 2010

    http://www.sonycreativesoftware.com/forums/ShowMessage.asp?MessageID=736849&Replies=34

    • Avid updated/fixed the DNxHD Codec Configuration Window with their Oct (2010) release…
    • http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=372311
    • The Avid codec can only exist in a .mov Quicktime wrapper. A big deal on a lower powered computer like my Core2Duo but pretty much a non-issue on any quad core.
      • Not true. However, the FREE version only exists inside an .MOV. And yes, this is a problem for Vegas.
      • (For) a Quicktime codec … you need QT installed.
    • I noticed there is no 1080p in 29.97 frame rate with DNxHD. Damn.
      • Sure there is 1080/30p. The things on the list for you to select are SUGGESTIONS. Use 1080/24p. It will work just fine, and won’t change your video to 24p.
    • If you need a tool to convert to DNxHD you can tryout Avid’s Metafuze
    • Is there a primer of which of the CODEC selections are which? There are 6 formats and each has slightly different setting available.

    Windows 7 failure configuring windows updates

    October 15th, 2010

    http://social.answers.microsoft.com/Forums/en/vistawu/thread/b13b8012-4a73-4adb-aae4-8528c2856516

    • Step 1: Check the update history

      http://windows.microsoft.com/en-US/windows7/See-which-Windows-updates-are-installed

      Let me know if the description of the updates that have failed status.

       

      Step 2: Manually try installing the updates from Microsoft Download Center

      a.    Go to the Microsoft download website, type the “KB” number of the update into the download search box, and then click Go.

      b.    In the list of search results, click the Knowledge Base (KB) article link to go to the download page. If there’s more than one listing, look for a link that goes to the Microsoft Download Center.

      c.    If there are multiple versions on the download page, find the appropriate one for your computer. Click the Download button, and save the update to your desktop.

      d.    When prompted, click   Open to install the update.

       

      Step 3: Run Windows Update Troubleshooter

      http://windows.microsoft.com/en-US/windows7/Open-the-Windows-Update-troubleshooter

       

      Step 4: The update is not installed successfully, you receive a message, and the computer restarts when you try to install an update in Windows Vista and Windows 7

      http://support.microsoft.com/kb/949358

       

    MacBook Pro – Windows 7 – Tips

    October 11th, 2010

    http://www.reviewmylife.co.uk/blog/2010/06/08/windows-7-on-macbook-pro/

    • Keyboard Mappings
      • Home – fn + left arrow
      • End – fn + right arrow
      • Page Up – fn + up arrow
      • Page Down – fn + down arrow
      • Print Screen – fn + shift + F11 (and for just the current window fn+shift+alt+F11)
      • Del – fn + backspace
      • Windows key – cmd
      • Pause/Break – fn + esc (you can therefore bring up the system properties with cmd+fn+esc – normally Win+Pause with Windows keyboard)
      • Hash symbol (#) – ctrl + alt + 3
      • Ctrl-alt-del – ctrl + alt + fn + backspace

    MacBookPro 17″ FW800 Workaround – ExpressCard FW Port

    October 11th, 2010

    Someone else had a problem with MacBook Pro’s Agere-chip-based FW800 port, their successful solution was to install an ExpressCard-based FW400/1394 (& 2*USB2) adaptor.

    • http://duc.avid.com/showthread.php?t=245122
      • ” … early 2008 non-unibody model … worked perfectly with … Mbox2 Pro (firewire 400) and Protools (7.4cs2), both in OSX and in Windows XP through boot camp. “
      • ” … with the newer, unibody MBP … the Mbox2 pro and PT 7.4 work perfectly in OSX, but … in XP, … it freezes. “
      • ” … it might be because the firewire chipset on the new MBP’s is an Agere, whereas the one I had on my old MBP was Texas Instruments. “
      • ” So, I’m thinking about investing in an ExpressCard firewire adaptor with a TI chipset so that I can use PT in windows “
      • ” The one I’m leaning towards is here: http://www.newegg.ca/Product/Product…82E16839328006 it says it has a TI XIO2200 Chipset. “
        • Link dead as of 2010-10-11
      • ” I ended up buying a firewire expresscard (bytecc bt-ecu2fw), which features a Texas Instruments XIO2200A chipset, and success! “

    MacBook BootCamp Issues (USB Slow? Apparently not…)

    October 11th, 2010

    Issue or Non-Issue?

    • USB2 port reportedly “throttled back” under Boot Camp:
    • My own measurements indicate there is no such issue:
      • 167Mbps when transferring a 75GB file from one USB drive to another, on a MacBook Pro.
      • About the same observed when repeated on a standard Windows laptop.
    • What should be expected in theory?
      • USB2 raw data throughput is 480 Mbps but throughput in practice is more like 300 Mbps.
      • When copying disk-to-disk, additional delays may exist.  Googling around, a rate of about 1GB/minute (as per my measurements) doesn’t seem that unusual.

    Mac recommended downloads

    October 11th, 2010

    I found this site with recommended downloads for Mac.  Looks good..

    • http://downloadpedia.org/Best_Mac_Software

    FCP “Additional Easy Setups”

    September 1st, 2010

    I was initially unable to find some required Easy Setups in FCP.  Eventually I did locate them in the menu, it was just that they didn’t appear by default – I had to select the right (from FCP’s point of view) frame rate or something (I forget now).

    • But before I discovered that, I googled lots, coming up with the following conclusions, which I am no longer sure about – whether they still apply or are obsolete.  Maybe informative somehow anyway, so I’ll post it for posterity at least…

    In Final Cut Pro menu: [Final Cut Pro > Easy Setup], if select Format [Apple ProRes 422] then Use only offers 720p50 ???.  However, further options do exist, they are just hidden away as “Additional Easy Setups”.   (Huh?  I thought Apple philosophy was to make things easy???).  For example there is the additional setup that I need, namely [Apple ProRes 422 1920×1080 25p 48 kHz.fcpre].  The fix for this is:

    • The Format/Use combinations are stored as [.fcpre] files.
    • The main folder for [.fcpre] files is [Macintosh HD>Library>Application Support>Final Cut Pro System Support>Custom Settings].
      • That’s the only place (to my knowledge) that FCP looks.
    • Additional [.fcpre] files are to be found in [Macintosh HD>Applications>Final Cut Pro Additional Easy Setups>English].
    • Manually copy required files from the latter to the former.

    Read the rest of this entry »

    AviSynth usage in Adobe Premiere

    September 1st, 2010

    http://videoeditorskit.sourceforge.net/

    •  We provide and maintain PremiereAVSPlugin – a plugin for Adobe Premiere that allows Avisynth scripts to be imported as normal video files

    Getting AVCHD into AviSynth

    September 1st, 2010
    • Google: [avchd avisynth]
      • [http://www.hostingphpbb.com/forum/viewtopic.php?p=2953&mforum=philipbloom&sid=41c8ff78578b9bcaa8f5d95cf626527b]
        • My very own question, asked 15 Feb 2009, no replies since then.
        • Stated tha:
          • AviSynth via DgIndex etc. (as used by me) could read MXF files as far as their video was concerned, but not the audio.
      • [http://dvxuser.com/V6/showthread.php?t=148500]
        • Avisynth acts as a conduit for the mts files (you import as simple script into premiere).
      • [http://forum.videohelp.com/threads/273967-Editing-AVCHD-in-Premiere-without-intermediate-codec]
        • *You’ll also need an AVCHD directshow codec installed. If you don’t have one, you can use the latest QTalternative
        • * You’ll also need to install Haali Media Splitter.
        • DirectShowSource(“myclip.MTS”) #use the name of the clip
        • DirectShow needs an MTS file reader/splitter to open MTS files. That’s what Haali Media Splitter is for.
        • There’s also the option of DGavcdecNV, which (if you have an Nvidia card) will use the GPU on the video card for decoding the AVCHD file. (See also http://forum.videohelp.com/topic357041.html)
        • … links to two DirectShow AVC decoders: CoreAVC Proffdshow.
        • Deeper advice
          • When using DirectShowSource() AviSynth is asking Windows’ DirectShow subsystem to do all the file parsing, stream splitting, and audio/video decompression. If you can open your M2TS (or whatever) file with Windows Media Player then you have everything necessary for DirectShowSource() to work. If WMP will not play the file then you need to find and install the appropriate file reader, file splitter, and/or codecs.
          • (If) you are getting sound but no picture you probably just need a DirectShow decoder for the video. ffdshow includes MPEG 2 and h.264 decoders.
          • If you can’t get DirectShowSource() working you should try DgMpgDec (MPEG 2) or DgAvcDec (h.264). Run DgIndex or DgAvcIndex, and then use Mpeg2Source() or AvcSource() in the Avisynth script.
            • Sadly, at this time of writing (2010-09-01), it seems that DgAvcDec has been abandoned (due to uncomfortable “ride” along the licensed software approval process, with respect to used libraries ).
      • [http://www.dvinfo.net/forum/avchd-format-discussion/87640-new-avc-h-264-filter-avisynth.html]
    • [http://forum.doom9.org/showthread.php?t=122598&page=96]
      • As DGAVCDec is withdrawn, this thread is now closed
        • Indeed I was unable to download it.  Also it was still in a state of development and testing, as far as I could see.   Shame.

    XDCAM-EX3 Picture Profiles for filmic look

    August 30th, 2010

    http://marvelsfilm.wordpress.com/2009/02/18/marvels-ex1-and-ex3-profile-settings-for-filmic-look/

    XDCAM-EX in-camera compensation for Tiffen T1 “green tint”

    August 30th, 2010

    Great article:

    • http://marvelsfilm.wordpress.com/2010/04/24/all-new-sony-ex1-picture-profile-for-cinematic-look/
      • “(These are) picture-settings that are tailored to my personal taste, with post-processing in mind. I’ve been able to use shots right out of the camera without the need for CC, but it does ask for contrast adjustment to taste.”
      • “…the matrix corrections in the first profile are to compensate for the green hue the IR filter casts, even after taken a white balance. I use the fluorescent light matrix, simply because it does exactly two things to the picture (and in measurements) that this specific camera demands; it remove the “green Sony hue” and it is the lowest-noise matrix. It shifts the colour balance towards red/magenta, removing the green hues and preventing your cast from looking terminally ill.”
      • “I use Cine 1 gamma almost exclusively because it’s clearly the most lownoise gamma. I sometimes use Cine 4 indoors with low / existing light. …adjust Gamma on a per-scene basis.”

    XDCAM-EX Gamma Settings

    August 30th, 2010

    I worried about and noticed in practice an effect where if I was using CINE gammas on the XDCAM-EX and exposed for faces at 70% (by zebras) then the gamma rolloff would result in “pasty-face” appearance.  It does …and did…  The solution for good looking faces is one of the following:

    • Under-expose in shoot, raise in post.
    • proper-expose in shoot, use standard gamma (not cine gamma), be careful not to let the face hit the knee (?) e.g. set knee to 90% or 95%.
    •  take a given gamma curve (or even a flat standard one) and tweak it using gamma level & black-stretch adjustments etc. until it fits the scene.

    Read the rest of this entry »

    FCP inherent (unwanted) level & gamma changes – unlike Avid’s AMA

    August 30th, 2010

    Someone noticed that XDCAM-EX footage imported to FCP appeared different as compared to Avid (AMA import).  Addressed in an Avid forum thread started May 2010, referring to FCP 6.06 and Avid 4.02: http://community.avid.com/forums/p/84153/473798.aspx

    • What AMA gives is, is _exactly_ what the camera has captured. What FCP shows you, is a remapped image, most often with a gamma shift. 
      • (For Avid AMA imports, Avid settings for RGB or 601 etc. make no difference – it’s always as-recorded).
      • … imports (to FCP) will look different (to expected), because FCP/QT “corrects” the gamma when bringing in footage (even if you would not want that).
    • Most people seem to agree that FCP works in 0-235, not 0-255, not 16-235. And without the option to leave things untouched. So if you import something into FCP, there’s no getting it back to the original levels anymore.

    I guess I’d better do some experiments with ramps & scopes etc…

    N95 8GB App Shortcuts Customization

    August 29th, 2010

    To change the shortcuts on a the N95 8GB Active Standby screen:

    • [Menu key] > Main menu > Tools > Settings > General  > Personalisation > Standby mode > Active standby apps.
    • You are now presented with a list of seven Shortcut options, representing each of the shortcut icons on the Active Standby display.  A box next to the shortcut indicates which function or application it currently represents.
    • They are listed Shortcut 1 to Shortcut 7, with Shortcut 1 the icon on the left of the active standby display, and the others running from left to right across, with Shortcut 7 the icon on the far right of the display.
    • Select the Shortcut you want to change (e.g. the Shortcut 7 Camera icon),
    • A list of options appears onscreen – although you get a view of only six at a time (Figure 12). Scroll through the list until you find the shortcut you want to add to replace the existing icon.  Highlight the application required and press the [OK] softkey.  You are taken back to the Active Standby apps. menu. The box next to the modified Shortcut option has the required new application name.
    • If you have finished making changes, press the red Call End key to return to the standby screen.

    Based on the article “How to customise shortcuts on the Nokia N95 8GB” at http://www.knowyourmobile.com/nokia/nokian958gb/nokian958gbuserguides/8391/how_to_customise_shortcuts_on_the_nokia_n95_8gb.html as of 2010-08-29.

    Nokia N95 8GB Audio Recorder – Details

    August 27th, 2010

     On the Nokia N95 8GB, where is audio recorder and where does it store?

    • [Applications > Media > Voice Recorder]

    Settings:

    • Recording Quality = “High”, Memory in use = “Mass memory” (as opposed to “Phone memory”)

    Save-Location:

    • [\\Memory card\Sounds\Digital]
    • (as opposed e.g. to [\\Memory card\Sounds\Sound clips])

    FCP, Spreadsheets & XML: Some web-links

    August 17th, 2010

    Wondered whether there was a way to integrate spreadsheets with media logging and importing (transferring) etc. in FCP.

    Sony XDCAM Transfer

    August 16th, 2010

    What happens when Sony XDCAM Transfer is used, within or without FCP, to import XDCAM footage (BPAV folders etc.)?  The following is my best guess at the moment, based on my experiences and web-searching.

    • Logging is best done via ClipBrowser.  That updates the meta-info of this “master source”, which may then feed downstream to other formats (mxf?  mov?)
    • The main function is to re-wrap to [.mov] files.
    • Each time you start XDCAM Transfer, check the settings in Preferences, in particular for Import Location.
      • The Cache location can instead be an application-specific, project-independent location.
    • To import to FCP:
      • Start XDCAM Transfer, by doing one of the following:
        • From FCP, do one of the following:
          • Menu: File > Import > Sony XDCAM
          • Browser: RtClk > Import > Sony XDCAM
            • Sadly, only ever imports to root of project, not to bin you right-clicked from…
        • From MacOS:
          • Start [XDCAM Transfer.app]
          • Optionally, in Preferences, tick [Open imported files with: Final Cut Pro]
      • Can mark-up selected clip(s) – e.g. OK/NG – affects all (selected) clips straight away (no ‘go’ button…).
      • XDCAM Transfer is not just an application but a package, including File Access Mode (FAM) Driver (for XDCAM disks), FCP Import and Export plugins and FCP Sequence presets.
      • It can import not only raw BPAV folders (etc) but also MXF-Sony (I tried it).
      • There is a Fetch Metadata option, but I have yet to see it have any effect – because as far as I can see all the metadata is displayed anyway.  Possibly only useful for obscure situations e.g. if some data or thumbnails fail to appear http://forums.creativecow.net/thread/142/865859 or for a “clip or disc that contains modified essence marks” http://www.tapelessmadeeasy.com/2008/11/xdcam-transfer-update/
      • Opinions are divided on whether or not to retain BPAV folders, but the balance is in favour of doing so [http://www.dvinfo.net/forum/sony-xdcam-ex-cinealta/480547-ex-workflow-do-you-keep-bpav-files.html]

      MIDI Sampled Grand Piano (Steinway)

      August 14th, 2010

      Virtual (MIDI) grand piano, by Acoustica, acclaimed in Sony Vegas forum:

      Final Cut (FCP) – Background Export/Render

      August 14th, 2010

      Searching on Final Cut info generally, discovered some things that were added in the version 7 release of FCP and indeed the greater FCS 3, about a year ago.  I am attempting once again to wean myself off relying so much on (my traditional) Sony Vegas.

      • http://www.apple.com/finalcutstudio/in-action/eatpraylove/
        • Apple Article: Bradley Buecker: Editing Eat Pray Love
          • The editors (used) ProRes 422 (Proxy) … introduced with Final Cut Pro 7.  As soon as dailies arrived … Assistant Editor Doc Crotzer would transcode the files from ProRes 422 (HQ) to ProRes 422 (Proxy), organize the footage into bins, and prepare the material for editing.
          • Using background exporting, another new Final Cut feature, Crotzer was able to continue editing even as he was compressing the files.
            • What is “background exporting”?
          • (He) cut in Proxy and in a few simple keystrokes (was) reconnected in ProRes 422 (HQ) to output for a screening.
            • How set up / do that?
      • Google: [“background exporting” fcp]
        • http://www.studiodaily.com/blog/?p=1785
          • Studio Daily blog, July 2009
            • Thursday surprise with Final Cut Pro 7 and new Final Cut Studio By Scott Simmons
              • Post-article forum pulls apart the details and interpretations of the new features in this version.
                • e.g. Per-Project Capture-Scratch (etc) ?
                  • Q: have they moved the capture scratch and render drive settings to be saved WITH the project for this release?
                  • A: (Doubtful.)   Check out the Preference Manager from Digital Rebellion as it lets you do something similar if not exactly that. http://www.digitalrebellion.com/pref_man.htm
                    • How best integrate this into my workflow?
                      • Search on this topic another time, e.g. [“preference manager” “capture scratch” “per project”]
        • http://danrubottom.com/2009/07/final-cut-pro-7-did-they-listen/
          • Article “Final Cut Pro 7, Did They Listen?” by Dan Rubottom
            • when you undo, you don’t lose renders
            • Export, render and publish in the background using Compressor.  You can use Apple Qmaster QuickCluster for even quicker rendering
      • YouTube: [final cut 7]

      Windows 7 Start-Up Repair

      August 7th, 2010

      Here are the steps that worked for me:

      As it happened, this whole process was a distraction.  I was trying to get a BootCamp-W7 Virtual Machine (VM) in Parallels working – it would boot OK in BootCamp but not Parallels.  It was a matter of identifying the problem by excluding other possibilities, as much as hoping for this to be the fix.   However I record the process I went through, here, for posterity.

      Parallels – “Clone” a Boot Camp to a VM

      July 30th, 2010

      Reading Avid DNxHS into FCP

      July 28th, 2010

      I installed the (free) LE version of Avid’s DNxHD onto bothWindows and Mac, in order to round-trip between Sony Vegas and FCP.  Having received no responses to my threads on forums for Sony Vegas and for FCP, I tried Avid’s forums.

      • The “Avid on Windows” Forum:
        • PC MediaComposer to MAC FCP http://community.avid.com/forums/p/74442/416691.aspx#416691
          • Thread from August 2009.  Might well be out of date now.
          • If you export DVCProHD from your PC Avid you’ll want to check the “Use AvidDV Codec” box.  This will encode the file as AvidDV100 (which is Avid’s DVCProHD codec).  With the Avid codecs installed on your FCP system you’ll be able to read them.
          • Why don’t they mention DNxHD ?
      • The “Avid on Mac” Forum:
        • Search on [fcp dnxhd]
          • http://community.avid.com/forums/p/84564/477328.aspx#477328
            • Error while loading DNxHD QT .mov into FCP
            • Someone with same issue as me: they rendered from Sony Vegas to DNxHD to import to FCP, and the media wasn’t recognized.
            • Thus far, that thread is inconclusive, with suspicions focussing on the precise format settings etc. and the fact that the media was rendered from Sony Vegas (as I guess the latter is relatively “unknown territory” to the Avid/DNxHD folks).
            • I copied this info (& thread link) to the Sony Vegas forum http://www.sonycreativesoftware.com/forums/ShowMessage.asp?MessageID=720994&Replies=11.  Useful replies:
              • …a smalll but critical point; the codec DNxHD does all the encoding of the video stream, vegas does not touch the encoding process. At most, vegas may update the file headers and starting meta data as it closes the file. If Sony has an issue it will be there, but I would question FCP file handling when it opening the file.
            • ?

      Deshaker for VirtualDub by Gunnar Thalin

      July 26th, 2010

      I have used this for years.  Here are some things I learnt and re-learnt today, about and around it:

      • Deshaker’s main forum is http://forum.doom9.org/showthread.php?p=1418923
      • Deshaker is used as a plugin to VirtualDub.
      • VirtualDub can’t directly read XDCAM-EX files.
        • One way round this is to transcode to an AVI format.
          • I traditionally use Cineform (CFHD).  In Sony Vegas, when rendering-out to this from a 720p50 Project single XDCAM-EX .mxf file of 720p50 footage, the result when viewed in the original project has a weird effect where the image only advances every two frames.
            • This does not occur for larger Projects, reason unknown (need to experiment, but maybe ? it’s because because larger projects tend also to contain media in other formats?).
          • So instead on this occasion I render to HuffYuv.  Larger but lossless and no (obvious) issues.
          • After every such render, check for the “doubled-up frames” issue, e.g. in case accidentally rendered to unintended format.  Mistakes happen, especially when under pressure of long hours…
      • The result, from VirtualDub, can be saved to AVI formats e.g. Cineform (CFHD).
        • If saving to CFHD then be sure to specify RGB mode (in the codec’s dialog), this preserves the levels in 0..255 (“Computer”) range, otherwise (default non-RGB) it scales to 16..235, giving a washed-out appearance when viewed back in Sony Vegas.

      DreamColor Monitor – Links & Snippets

      July 26th, 2010

      Article:

      • HP
      • Creative Cow
        • Article: http://library.creativecow.net/articles/garchow_jeremy/HP_DreamColor_CRT_Replacement.php
          • {Great article, including simple block diagrams of its internal processing-chain}
          • The HP DreamColor LP2480xz Professional Display was released in 2008, which raises the question, why do a new review in 2010? The answer is simple: even two years after it hit the streets, no oher 10-bit monitor looks this good, at this price.
          • …along with the monitor, HP offers the DreamColor Advanced Profiling Solution, which includes Windows and Mac software, and an HP-branded colorimeter licensed from X-Rite, the industry leaders in color science who are HP’s “Color Technology Partner.”
          • …this monitor has a few caveats.
            • You must use the $300 calibrator to truly color calibrate the monitor, and for the “DreamColor Engine” to work. In other words, in order for the monitor to display the proper Rec. 709 (or another user defined video color space/gamma) the monitor must get a true progressive signal, and it must be RGB.
            • The monitor is equipped with HDMI 1.3a, which supports 10bit per channel depth, but HDMI can be interlaced or progressive. Many capture cards and even stand alone converters might be HDMI 1.3a capable, but most of them will simply pass through the given SDI signal.  So, I now needed to track down the AJA HDP2 which will output both an HDMI 1.3a signal (via an inexpensive DVI to HDMI cable) and it will also output progressive images all the time as RGB (as opposed to Rec. 709 YUV).
          • …the HP LCD calibration kit … measures (among other things) the actual Red, Green and Blue values that are being projected off of your monitor. Then, after the calibration process is complete, the full range of RGB is then mapped to the Rec. 709 (or 601 or whatever you want) color specification and the monitor’s gamma is set to 2.4.
            • Why 2.4 you ask, when Rec. 709 HD has a specified gamma of 2.2?  Well … since this monitor was meant as a true CRT replacement, they measured some of the most well regarded CRT production monitors on the market, the Sony BVM series – and the gamma level coming off of those displays is 2.4, which is why they recommend setting the DreamColor’s gamma to 2.4.  If you don’t like this, you can select any gamma when creating a color profile, along with adjusting the color of the monitor based on the CIE color space. This, then makes the monitor infinitely flexible to your needs.
            • { Esp: I am confused still … is it the case that these monitors, including BVM, do not adhere to 709? }
            • Greg, one of the developers:
              • Regarding the 2.2 gamma. Certainly that’s the recommended gamma for Windows XP, but there’s no reason you can’t use another if you prefer. The key is to make sure you match what your target is. For example, after the initial release we tweaked the factory calibration for Rec.709 to raise the gamma slightly from the standard 2.2. The reason we did this is that we placed the monitor side by side with Sony BVM tube monitors and worked to match the actual response of the monitor. That resulted in a slightly higher gamma than 2.2
          • The only downsides are that any firmware updates have to be done by a computer running Windows, you can’t tweak sharpness, and calibration requires a computer with either DVI or DisplayPort, and a separate USB cable to attach to the monitor — but as a package and value, there’s nothing out there that offers what the DreamColor can do for this price.
        • Forum: http://forums.creativecow.net/thread/223/7928
          • {Esp: This is a huge thread, many posts and pertinent points and useful answers.  Mandatory reading!}
          • Key HP guys there:
            • Greg Staten
            • Dan Bennett
          • What Input Signals it will Accept:
            • you can’t enable the LP2480zx’s internal color engine when the video content is interlaced. This is also true for YUV content. In other words, the HP DreamColor Engine is available ONLY for progressive RGB content. This is due to the architecture of the display, and the re-tasking of its electronics when content needs to be deinterlaced or converted to RGB.
              • Workaround: HP has seen good results with Gefen’s HDSDI to HDMI converter, which can deinterlace and convert to RGB in the box, thereby delivering progressive RGB to the LP2480zx display, whatever the format of the content.
            • …the DreamColor LP2480zx can accept a 2048×1200 signal … It will display a 1920-wide “center cut” of the source.
          • How to Update Firmware
            • (Full stepwise instructions are give, they are too lengthy to sensibly paste here, so will make it a fresh blog item)
            • it needs to be done from a Windows computer.
          • Red Tint:
            • …my Dreamcolor seems too red. Seems a very common complaint. Is this something the probe can deal with, or is it a manufacturing defect that necessitates repair or replacement?
              • Regarding the Red color, that isn’t a common characteristic of the monitor and it is possible that your monitor requires recalibration. You should be able to correct this with the DreamColor calibration probe.
              • And … the calibration probe and software can create a profile (software calibration) of a non-DreamColor monitor.
          • Profiles (ICC etc.)
            • If your system employs a dual link DVI video card it is capable of utilizing two separate icc profiles, one for each monitor
          • Advanced Profiling Solution (Calibrator)
            • Greg (HP:
              • The HP DreamColor calibration kit comes with a modified X-Rite i1D2 calibrator. Due to the very wide gamut of the monitor, we had to modify the calibrator’s firmware so that it could properly read the monitor’s wide gamut color primaries. (Essentially it had to be re-programmed to read a different base wavelength for each R,G,B primary.) Using a standard i1D2 will give incorrect results and wrong calibration.
              • The HP DreamColor probe can be used to calibrate other monitors. Since they have a narrower gamut, it is easy for the probe to operate as a “standard” i1D2 and calibrate other monitors. The HP Advanced Profiling software provides you with that option.
              • At this point the calibration software for Mac and Windows (developed for us by X-Rite) does not support any other calibrators. That said, we and our studio partners have developed an open source calibration tool for Linux called Ookala (http://sourceforge.net/projects/ookala-mcf/) that can be used with either the DreamColor i1D2 or an X-Rite Chroma5. In addition, the hooks are provided to write a driver for different calibration hardware.
            • …how do you calibrate from a mac? i didn´t get mac software with the APS (Advanced Profiling Solution).
            • The APS calibration software will allow you to perform a calibration of non-DreamColor monitors. If you launch the software with multiple monitors connected or with a monitor other than the DreamColor connected it will allow you to select it for calibration.
              • That said, this capability does introduce a risk. It is possible to tell the software to do a standard software calibration of the DreamColor LP2480zx which I emphatically don’t recommend doing. When you are calibrating the DreamColor be sure to select it in the software – which you may have to do twice if you have multiple monitors connected (or have connected the monitor to a laptop) – otherwise you will not perform a hardware calibration of the monitor.
          • HP support is severely lacking.  The HP DreamColor Advanced Profiling Solution as well as the DreamColor Monitor are especially difficult to get tech support information about.
          • There are two specific format converters. Gefen’s, which is only an announcement on their news page at this point (http://www.gefen.com/kvm/news/view-news-item.jsp?news_item_id=171) and Aja’s (http://www.aja.com/products/converters/converters-hd-hi53g.php). Which of these are recommended for sending an HDSDI signal into the DreamColor ?
            • The new Aja Hi5-3G converter sounds like it may work as well as the Gefen …
          • For HP’s tech info:
            • 1. Go to http://www.hp.com
            • 2. Search for “dreamcolor” in the upper right search box, click on the first link.
            • 3. On the HP Dreamcolor product page, in the grey box on the Right Side, click on “HP Support & Drivers”
            • 4. On the Support Page in the bottom section “Resources for HP DreamColor…” Select Manuals
            • 5. The Bottom of the manuals page has 5 white papers which have tons of great info about this monitor.
          • Q: I’ve got HP Dreamcolor monitor connected to MacPro via BlackMagic HD LinkPro (display port) to monitor FCP footage. I managed to calibrate the monitor using APS soft and the Xrite/HP calibrator. During the calibration the monitor is connected to MacPro via DVI cable and works as a computer monitor. Then I disconnect one and use BlackMagic to feed the signal. Is the calibrated profile stored in the monitor regardless of the signal source?
            • A: I believe that the APS color calibration profile is only used when connected via DVI and the Dreamcolor is functioning as a second (or third) computer monitor. As far as I know, as long as your Blackmagic HD is feeding the proper, progressive, RGB signal to the monitor, and your monitor is in the proper color space preset, you will have a correctly calibrated picture. The ICC color profile only comes into effect when the Dreamcolor is connected as a computer display.
          • ???
      • DvInfo (Forum)
      • Sony Vegas (Forum)
      • RedUser Forum (for users of the RED Camera)
      • ?

      GigaBit Router

      July 25th, 2010

      D-Link’s gigabit router, 802.11n (“up to 14x faster speeds* and 6x farther range* than 802.11g while staying backward compatible with 802.11g devices”):

      Camera Artistic Techniques

      July 25th, 2010

      Camera Artistic Techniques (by Garth of Gold Coast Video Camera Club):

      Camera Manual Grip Techniques

      July 25th, 2010

      http://digital-photography-school.com/how-to-avoid-camera-shake

      • Elbows-in
      • Shoot sideways (with respect to to chest), back-elbow against ribcage.
      • “Create a Tripod With Your Knee” (bod-pod, as one responder called it)
      • Lie face-down (on chest) with hand flat or fisted under lens, to achieve requird tilt.
      • “The Machine Gun Hold” – cam-front/lens rests on upper-arm, hand of which grasps upper of other arm.  Awkward.
      • “Cradle”.  A sideways-shooting-mode, with back of camera on shoulder (?) and hands gripping cam from same side, at middle and back.
      • It’s best to see the pictures really!  At the above link.

      Film & Theatre Educational Material

      July 25th, 2010

      Michael LoMonico’s tutorial on small-scale (e.g. serious student) film-making:

      Michael is “the Senior Consultant for National Education for the Folger Shakespeare Library”. His course material provides a great overview of project planning (to deliverables), roles (Cinematographer, Director…), actor abilities/assessment, filming/camera technique and more.  The other UNITs cover for example the stage area terms.

      The Zoom H4N Audio Recorder

      July 25th, 2010

      Zoom H4N Audio Recorder, looks great:

      MacBook Pro System & FireWire issues

      July 25th, 2010

      Some issues:

      • Had a serious system-disk issue, where CHKDISK deleted corrupt unknown system-related stuff.   Windows still worked afterwards as far as I could tell but it was cause for concern…
        • Later, the Mac OS function keys became unresponsive.
      • The FW800 port only worked in Mac mode, not Boot Camp / Windows 7.

      Some fixes:

      • As a potential fix to both issues, was advised by machine supplier to reinstall Boot Camp
        • Method:
          • Mac (machine): Run [Boot Camp > Windows]
          • Windows:
            • Use [Remove Programs] to remove Boot Camp
            • Use Mac OS system disk (from Windows) to reinstall BootCamp (was 3.0).
            • Check for any Boot Camp updates – get the latestone (was 3.1).
        • Result:
          • Function-keys fixed, FW800 issue remained.
      • As potential fix for FW800 issue:
        • A Sony Vegas forum post advised disabling Aero.
          • Result: No difference.
        • Web-searching and Vegas forum advised installing the free FW800 driver from UniBrain, allegedly better than the Boot Camp one.
          • Prior to the BootCamp reinstall, this was not possible – installation aborted.
          • Following the BootCamp reinstall, installation worked but FW800 drive not visible in Windows Explorer.
          • Tried a Windows Repair, in case it was not just the BootCamp that had been damaged (possibly by the serious system disk issue mentioned at the start).
      • Windows Repair & successive steps:
        1. Boot Camp: Repair the windows system (Windows 7).
        2. Check whether System Restore works now.
          1. Yes, when I set a restore-point, wait a few mins and restore to it.  But what if I reboot then try to restore?
          2. Seems hit-and-miss: sometimes Restore works, sometimes not.  Rebooting doesn’t affect that but system crashes/freezes e.g. as caused by FW800 failing, do appear to.  Uncertain, just rough observations.

      iPhone Camera Enhancement: stabilization & wide-angle

      July 25th, 2010

      The idea of the OWLE Bubo is to get better video from your iPhone. You place the iPhone into the provided silicone case; pop it into the Bubo and go. You now have wide-angle optics on your iPhone as well as a more stable grip.  Can also (reporte

      The wide-angle is especially desirable since the inbuilt camera lens is too zoomed-in for most filming purposes.

      Wireless Audio Kit

      July 25th, 2010

      Need better wireless audio kit.  Production Video provide good advice.  Also, to help gain familiarity, here’s a good-looking article on the Sennheiser MKE105S-EW: http://filmtools.wordpress.com/2010/03/22/sennheisers-new-ew-series-microphones/

      Deshaker by Gunnar Thalin: Usage & Background Info

      July 25th, 2010

      Some good links:

      • Doom9 forum attended by Deshaker’s author (Gunnar Thalin): http://forum.doom9.org/showthread.php?t=49597
        • Highly recommended, give it a trawl-through (allow an hour or so!).
        • Many specifics and clear explanations beyond the user manual.

      Deshaker by Gunnar Thalin: Tips

      July 25th, 2010

      Tips from Deshaker’s author, Gunnar Thalin [http://forum.doom9.org/showthread.php?p=1418923]:

      • Q:
        • Any recommendations specifically for vehicle, motorcycle in my case, mounted videos?
        • Are there particular settings that would work better for high speed movement? 
      • A:
        • I know a lot of people seem to be using Deshaker for those kind of videos, but it’s not really designed to handle videos where the camera “moves around”, at least not where it moves very fast. Deshaker can only handle panning, rotation and zoom. That said, I’ve seen some very good deshaked videos of that kind.
        • As always, make sure you’re using a high enough shutter speed, if possible. There shouldn’t be any motion blur in each frame.
        • Also, you would probably get *a lot* better results if the camera didn’t have a rolling shutter. But I believe most helmet mounted cameras today have a rolling shutter. Deshaker can remove rolling shutter effects but only if the shaking isn’t extreme.
        • I would also recommend trying to stabilize only on the most distant parts in the frames, since the “moving inwards”-effect is less there. You can do that by ignoring the other areas.
        • And turn off zoom smoothing by settings zoom smoothness to 0. You will also need to change the edge compensation type if you do that. Start with “None”, maybe.
        • Finally, you should probably increase the value for “discard motion of blocks that move > X pixels in wrong direction”. That’s to allow the blocks to move “freely” a little, since Deshaker can’t handle the “moving inwards”-effect.
        • But maybe you should ask someone who’s actually stabilized these kind of videos. I haven’t.

      Glide-shots: Steady-Shot / Smooth-Deshake-Stabilize / SteadyCam

      July 25th, 2010

      Which is best?   Depends on the camera, scene and shot dynamics I guess.  The same point is queried at the following thread:

      Some general advice from a computer-post-savvy author: definitely use the camera’s SteadyShot:

      Limitations of post

      • Stabilization necessitates motion estimation and image reconstruction, which are extremely CPU-heavy, hence really slow to execute.
      • Most stabilization apps (in post) can’t currently cope with motion-blurred edges or parallax effects (though both should be possible in principle, by deconvolution and 3D modelling both informed from multiple frames).
      • For rolling-shutter-ed footage (e.g. CMOS sensors as in Sony Exmor as in Sony XDCAM-EX e.g. EX1 & EX3), there exist options to reduce the effect (don’t expect perfection, but may suffice):

      My experiences:

      • Stabilizing Tools:
        • Gunnar Thalin’s Deshaker works really well.  And it is multi-threaded, really speeds up the process.  The author says it is more intended for handheld pans etc. than fast-shaking shots from vehicles etc. (but has nevertheless seen good results in such situations).
          • The author says [http://forum.doom9.org/showthread.php?p=1418923] to try “to stabilize only on the most distant parts in the frames, since the moving inwards-effect is less there”.  And “you should probably increase the value for [discard motion of blocks that move > X pixels in wrong direction]. That’s to allow the blocks to move “freely” a little, since Deshaker can’t handle the “moving inwards”-effect.
          • Possibly equally applicable to other smooth/stabilize/deshake tools ?
        • Boris’s Optical/Motion Stabilizer (in Boris Red 4.3.3 on XP) is only single-threaded and I find it slower, clunkier and less intuitive than Deshaker.  Has a Smooth mode, which is like the others here, as well as a Stabilize mode (try to keep frame static, no good for motion then).  The other tools can be configured to do the same thing.
        • Mercalli in Sony Vegas has no mode for 720p50 but otherwise is pretty good and very intuitive and configurable.
        • FCP’s SmoothCam Effect worked best for a challenging clip for wobbly-hand-held camera tracking close past an object (a Formula-1 car) hence huge degree of moving-inwards effect.  The default settings worked straight away.  The result quality was way above that of the other tools.  On the other hand sometimes it’s not the best (sorry, forgot the exact situation).
      • Cameras & Shots:
        • Historically, using a TRV33 DV HandyCam indoors (hence low-light hence long shutter time):
          • Way back in the past, using a (now ancient) TRV33 DV handy-cam (which has huge sensor margin i.e. spare pixels), when I shot big zooms to lecture audience individuals (e.g. question-time) I had the camera’s steady-shot (digital, not mirror) enabled  and used Gunnar Thalin’s Deshaker (VirtualDub plugin) also.  The result was astoundingly steady.
          • The same arrangement worked OK with hand or shoulder mounted cam for walk-throughs past nearby objects (e.g. walls, people, furniture).
          • An attempt to do the same thing without steady-shot enabled on the camera resulted in seriously motion-blurred edges.
        • Now, using a Sony EX3:
          • With camera Steady-Shot set to Medium, hand-held pans and motion past nearby objects seem to acquire a positional instability, as if the camera feedback mechanism needs greater damping. Maybe the camera’s internal mirror “suspension” has to be tighter (than the TRV33 digital equivalent) because it lacks the generous pixels margin of the TRV33?  or maybe something to do with the mirror’s inertia?  Or (real-time-constrained) processing-power?
            • Experimentation is needed with the camera’s other SteadyShot modes (High, Low).
            • In the absence of more generous sensor pixel margins, I wish it could be loosened-up e.g. to allow black borders (to crop in post) so as to permit smoother rides overall.

      DNxHD & Windows/Mac Issues

      July 24th, 2010

      Gamma-shift issue:

      •  http://forums.creativecow.net/thread/8/1028870
        • “QuickTime movie, created with Avid on a PC, using the DNxHD codec. When I open it in QuickTime Player on a PC, the colours are fine, but when I import it into Final Cut on a Mac, the colours are a lot brighter- gamma shift”.
        • I have ProRes and DNxHD clips of the same thing on the timeline. When I switch from a frame in one clip to the same frame in the other clip, there is a very visible difference between the two. The DNxHD version is brighter and ‘milky’.  I’ve tried exporting DNxHD from Final Cut and it has the same problem as the DNxHD sourced from the Avid.”
        • “It’s the codec. DNxHD reports RGB values to FCP not Y’CbCr. Therefore FCP applies its internal RGB interpretation which causes the gamma shift you see.”
        • “Any non native codecs to final cut pro should be transcoded first through compressor; best way to check if the gamma has shifted is take an image with tonal ranges which vary over a gradient e.g. sky; look at the scopes in avid for the dnx file; look at the scopes in final cut pro for the dnx file; no guess work”
      • x

      MacBookPro 17″ FW800 Driver Replacement (UniBrain)

      July 24th, 2010

      On a MacBook Pro(17 inch, “5,2”), a FW800 connected drive worked fine from MacOS but not from BootCamp-Windows7.   From others’ advice, tried replacing the MS IEEE 1394 (FireWire, FW) driver.  Was initially skeptical, as I had not heard of that before, but others had recommended it and (according UniBrain’s own website), the drivers earned the “1394 Trade Association Compliance Logo”.  But it only made things worse for me.  Details of my experience:

      • Apparently (from web-search) there is an option to install a “legacy driver”.  Have not tried it, and won’t now, but maybe later.
      • Allegedly better option: UniBrain’s driver.
        • First install-attempt failed.
        • Wondered if AntiVirus (Parallels / Kapersky 2009) caused a problem, so temporarily disabled it.
        • Second install-attempt (no AntiVirus) worked!
          • Installer said it had finished OK.  Reboot requested and accepted.
          • Device Manager listed the “1394 Bus host controllers” as “UniBrain driver”.
        • FW800 disk read and write tests revealed worse if anything results than for the default MS driver:
          • Disk now not recognized unless connected during machine boot.
          • Write-test fails immediatly (as for MS driver) but now freezes the whole machine, requiring power-off (was aable to use system shutdown when using MS driver).

      Windows 7 System Restore

      July 24th, 2010

      Windows 7’s System Restore utility (GUI): The .exe file and how to run it from commandline/script:

      Bonjour (et “Au Revoir”) for Windows

      July 24th, 2010

      On Windows I installed Safari (web browser).  The installer also offered Bonjour for Windows.  That is a service discovery app from Apple.  Like Safari it comes bundled with Mac OS and now it seems, is also availabe for Windows.  So is it useful or nuisanceful?  Unsure, I decided to play safe and not install it.  Here’s a deeper article on what it does/doesn’t do:

      Migrate a Windows system to Parallels – manually

      July 24th, 2010

      Article about migrating an existing Boot Camp windows system to Parallels.  I’m guessing the method could equally be applied to manually migrating any windows installation (e.g. from another machine), as an alternative to the mainstream method.

      Some background knowledge available here (from around 2007?):

      Sony Vegas Forum Markup Editor

      July 20th, 2010

      http://madison.thewikies.com/sonyforumpreview/

      Boris can’t do expressions – but doesn’t need to ?

      July 20th, 2010

      http://forums.creativecow.net/archivethread/15/264071#264626  (a thread from 2003 re Boris 2.5)

      •  “As for expressions, well there is no real expressions in Red, but by using containers and precomps you can definately do some expression type of moves.”

      Boris Stabilization/Smoothing (for a Sony Vegas project)

      July 20th, 2010

      Using Boris RED 4.3.3.1502 on Windows, mostly as standalone (Red Engine).  Today, wanted to apply it as a stabilizer.  Have done this a long time in the past, for AVI files etc., but this is the first time I have seriously tried to apply it to to XDCAM-EX footage, of 720p50 (intended for a PAL DVD 576i50 deliverable).   Summary:

      • Warnings:
        • Boris can’t be used in Sony Vegas for other than static effects, hence not for stabilization (a dynamic effect).
          • At least, not without a workaround of debatable overall advantage (explained under “More”).
        • Boris doesn’t recognize Sony XDCAM ClipBrowser’s “MXF for NLEs” format, but does recognize Cineform AVI (no need to be QT).
        • When altering any settings, Boris defaults to keyframing them.  Right-click the funny symbol and change it to Constant.
        • Have to double-check the compression settings, including the codec’s own dialog (their defaults are not always good and they can change “automatically”).
        • Boris can export 720p50 as QT-CFHD but, as far as I can tell, Sony Vegas cannot (it can only export such CFHD as AVI, though thankfully Boris can read that).
        • Boris doesn’t use multiple CPUs it seems.  Unlike DeShaker – of great advantage for such lengthy (CPU-heavy) processes.
      • Instructions (in Boris):
        • Delete existing tracks, drag-in the source file, de-select its tracks (audio & video), Menu: [Filters > Time > BCC Optical Stabilizer], select the Stabilizer track.
        • In Controls change Mode from default [Setup region] to wanted [Smooth], twirl-open the Stabilizer track, drag video track onto its Input Layer.  Also increase Smoothing Range from default (30 frames) to 1 or 2 seconds-worth (in my case 100 since footage was 50 fps).
        • Click Preview’s [ >>| ] “Go To End” button.  This causes motion analysis to begin.  Takes ages…  Likewise, don’t bother playing it…
        • [Menu: File > Export > Movie File].
          • Initially generate a quick draft to check the stabilization is as required:
            • Temporarily set 25fps, choose [Fast]
            • Select a limited region (I/O) for export.
          • Regardless, in compression dialog, if Cineform is used then select Quality = Medium (not Best or High which are overkill).
      • Links:

      Read the rest of this entry »

      PC Windows <--> Mac OS X RoundTrip (Round-Trip)

      July 19th, 2010

      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.

      SpeedTools – disk speed test for Mac & Windows

      July 16th, 2010

      SpeedTools

      Avid MC5 vs Adobe CS5 vs Apple FCP 7 (FCS 3)

      June 30th, 2010

      http://digitalfilms.wordpress.com/2010/06/12/will-cs5-and-mc5-toast-fcp

      • Great article comparing their pragmatics for various kinds of business and workflow situation.
      • Also speculating on their likely future developments.

      Sony Vegas & High-Definition (HD) for YouTube

      June 25th, 2010

      Using Sony Vegas to produce High-Definition (HD) material for YouTube, from HD sources:

      Mac Boot Camp > Windows 7: Heat Issue (again)

      June 25th, 2010

      The following describes exactly what I observe.  So it is definitely not just my machine then…

      • http://www.macwindows.com/keep_vista_cool_bootcamp.html 
        • An illustrative story:
          • “The laptop will just get hotter and hotter without heavy load, until I can’t take it and turn it off. If I restart it into Mac, it will turn the fans on full blast for a little while and cool it off and then slow the fans back down. So the Mac side knows that it is way too hot. But the Windows side refuses to cool it off. “
        • But no need to worry (?):
          •  “I have called Apple tech support a few times and get it escalated, but engineering say this is not an issue that I only have to worry if the thing shuts itself off. It’s not being investigated, its not an issue.”
        • Fans operate but do not ramp-up as soon as expected, in terms of temperature.
        • Some people use a fan-base.
        • The higher-powered (more power and heat-producing) of the two graphics cards is used, and there is no way to swap between them.
        • Lubbo’s Fan Control is said (by some) to be better than  Input Remapper and  smcFanControl:
          •  The primary purpose of Input Remapper is to provide a variety of useful keyboard shortcuts while in Boot Camp (which can be disabled if desired).  However it also provides controls to set the minimum fan speed.
          • smcFanControl allows you to set the minimum fan speed on the Mac side. Whatever they’re running at will still apply if the computer is restarted into Boot Camp.  However the fans go off again if machine shuts down or hibernates.
          • However for the version I tried, one of the two cores did a 50% duty cycle of load.  So the downside of this utility is it eats 25% CPU power (and wastes energy).  Apparently due to the way it’s implemented, a necessary compromise in the absence of source code for Boot Camp.

      MacBook BootCamp Re-Install

      June 25th, 2010

      WHen using Windows under BootCamp, I had been getting some serious problems when using an external drive via FW800.

      • …like the device disappearing (from the visibility of the OS, Windows 7).

      As advised by suppliers, removed and reinstalled BootCamp, as follows:

      • Windows 7: [Control Panel >> Remove Programs: BootCamp Services]
      • Rebooted
      • Inserted Mac OS Disk that came with the MacBook
        • It is MacBook-specific. Must use that one, not any other.
      • From root folder, as seen by W7, ran [setup.exe].
        • Kapersky complained a few times.
      • Rebooted.  Mostly OK but no keyboard lights or control thereof.
      • Rebooted again.  Now the keyboard lights are on and controllable.
      • Check the BootCamp version: It is 3.0.
      • Need update to 3.1.
      • Go to Apple support page for BootCamp:
        • [www.apple.com/support/bootcamp]
      • ..and click [Downloads]
        • Taken to [http://support.apple.com/downloads/#macoscomponents]
        • There are several items.
      • There are several Boot Camp 3.1 downloads (these are upgrades not installs).  Which one (if any) is appropriate?  Examples:
      • Searched web for any clues:
      • Finally: Downloaded the one at http://support.apple.com/kb/DL979
      • Broadly applicable installation instructions are at http://support.apple.com/kb/HT4177
        • …even though they’re for the 13-incher.

      Not necessarily related, but interesting to note:

      ProDad Mercalli Registration

      June 23rd, 2010

      You have to email them, then they send a .exe file specific to that installation.  Not simply a loicense key to enter in a dialog.

      DreamColor Calibration – profile kept regardless of connection?

      June 23rd, 2010

      http://www.dvinfo.net/forum/view-video-display-hardware-software/479831-hp-dreamcolor-calibration.html

      •  Q: “‘ve got HP Dreamcolor monitor connected to MacPro via BlackMagic HD LinkPro (display port) to monitor FCP footage. I managed to calibrate the monitor using APS soft and the Xrite/HP calibrator. During the calibration the monitor is connected to MacPro via DVI cable and works as a computer monitor. Then I disconnect one and use BlackMagic to feed the signal. Is the calibrated profile stored in the monitor regardless of the signal source”
      • A: “I’ve done some testing and it looks like the calibrated profile stays regardless the connection. “

      DNxHD Settings (revisited)

      May 26th, 2010

      Some further tips found online:

      • [http://www.sonycreativesoftware.com/forums/ShowMessage.asp?ForumID=4&MessageID=704856]
        • You have more than a dozen choices in the DNxHD codec…  (but you might not see them) because of the little display bug. When you select the Avid DNxHD codec, a window pops up. At the bottom of that window is just a little sliver of a pulldown menu. Click that and all should become clear.
      • [http://www.sonycreativesoftware.com/forums/ShowMessage.asp?ForumID=4&MessageID=701760]
        • DNxHD is a broadcast codec. And types that are not broadcast standards are not included.
        • …in the “Custom Settings” you can … set the Frame rate and the Field order to suit your … footage.
      • [http://www.sonycreativesoftware.com/forums/ShowMessage.asp?MessageID=712102&Replies=1]
        • Settings for HD interlaced:
          • Color levels should be RGB
          • Size should be 1920×1080
          • Pixel aspect 1:1
          • Field order Upper
          • DNxHD-TR 175 8-bit template
          • Be sure to click OK (the dialog may fail to display it)
        • Variation for HDV:
          • Thin Raster is supposed to be better for stretched pixels like 1440×1080
      • [http://www.sonycreativesoftware.com/forums/ShowMessage.asp?ForumID=4&MessageID=710761]
        • You will be able to preserve aspect and gamma with DNxHD. Be sure to select the right bit depth and color levels for your originals. (For a) 1440×1080 source, (i.e.) HDV, … you will want 8-bit, 4:2:0 RGB output to match the originals.
        • One user’s experience (not mine):
          • Here’s the file settings for … m2t files (as provided by MediaInfo):
            • 25Mbps, 1440×1080 (16:9), at 29.97fps, MPEG video component version 2,(Main (high @1440)) BVOP
          • Here’s what it reports for the .mov generated by DNxHD:
            • 220Mbps, 1920×1080 (4:3) at 29.97fps, VC-3, DNxHD
          • I’m not sure where it got the 1920×1080 frame setting from, though. In the frame size box, I had custom frame settings of 1440 x 1080 with a PAR of 1.333.
          • Reply:
            • 1440 X 1.333 = 1919.52 which rounds up to 1920.
            • Your render frame size should be set to 1920×1080 to preserve the aspect. As gets mentioned a lot in these forums, MOV does not respect PAR.
      • [http://www.sonycreativesoftware.com/forums/ShowMessage.asp?ForumID=4&MessageID=709379]
        • Best way to export timeline to FCP for CC:
          • Change your color space to RGB. Click the little pulldown window at the bottom, select 1080i/59.94 DNxHD 220x. And when you say OK to this window, change the slider from the current 50% quality to 100%. Then render out. The file will be slightly less than 2 minutes per gig.
          • Avid 1:1 is an uncompressed codec designed for SD video. DNxHD is an HD codec and the only one Avid uses.

      Setting-up FCP Folder Structure

      May 17th, 2010

      This is how I’m doing it today:

      • Local System Disk
        • Render Files
        • Thumbnail Cache Files
        • Waveform Cache Files
      • Local RAIDs (One stationary, one portable)
        • _App_Specific
          • Final_Cut
            • _Projects (just for misc [.fcp] files)
            • Audio Render Files
            • Autosave Vault
            • Capture Scratch
            • Render Files
        • _Media
          • _Library
          • _Projects
            • 2010-04-30 (Client) Event
              • 010 Preparation
              • 020 Source
              • 030 Projects
                • FCP
                  • EventTitle v001.fcp

      Notes:

      • I would have put everything on the RAID but for the Final Cut Settings interface, which only allows the first three items above to be on one location.  In contrast, the other items can be specified in a small set of possible locations, each of which can be toggled (enabled/disabled).
      • The structure below [Projects] should mainly branch by function then by application.  But it will vary from (real-world) project to (real-world) project.

      Deleting (decommissioning) a FCP project and all its Media

      May 17th, 2010

      From [http://support.apple.com/kb/TA27694?viewlocale=en_US] and own experiences, my own advice to myself is as follows.  Note however:

      • It is not guaranteed to be correct or complete!  Just my own best-practice, so far.
      • It will only delete from scratch areas it actually knows about i.e. as defined in FCP’s System Settings.
      •  Even then, it doesn’t seem to delete everything.  After allegedly deleting all render files of all projects, I went through afterwards and found (and deleted) a number of files under [Render Files/Constant Frames].  Maybe a result of my messy initial novice practices – who knows!

      My process:

      • Open the project in Final Cut Pro
      • Delete Project’s Render-Files:
        • Tools > Render Manager.
        • Use checkbox in the Remove column next to the name of the project whose render-files you wish to remove.
          • Warning: Do not check other projects or those projects’ render files will also be removed.
        • Click OK.
      • Delete Media Files in the Browser:
        • Activate the Browser window.
        • Select everything you want to delete (e.g. Select All).
          • Warning: Don’t select any clips, images, audio or anything else that is used in another project, or is used by another application (a photo that you are also using in a DVD project, for example), , as you will not want them to be deleted.
        • Modify > Make Offline.
        • Click the Move Them to the Trash button.
        • Click OK.
        • Close your Final Cut Pro project (and don’t bother saving!)
      • Delete the Project File
        • Drag it to the Trash after you have quit Final Cut Pro.
          • But how do I know where it is located, e.g. if it was the latest project, auto-loaded into FCP, I might not remember where it is.
            • Save Project As reveals the project file name e.g. [LenWed RecepLine Expt 001 copy.fcp].  Expanding the Save..As Finder reveals it is in a directory called [FCP Projects].  But not obvious where that folder is located.
        • There may also be project files in the AutoSave Vault(s).
          • In my case, this vault is on the System drive, because I save my main project files to real-world-project -specific folders on a separate Media drive (a local RAID).
      • Check any scratch areas etc. on other disks, e.g. System disk, in case anything got (accidentally) written there, e.g. if system was accidentally powered-up when RAID was not running.
      • Empty the Trash

      MyBook on a multi-OS network (eg Mac & Win)

      May 16th, 2010

      Can use Wester Digital’s MyBook drive on a network featuring multiple OSs, such as Mac OS as well as Windows, provided one does not install MioNet (bundled with the drive).  My instincts were right then (I did not install it).

      In my case, the drive is formatted as NTFS, on a Mac it simply appears automatically in Finder then Mac OS is able to read it (Mac OS is able to read NTFS).  In retrospect, maybe would have been better to format it as HFS+ since then Windows could use MacDrive to not only read but write to it.  Meanwhile on Windows I found it necessary to run the “Discover” application bundled with MyBook, which configures the network drive mapping (to a drive letter).

      DNxHD Settings (revisited)

      May 15th, 2010

      When to use each variant?

      • [http://www.avid.com/US/about-avid/customer-stories/Taking-Woodstock-Small-Family-Drama-Precise-HD-Editing]
        • Footage was telecined to HDCAM and digitized to
          •  DNxHD 36 format, which offers compact storage of crisp HD images and was essential for laptop-based HD editing.
          • DNxHD 115 was used occasionally for detailed wide shots, often for crowd scenes.
      • [http://www.studiodaily.com/blog/?p=97]
        • The Avid codecs allow you to select the color space (709 or RGB) and I believe that is why the RGB-YUV conversions are apparently handled better by the Avid codecs.
          • Something to keep in mind when embarking on projects that may require material to meander into the RGB space.
        • The big surprise for me was the performance of Avid’s DNxHD 36 codec.  (Only) 3.5% of the original file size… and look at how amazing it did.
          • Since it’s a progressive-only codec, I couldn’t run it on my second set of tests.
      • [http://community.avid.com/forums/p/44088/248040.aspx#248040]
        • DNxHD 185 X is a 10-bit version of DNxHD 185.
      • [http://community.avid.com/forums/p/17160/96889.aspx#96889]
        • 1080i/50 HDV is 1440 x 1080, as is DNxHD-TR 120.
          • TR means “Thin Raster” reflecting the fact that if viewed on the assumption of square pixels, the subjects would look thin, since really the pixels are “fat”.
        • 1080i/50 is 1920 x 1080, as is DNxHD 185 and DNxHD 120
        • Throughput: 185Mb/sec for DNX185 = 23MB/sec.
      • [http://community.avid.com/forums/p/50032/280966.aspx#280966]
      • DNxHD 36 is great..BUT (as of 2007) only works in 1080p/23.98.  Why not 720p/59.94  or 1080i/59.94 ??   Answer: The format was created for the film-offline-HD crowd, thus the limited 1080p support.