Panasonic's AF100's Sensor Too Small?

Matt Jeppson over at FreshDV has a nice article up about the sensor size of the AF100, the latest AVCHD codec based camera from Panasonic.  The article covers just how much smaller the AF100's sensor is compared to the full-frame sensor found in the Canon 5D, but that it compares favorably to Super35 and the Red cameras.  Most interesting is when you compare the AF100, a sub-$5,000 dollar camera, with the Sony EX1 (a camera that sells around $6K):

The AF100 clearly surpasses (at least in terms of sensor size) the EX1, which was to date really the only affordable large sensor camera you could get your hands on. And it does all this without forcing you to make the myriad workarounds and concessions required when shooting DSLR.

Read the full article here.

Christopher Nolan Screenplays

This might be slightly off-topic for this blog but if you're in to shooting video, you're probably in to movies as well.  I'm a big Christopher Nolan fan.  I love the way many of this films are constructed in a non-linear fashion.  If you haven't seen "Following", do yourself a favor and rent it.  Anyway, the site nolanfans.com has posted all of Nolan's scripts in the PDF format.  Definitely worth checking out if you're a fan of any (or all) of his films.

You can find the scripts here.

Final Cut Server Gone?

Remember the only thing Apple seemed to talk about at 2009's NAB?  Final Cut Server MIGHT be history.  Hardmac (via 9to5mac.com) seems to think that Final Cut Server and Xsan, both apps utilized by many video professionals, might be the next to go in what seems to be Apple's purging of its server applications and hardware.  I DO NOT think this signals or should add fuel to the rumors that Apple will eliminate Final Cut. We have Steve telling us how "awesome" the next release is going to be.  But it is an indication that Apple is willing to give up on the server side of business and it will obviously impact post production companies down the road.  Oh, and it goes without saying, take this with a grain of salt. But since Apple's already cut Xserve it's not totally out of the realm of possibility.

Should I Work For Free?

Great chart by Jessica Hische on whether or not you should work for free.  Something all of us freelancers have had to decide at one time or another.

I The Pro Res Maker

I waited an entire day to watch this after seeing various links appearing on Twitter.  I don't know why because it's funny and worth your time since you're in to this whole video thing:

5" Sony Monitor

Sony's CLM-V55

Sony has introduced an affordable field monitor.  The CLM-V55 is a 5" monitor that plugs in to your camera via HDMI.  The price is expected to be around $399.  The resolution of the monitor hasn't been reported as of yet, but for the price I can't imagine it's anywhere close to 720p. One of the most affordable full 720p HDMi monitors out there is the SmallHD DP6 which sells for $899. However I imagine the pixel count will be high enough to aid in focusing.  We shall see.


For more information about Sony's CLM-V55, check out Pocket-lint's full write up here.

Undercity

I'm utterly fascinated with photos and videos about abandoned and underground places.  I love photos of ghost towns, abandoned hospitals and subterranean places like subways and tunnels.  There's a great video about the exploration of New York City's underworld over on Vimeo called Undercity.  If you haven't seen it yet, do yourself a favor and watch it now (even at its length it's more than worth it):

UNDERCITY from Andrew Wonder on Vimeo.

Reopening for Business

I'm going to resume blogging again and have decided to return to my Blogspot site (which is the one you're reading now).  More traffic still comes this way than my Squarespace page, so I might as well resume posting here.  I have an upcoming post coming comparing Premiere CS5 and Final Cut Pro 7 with editing AVCHD material. And I'll try and provide some random links (most of which you'll probably have already come across) soon. There have been a few cameras released since I last updated, including Panasonic's AF100 which uses it's "AVCAM" variation of the AVCHD codec.  So this codec is definitely still alive and doing well for the time being.

Also, I'm having difficulties importing in my Squarespace posts. One of their mantras is that you can go in and out of Squarespace easily.  However they output to a "Movable Type" formatted TXT file that Blogger will not import for some reason.  So if you're just coming upon this site, there's additional content here.

More to come, I promise.

Moving

I want to redirect you to where this blog will now (rarely) get updated - please click here to continue reading the sporadic postings for me. I'm searching for a (working) way to auto redirect folks who come here. Thanks for stopping by and I hope to have more posts coming your way soon.

Lighting Tips

Lowel, a manufacturer of lights, has a nice lighting resource site called LowelEDU. Here they break down the various components of interview lighting and give you examples of lighting techniques and placement through their interactive players. Check out LowelEDU here.

MPEG-LA

Matthew Jeppson over at FreshDV has an interesting and potentially scary write-up on MPEG-LA, the organization which holds patents over MPEG and h.264. You know these two codecs which almost all of use in our cameras? Basically when you purchase a Canon, or Panasonic, Sony, etc., your camera only comes with a MPEG-LA license to use that camera in a non-professional way. Since most of us are buying these cameras for professional use, this is a real eye-opener. Read more about it here.

Using the MXO2 Mini

One of my clients started the move towards HD and added 1080p LCD monitors and Matrox MXO2 Minis to their suites to output and view HD. I personally own the Blackmagic Intensity card but had considered purchasing the MXO2 Mini. One problem - it wasn't out yet at the time and somehow I had convinced myself I needed to get an HDMI out solution ASAP. I kind of wish I waited for the MXO2 Mini.

If you're not familiar with the Mini, check out this link. Essentially it's an external box that's available with both "desktop" and "laptop" options. The box has HDMI in/out, component, a convertor for S-Video and RCA audio outputs for audio monitoring. One of the big selling points of the MXO2 series is the monitor calibration tool that you'll find in the System Preferences tab:

Here you can tweak the brightness, contrast, hue and chroma of your outputted image. There is also a "Blue only" checkbox that helps you set up your monitor when used in conjunction with color bars. When you install the drivers for the Mini you'll now see several dozen output options in Final Cut Pro. It's a bit daunting to sift through, but every possible outputting format seems to be there. This is one real strength of the box - format support. You're extremely limited in your output options with the Intensity, but with the MXO2s you have just about every flavor of HD, SD and frame rates to choose from.

There are some bugs with the box. Audio seems to be shaky. Frequently audio will distort and sometimes cutout altogether in playback in Final Cut. Usually after a moment or two the audio would return, but on a couple of occasions I had to restart Final Cut to get the audio to come back. Also, lip sync seems hard to achieve when viewing A/V out of the HDMI. There are of course offset tweaks in FCP, but I can never seem to get it exactly right. That, and it seems to be a fluid situation with sync - sometimes it's on, other times it's off just a bit. Hopefully an eventual fix will come out for this.

Another quirk seems to be in the way it handles 720p video, especially if you have certain LCD monitors like the Vizio. At first, anytime I tried to output any flavor of 720p video, the resulting output would yield green and distorted video. Doing a Google search revealed others with the same problem and the fix seems to be to change the "Set main channel format to:" option to 1080. Doing this with the appropriate 720p output setting in FCP yielded noticeably sharper video. The TV is still receiving a 1080p image, but the Mini must be actively uprezzing the video to 1080p. Whatever voodoo magic that's taking place seems to be for the better.

Annoying Bug in FCP

John Chappell talks about an annoying bug in Final Cut that still has yet to be fixed involving the browser window. There are a number of bugs like these that seem to be overlooked by Apple's Pro Apps team. Maybe it'll be fixed in the magical 64-bit ground-up rewrite they'll announce at NAB next week, right???

Lack of Posts

To be honest, I don't have a whole lot to report on the world of AVCHD. The last few months have brought more freelance editing gigs away from my own stuff. I did get a chance to edit with some Red and Canon 5D footage, but other than a few small things here and there I haven't really edited any material that originated in AVCHD since last year.

I've decided to expand the focus of this blog a bit to include all things in the world of video. I'm going to be going to NAB next month so I hope to have some posts about things that I saw there. And I can always muster up some rants about Final Cut, but I'm still on FCS 2.0 right now so my rants might have been solved in the latest version. I'm refusing to upgrade for the time being and seeing this has only confirmed that decision. Compressor is a finicky beast and right now it's tamed on my system. I always seem to have something cooking in there and the last thing I want to do is install a new version that slows it down. Hopefully a future update will solve this. Or, better yet, we'll hear some news at NAB. But who knows if Apple will even whisper anything about Final Cut.

FW800 vs. eSATA

It's an established fact that SATA is faster than FW800. I know a lot of editors who own external drives like G-RAIDs but never use the e-SATA connection, sticking to FW800 instead. I recently purchased a SATA card for my Mac Pro and connected my G-RAID up via eSATA. Here are the speed differences:

G-RAID via FW800

Via eSATA:

A $40 or so internal card and a different cable and you get a pretty decent speed increase. So if you own a G-RAID or another external drive that includes an e-SATA port, you should definitely consider getting the most out the drive as you can.

Another music video

I've been busy, mostly editing, but I have still been doing some work with the HMC150. I've shot another music video with it. It was for The Nobility and they wanted a similar look to their first video which I posted a few months past. It's another one-take and it was shot with a Blackbird Stabilizer. I barely knew how to use the thing so it's not as steady as I would have liked, but it could the job done. A lot of people talk about their arm hurting after using these, but for me it was my right hand. The song is less than 3 minutes but multiple takes add up and my hand was absolutely killing me by the end of the night.

I normally use my own customized setting but this time around I used the Spark setting. The end result was a general crushing of the blacks to minimize the appearance of the black curtain behind the actors. I was going for the look that they were performing in front of a black void and for the most part it appears that way. The actors did a great job not busting too many takes even though they were in semi-absurd scenes.

Click on the video for an HD version:

Mr. Danby/Mr. Blackman from The Nobility on Vimeo.

Backing Up

I've mentioned it in this blog, but it's worth discussing again - we MUST back up. Since we're shooting in a tapeless format we don't automatically have a "back-up" of our footage. That was one major advantage of shooting on tape. Once you digitized your footage you now technically had two copies: your newly created Quicktime file and your tape. Maybe your plan is to buy new cards for every project, but this can get expensive. Spending $45 or so for a 16GB SDHC card can get pretty expensive when you're comparing it to a sub-$100 SATA drive that can hold a lot of backups. So eventually you'll be reusing those cards, deleting the camera original and existing, at least temporarily of course, in a world where there's only one copy of your footage.

I found out earlier that we can simply back up our cards to a drive and as long as we retain the file structure, and keep the Final Cut project file, we can resurrect that project via File and Transfer. Having to only back up the original AVCHD file structure means we can back up significantly more footage to drives compared to the Final Cut created Prores 422 files.

My back up procedure is finally in place. After I've backed up my cards to my internal SATA drive, I'll make a second back up copy. I'm buying fairly cheap Western Digital internal SATA drives and I'm plugging them in to an external SATA dock. The SATA dock plugs in to your computer either by an ESATA connection or USB2 (here's the one I own and it's worked great). The drive will appear on your desktop like any other external drive. Once the drive's full I'll eject the drive, put it in an anti-static bag and store it. It's important to note that most hard drive experts say you have to spin a drive at least once a year to avoid data loss, so if you have a To-Do list or use iCal, schedule yourself a reminder about 6 months from now to take out that particular drive and fire it up.

Now this gives me a couple of back ups of my material. It's also important to back up any other files you might have used like music, photos, graphics, and titles. If you want to be really paranoid about protecting your data, then you're probably going to have to go to the next step - offsite backups. What good is a back up if it's in your office and something happens to your office? You could potentially lose not only what's on your computer but also on the back up drive.

There are a number of options. You could simply double up your internal SATA orders, duplicate each drive and keep one in your office and one in off-site storage. I imagine you could also invest in a number of DVD-DLs, or buy a blu-ray burner and discs, and back up this way and keep that offsite somewhere. Or you could look at a service like Carbonite which with a fully paid subscription you can back up an unlimited amount of data. The back up process will take a long time, especially if you start with a pretty big legacy of material, but having your data backed up offsite can really add to some peace of mind.

Archiving

When you're in the world of tapeless post production, there are no tapes to have for archiving purposes. So you must back up your data on some sort of storage media. As I mentioned in a previous post, if you use Final Cut Pro to transcode to ProRes, you'll discover that your file sizes might not always correspond to the quality your camera recorded it at (i.e. the lowest quality 1440x1080 clips in AVCHD world become significantly larger than the highest quality 720p files). So if you back you your ProRes files you'll need a significant amount of storage space. But what about just backing up your AVCHD files?

This process is actually easy. What I'm doing is creating a folder on my storage RAID that is called AVCHD Card Back Ups. Within this folder I create a folder for each project. If I only used one card for that project, I'll simply copy the PRIVATE folder from the card to this project's folder. If there were multiple cards used, I'll create a set of folders with the simple name Card 1, 2, 3, etc. Copy each card's PRIVATE folder to their respective folders and that's it.

Be sure to keep a copy of your Final Cut project and one day, when the client asks for changes, you fire up that project, open up Log and Transfer, point it to appropriate PRIVATE folder(s) and re-transcode back to ProRes. The file naming scheme should remain the same. Obviously it's important to keep your original ProRes files named exactly how Final Cut named them, so when you re-transcode you can reconnect to the right files.

The end result is you back-up the significantly smaller AVCHD files and blow away the much larger ProRes ones. You'll be able to back up a lot more projects to the same disk as a result.

PS - I won't even get in to the idea that if you archive your files to a standard hard drive you'll need to be sure to power it up and let the platters spin periodically to prevent data loss. Do a google search and you'll see a lot of discussion about this fact.

Not HMC150 Related...

But I recently completed editing some spots for Martina McBride's upcoming "Shine All Night Tour". They've set up a channel over at You Tube to show off the spots and here's one of them (for some reason this doesn't really appear to be in "You Tube HD" even though I know they had the source files. Oh well, still looks okay):

Prores 422 ignores HMC150 record modes

You probably already know that the HMC150 records its 1080p and 720p PH clips at a maximum of 21Mbps. So technically these clips have the same data rate, or close to it. But if you use Final Cut to transcode these clips you'll discover they no longer remain at the same data rate. Final Cut's Prores essentially ignores the data rate of the camera original and only pays attention to the resolution. So that 720p clip's data rate at 24p becomes roughly 7.1 MB/sec and that 1080p 24p clip swells to 13.8 MB/sec.

Even worse, at least to me, is what Prores does to the camera's lowest quality setting, HE. These files are recorded to SD card at a tiny 6Mbps, but because the resolution of the clip is 1440x1080 and 29.97, the transcoded Prores clip swells to over 15MB/sec! That's right, a clip that is more than a third smaller than the highest quality 720p clip becomes twice as big as it after transcode.

The HE mode is perfect for long recording times, especially when the subject is a human who's giving a very long speech. You can squeeze many more hours of footage on your SD card and not have to worry about stopping to change out cards. But all of that space savings is thrown out the window once you transcode. I'll leave you with an example:

Clip - recorded using HE mode

Length is 1 hour and 13 minutes

AVCHD file size - 2.97 GB

Prores 422 file size - 65.92 GB!