5D Mark II fault: shifted CMOS sensor???

1 year old 5D Mark II began little by little to do front focusing with all the lenses. I took it local authorized Canon service center.
At first I thought that maybe only AF calibration may be needed. But after couple of days I got message, that "CMOS sensor moved/shifted from it's place", so service center first will have to "put back in place CMOS sensor" and then to do the AF calibration.
How's that possible?? I looked to camera drawings and I don't see ways that sensors can be moved from place. Especially when camera was never dropped and was used very carefully. Talked with service center and they state that it is possible and they told that "have info directly from Canon" that under certain angles even  by soft punch/bump CMOS sensor can be shifted from it place.
Anyone got similar situation or knowledge is that really possible
For me it sounds unbelievable ...

I've never heard of this before, BUT... the sensor is mounted on shims which are "factory" adjustable (the shims are not accessible to end-users -- significant disassembly is required and definitiely lands squarely in the "attempting to do this on your own may destroy your camera" category.)  
The shims allow manufacturing to make sure the sensor is mounted parallel to a focus calibration target.  Otherwise you'd have issues where the top of the image is in focus but the bottom is out of focus or the right side is in focus but the left side is not, etc.  (BTW... this exact scenario happened to the Nikon D800 which, for a time, had a number of models being mis-calibrated.  The error turned out to be a focus calibration target at the plant which was not mounted parallel to the camera's focus plane.)  Anyway... these shims would not normally move all on their own.  I would think the camera would have needed to take a hard smack at some point.
The AF sensors are on the "floor" of the camera body.  They are supposed to be mounted and calibrated such that the distance to the AF points (when the mirror is down) and the distance to the sensor (when the mirror is up) are the same -- thus insuring that when the AF points "think" the image should be focused... it really is focused.  
I do not know to what extent the AF points can be adjusted mechanically but it wouldn't surprise me to learn that they might also be mounted on shims.
It is likely that you would only need to have the camera sensor shimmed in correctly -- but this is something Canon service can do.
Tim Campbell
5D II, 5D III, 60Da

Similar Messages

  • Focal length and CMOS sensor size

    Hi everybody.
    My question is probably different from the norm but I still guess this is probably the good place to ask.
    I'm currently working with a few creative webcam's and matlab in a project and I need to know the camera's focal length and the size of the CMOS sensor, however I can't seem to find that information in the documentation that came with the webcams.
    The size of the sensor is constant but the focal length of the camera changes if i rotate the focus ring right?
    Is there a way to estimate the focal length of the camera without knowing the size of the sensor? and what if the size of the CMOS sensor is known, can I consider directly the pin hole camera model and simply use pitagoras theorum to obtain the focal length of the camera? or would that be a very rough approximation?
    Sorry for all the question and the bad english (its not my native language)
    Thanks in advance.
    asdfgh1

    Kinect doesn't provide any type of object recognition library. You will have to create your own or find a third party library.
    Carmine Sirignano - MSFT

  • Remove the ISO limitation on the powershot cameras with the new CMOS sensor

    I like to take profesional looking photos and have full control of my camera, I like to use a powerhsot as it's compact, light and not too pricey incase something bad happens to it as I take it into some pretty risky sitations.
    I have a PowerShot sx700 and have had no problems with this camera except that I encountered an ISO limitation to ISO100 when I set the shutter speed  to times longer than 1sec. I like to take long exposure photos at night of times up to 15 or 30 seconds and somtimes they require a very high ISO. There is no CHDK firmware avaliable for this camera yet, otherwise I'de be more then happy to void my warranty to install that firmware to get a fully functional camera.
    Who here agrees that canon should update its firmaware to remove this limitation in manual mode? and if it's not too much to ask; extened maximum shutter speed time to 30 seconds.

    Skirball wrote:
    I'll say with near certainty that Canon will not release a firmware update to address this.  Aside from their top-of-the-line dSLR like the 1dX and 5d3, they rarely release firmware to add features, only fix programming errors.  I don't pay too much attention to point and shoot updates, but even on the Rebel series dSLR they rarely fix anything because they simply release a new version every year and expect people to just upgrade if they're unhappy with their current model.
    They added some new features and enhancements to the 7D a couple of years ago. They bragged about it a bit more than the changes justified, but they did add one really useful feature: the ability to control the names given to the image files. So when you do a photo shoot with two or more cameras, it's easier to tell which camera took which image when you start editing.
    Bob
    Boston, Massachusetts USA

  • Canon 1 D mark III announced - now you need LR stacks 10fps - 110 jpeg burst.

    Canon 1 D mark III announced - now you need LR stacks 10fps - 110 jpeg burst.
    See LightroomExtra RSS feed or www.sidjervis.com blog page.
    Key features
    10.1 Megapixel APS-H CMOS sensor
    10 fps continuous shooting for up to 110 frames
    Dual DIGIC III processors
    New auto focus system with 19 cross type sensors
    EOS Integrated Cleaning System
    ISO 3200 (expandable to H:6400)
    3.0 LCD with Live View mode
    Wider, brighter viewfinder
    Sid
    The LightroomExtra home page is right here.

    I think narya.de was being facetious! Sounds like he reviewer is an Mb snob!
    Don
    Don Ricklin, MacBook 1.83Ghz Duo 2 Core, Pentax *ist D
    http://donricklin.blogspot.com/

  • Sensor analog balance for 2850K color table

    Hello
    I currently try to create a dual illuminant camera profile using DNG Profile Editor 1.0.0.46 beta for our Aptina CMOS MT9P031 based camera.
    Using the DNG SDK 1.4, i'm converting the BAYER pattern images to a DNG with a Embedded Profile which has identity matrices set on the color matrixes and analog balance DNG tags.
    D65 shooting conditions:
    - High-CRI LED based light source set to 6500K @ 300 lx (spectrum fit 96%)
    - CMOS sensor analog gains were adapted to achieve a neutral image at the D65 shooting conditions
    a. Do I have to keep all component gains to 1.0 or adjust for the illumination?
    b. Does it matter what I apply on the embedded camera profile on the AnalogBalance DNG tag?
    Std A shooting conditions:
    - Same light source set to 2850K @ 300 lx (spectrum fit 92%)
    - CMOS sensor analog gains were _not_ adapted to achieve a neutral image. This obviously results in a orange color tint which can be eliminated using the white balance slider on the "Color Matrices" tab of the DNG Profile Editor.
    c. Do I have to adapt the analog gains when shooting for 2850K
    Using the converted DNGs from shooting conditions above, I can create the color table for 6500K using the "Chart" tab, but not the 2850K color. I always receive the error message:
    "Non-neutral gray patches. The gray patch in row 4, column 3, has a significant color cast. Please reshoot the chart carefully to avoid color casts and try again."
    ...but when using the whitebalanace slider on the "Color Matrices" tab in advance of the "Chart" tab, I can tune the Std A image to a perfect neutral image. There is no color cast visible anymore.
    d. Any ideas what I did wrong?
    Kind regards
    blad

    Hi Eric
    Thanks for taking the questions. Some details and clarifications:
    Our analog gains are set to give a neutral image at D65 and we keep them unchanged even if the in-camera white balance algorithm detects a Std. A illuminant. This means the unprocessed RAW image contains a very warm color tint. Obviously, there is much more red than green and blue in the image. Is it correct, that then f.e. apply:
    oNegative->SetAnalogBalance(0.863, 0.599, 0.389);
    -> The values are derived from the red, green and blue components in the 2850K reference image from one of the gray patches on the color checker.
    Thanks for the tip with the missing ColorMatrix values. When I specify a ColorMatrix and AnalogBalance as (described above) I am able to create a color table using the chart tab in Profile Editor the reference image at D65. I keep getting the error for the reference image at 2850K. Did I specify the ColorMatrix the wrong way?
    oProfile->SetCalibrationIlluminant1(lsStandardLightA);
    dng_matrix_3by3 oRGBMatrix( 1.627, -0.448, -0.222,
                               -0.434,  1.787, -0.350,
                               -0.341, -2.014,  3.294);
    dng_matrix_3by3 oXYZ_to_SRGB_D65( 3.2404542, -1.5371385, -0.4985314,
                                     -0.9692660,  1.8760108,  0.0415560,
                                      0.0556434, -0.2040259,  1.0572252 );
    dng_matrix_3by3 oCA = MapWhiteMatrix(StdA_xy_coord(), D65_xy_coord());
    oProfile->SetColorMatrix1(oXYZ_to_SRGB_D65 * Invert(oRGBMatrix) * oCA);
    As soon as I open the DNG with values from above in DNG Profiel Editor I get a cold image with a blue color cast and click-white balance tells me ~3350K/28 instead of 2850K/0.
    Regards
    Daniel

  • Cisco Works LMS 4.0 - Fault Monitor Issue

    Hi!,
         I have a little problem with the LMS application. when I try to access to the screen of: Monitor --> Monitoring Tools --> Fault Monitor, the application shows an error message that only said: "Sorry an error occurred" and thats all.
    Any idea of what can I try in order to solve this?,
    Thanks,

    Hi Duong!, thanks for your reply. The services was restarted but the problem still exist (the process DFMCTMStartup is allways down although I started manually)
    And the only change that I see is that the Fault Monitor Screen show first a message "There are no faults available" but I Have marked 46 Faults!"

  • BPEL faults do not generate response.

    Hi,
    I have a BPEL process that catches some faults, performs a transformation and rethrows a slightly different fault. I was expecting that the rethrow would generate a response with soap fault to the client automatically. However, what really happens is that the process is marked as faulted in the BPEL console and the client never receives a response.
    Is this the expected behavior? I was expecting, just like in java, that on throwing a fault, a response will be generated with the appropriate soap fault type. Is this not a valid assumption? Please clarify.
    Thanks!

    In your catch handler you should reply back the the fault in case this is an synchronous BPEL process, in that case you should define the <fault> in your WSDL as well.
    http://orasoa.blogspot.com

  • Opinions? Will software stabilization ever be able to handle CMOS?

    There is software for everything now-a-days. Will there ever be a software solution (and if so, an upgrade to iMovie) that will allow stabilization of CMOS sensor recordings?

    Kevin Berube wrote:
    There is software for everything now-a-days. Will there ever be a software solution (and if so, an upgrade to iMovie) that will allow stabilization of CMOS sensor recordings?
    There already is software that does this. It's a UK company that makes very high-end video editing products.
    In the future, yes, this will be corrected. You'll need dramatically better hardware than what is currently for consumers.
    I'll try and find the company and post it here.

  • Cpu temp sensor burned

    Hello all,
    K7T 6330 V.3 with 1.3 Athlon
    I recently changed my HSF to a presumably better unit than the one that came with teh CPU.
    It ended up not cooling any better but running a bit hotter.
    I removed all of the components I no longer used (old NIC, bad CDROM) to help air flow but after a few reboots to test the temp I smelt burning plastic.
    I found that the CPU temp sensor inside the CPU socket was burned and now I only get red LEDs. The CPU and socket look fine. No debris of burn marks.
    Anyway, if the sensor is burned to make an open circuit or shorted somehow, would this completely kill the mobo?
    I mean, if ONLY the temp sensor circuit was fried, would this prevent the entire board from functioning?
    thanks,
    js

    Yeah. Sorry if I wasn't clear on that part. The CPU definitely scorched the sensor. I may have inadvertantly pulled it up a little when replacing the CPU, only way it could have happened.
    thanks,
    js

  • CMOS camera with USB and labview

    Hi,
    I'm looking for an USB camera with a CMOS sensor that I can use with
    Labview. Preferable with Labview drivers and low cost.
    The size of the image may be VGA or 1.3Mpixels. I need to have full control
    with labview and saving RAW images.
    Is there anybody who can recommend me such a camera?
    Thanks!

    I have a solution,we can call Mirco CMOS sensors DLL and OVT sensor DLL then you can writing register freely, but you need to design the hardware or buy it.
    my [email protected]

  • Low-light Cameras

    Hey Everyone,
    As camera and sensor technology has advanced, so has the ability of digital cameras to record in lower light without an external light source. In the past if you wanted to capture a useable image in low-light conditions you would have to use flash, strobes, or in a pinch you could use hot-lights.
    Sensors have really come a long way. Modern Backlit CMOS sensors allow far more light to actually reach the photosites that capture the image, and because of this the data needs far less amplification. These types of sensors should produce images with far less digital noise while shooting at higher sensitivities. Over the last couple of years I have seen cameras with much higher selectable sensitivity to light (this is called the camera’s ISO).
    Another feature that’s become better-and-better  over the years, which also helps out in shooting in low-light situations, is image stabilization. Basically Image stabilization shifts either the lens elements, or the sensor itself, to compensate for any movement on the part of the shooter. This really does help out while shooting in low-light.
    If you really intend on shooting a lot in low-light the best thing you can do is get a camera with the above features, but also one that uses a large sensor. While most point-and-shoot cameras do a much better job in low-light than they used to, there really is no substitution for a physically large sensor of a DSLR or Compact System Camera when shooting under low light levels.
    Happy Shooting,
    Allan|Senior Social Media Specialist | Best Buy® Corporate
     Private Message

    Allan-BBY wrote:
    If you really intend on shooting a lot in low-light the best thing you can do is get a camera with the above features, but also one that uses a large sensor. While most point-and-shoot cameras do a much better job in low-light than they used to, there really is no substitution for a physically large sensor of a DSLR or Compact System Camera when shooting under low light levels.
    I think the biggest low-light accomplishment is how modern cameras are able to capture starlight and galaxies with the right lenses.
    While sensor size is important, choosing lenses with large apertures also helps to minimize sensor noise.  Look for lenses with f/2.8, f/1.8, or f/1.4 designations.
    Of course you can just cheat.  Nikon's SB-910 or a Quantum bare-bulb works wonders in challenging light conditions.
      http://www.bestbuy.com/site/Nikon+-+Speedlight+SB-​910+Flashlight/4675495.p?id=1218505325342&skuId=46​...
    Note, many compact cameras are now shipping with larger sensors.
      http://www.youtube.com/watch?v=e8dVE9gu96A

  • When I take a picture it saves it upside down

    help, it always saves it in my photo album upside down.

    In my case I take HD video with an Apple iPhone 4S and an iPad 2. These cameras can be just as easily oriented in any of four orientations by hand, or in various iPhone or iPad holders for mounting on a tripod. As long as I stay with Apple or Adobe products for my whole video handling process, I have no problem with software support for orientation
    While there are countless software programs available today that display JPEG images, only a subset of them actually interpret the EXIF Orientation flag. Just like color management, many programs simply display the JPEG image as it is stored, and completely ignore any extra details stored in the file's metadata. The most important of these additional details is the Orientation flag, stored in the JPEG APP1 marker under EXIF IFD0.
    More explanation of this is in the text below.
    Briefly, Apple is doing it right, with their iPhone 4S and iPad 2, the way most High end video cameras do it. And they made sure that their apps looked at the appropriate flag to rotate the image before showing it. To understand this look at this site:
    http://www.impulsead...rientation.html
    This is a site that explains the whole deal. Apple and Adobe are looking at the flags for image rotation. Plex,and many others are not doing so. VLC for instance, DropBox is anpther example, Thunderbird is another example, the list is long.
    Many newer digital cameras (both dSLR and Point & Shoot digicams) have a built-in orientation sensor. Virtually all Canon andNikon digital cameras have an orientation sensor. The output of this sensor is used to set the EXIF orientation flag in the image file's metatdata to reflect the positioning of the camera with respect to the ground. Canon calls their sensor the "Intelligent Orientation" sensor. It is presumably a 2-axis tilt sensor, allowing 4 possible orientations to be detected. The paragraphs below are taken from that wonderfully illustrated link.
    Auto-rotation in Digital Cameras
    While your digital camera may include an option to "auto-rotate images" due to the camera's orientation, this is almost always just a "virtual rotation". A flag is set to indicate to the viewing software / LCD preview which way to rotate the image before display, rather than rotating the image content itself.
    As lossless image rotation is a fairly compute-intensive operation, digital cameras are not likely to include true lossless rotation after capturing the photo. The CCD/CMOS sensor hardware is designed to stream raw data in a particular direction (e.g. rows then columns), and so it may be hard to incorporate true auto-rotation in-camera without a performance impact to continuous shooting (frames per second).

  • Black Bars on Sides & Poor Upload to YouTube

            I have already tried converting my Mp4's from my camera to AVI and this will resolve the black bars but the end result is still poor video once uploaded...  I get the little red x in the lower left hand corner about poor display quality (see picture at bottom) If I work with the original Mp4s and leave the Black Bars on the side the videos looks fine... please help.  The AVIs are taking too much space once I convert them from Mp4 so I would like to leave that option out of this topic, unless someone can tell me how set Super or Prisim up to keep the file size the same when converting or how to convert an Mp4 to AVI in a smaller format that is usable by Premiere.
    These are the best specs I can give you guys after reading How To Ask A Question from Hunt....
    *   WINDOWS 7 64BIT os
    *   Adobe Project Settings - HD 1080i 30 presently
                           HD 1080i 30 (60i) formerly
    *   Adobe Settings - Default after a clean install of Windows 7
    *   Files - Working With raw Mp4 HD 1080/60i (all the same from the same camera)
        * w 1920 x h 1080
        * data rate 17029kbps
        * 59 fps
        * Audio bitrate 128 kbps
        * 2 channel stereo
        * 48 kHz
        * videos are about 500 mb in size each
    MY CAMERA
        Signal Type       Signal Type       NTSC
        Storage Media     Storage Media     SDHC slot
        Image Sensor     Sensor Type     CMOS
        Sensor Size     1/4.1"
        No. of pixels     4.7M
        Lens             Optical Zoom     20x (22x)
        Digital Zoom     220x
        Display             Main Screen     No. of pixels     230K
        Video Recording      Recording Format     H.264 HD
        Memory Application     Memory Application     Compatible Card     SDHC
    MY COMPUTER
        * Gateway DX4300-03
    General
        * Type Personal computer
        * Product Form Factor Mini tower
        * Width 7.1 in
        * Depth 17.3 in
        * Height 16.3 in
        * Weight 24.9 lbs
        * Desktop type Gaming system
    Processor
        * Type AMD Phenom X4 9750 / 2.4 GHz
        * Multi-Core Technology Quad-Core
        * 64-bit Computing Yes
        * Installed Qty 1
        * Max Supported Qty 1
    Cache Memory
        * Type L2 cache
        * Installed Size 2 MB
        * Cache Per Processor 512 KB ( 4 x 512 KB )
    Mainboard
        * Chipset type AMD 780G
    RAM
        * Installed Size 8 GB / 8 GB (max)
        * Technology DDR2 SDRAM
        * Form Factor DIMM 240-pin
        * Configuration Features 4 x 2 GB
    Storage Controller
        * Type Serial ATA - Integrated
        * Controller interface type Serial ATA-300
    Storage
        * Hard Drive 1 x 1 TB - Standard - Serial ATA-300 - 7200 rpm
        * Hard Drive 2nd Drive Simpletech 500gb drive (speed unknown) USB 2.0
        * Hard Drive 3rd Drive WD My Book Essential External Drive 1TB USB 2.0
    Optical Storage
        * Type DVD±RW (±R DL) / DVD-RAM
        * Disc Labeling Technology Labelflash Technology
    Monitor
        * Acer H203H
        * Sylvania Flatpanel TV extended
    Multimedia Functionality
        * TV tuner type Dual digital/analog TV
    Graphics Controller
        * NVIDIA GeForce GT 220 - updated yesterday
        * Graphics Processor / Vendor ATI Radeon HD 4650 (not in use)
        * Video Memory 1 GB
    Audio Output
        * Type Sound card - Integrated
        * Sound output mode 7.1 channel surround
        * Audio output compliant standards High Definition Audio
        * Speaker(s) 2 x Right / left rear channel
    Networking
        * Networking Network adapter - Integrated
        * Wireless LAN Supported Yes
        * Data Link Protocol Ethernet , Fast Ethernet , Gigabit Ethernet
    Expansion / Connectivity
        * Expansion Slots Total (Free) 1 ( 0 ) x Processor , 4 ( 0 ) x Memory - DIMM 240-pin , 1 ( 1 ) x PCI Express x1
        * Interfaces 8 x Hi-Speed USB - 4 pin USB Type A ( 4 front, 4 rear ) ,
          1 x Keyboard - Generic - 6 pin mini-DIN (PS/2 style) , 1 x Mouse - Generic - 6 pin mini-DIN (PS/2 style) ,
          1 x Display / video - VGA - 15 pin HD D-Sub (HD-15) , 1 x IEEE 1394 (FireWire) ,
          1 x Network - Ethernet 10Base-T/100Base-TX/1000Base-T - RJ-45 , 1 x Modem -
    Phone line - RJ-11 , 1 x Display / video - HDMI - 19 pin HDMI Type A , 1 x Storage - Serial ATA-300 - 7 pin Serial ATA
       *note the red 'X' in the lower left hand corner, as well as the black bars. This is how it looks when directly imported into Premiere (mp4 file from the camera)

    1. Open Premiere Elements 8.0.1 and set the project preset (new project dialog) = PAL AVCHD Full HD1080i25.
    2. In the program, Edit Menu/Preferences/General, have a check mark next to "Default Scale to Frame Size".
    3. Right click the Edit Mode Monitor, select Magnification, and have the set on "Fit".
    4.  Using Premiere Elements' Get Media/Files & Folders, import your  AVCHD 1920x 1080 16:9 video into the program. (You will see your video  in the Organizer.)
    5. Drag your video from the Organizer to the Timeline. Are you seeing a 4:3 version of it in the Edit Mode Monitor?
    6. If so, click on the Project Tab in the row below the active Organize (Blue) Tab to bring up the Project Media View.
    7. In the Project Media View, right click your video in the list to bring up the Interpret Footage dialog.
    8.  In the Interpret Footage dialog, under Pixel Aspect Raio, dot the  "Conform to:" and change the setting = Square Pixels (1.0). After you  click OK to that, see what your video now looks like in the Edit Mode  Monitor.
    Miscelleanous
    1. You can also use the Interpret Footage dialog for Frame Rate considerations.
    2.  Although the gspot read out does not give a reading for PAR (Pixel  Aspect Ratio), the PAR can be calculated from the SAR and DAR values  given since PAR = DAR/SAR and, in your case, 1.778/1.778 = 1.0. The DAR  is Display Aspect Ratio and the SAR is Storage Aspect Ratio.
    3.  What is the duration (seconds, minutes, hours) of the video that you  have been trying to use in Premiere Elements 8.0.1. You are working with  AVCHD which is a very resourve demanding format, and it appears that  you have 2 GB RAM installs that probably translates in much less  available and you do not say how much free hard drive space your  computer has. But, if the video in question is only of a few seconds  duration, we should be able to work through this pixel aspect ratio  issue.
    courtesy of AT Romano... 

  • Lens Profiles for Sony Alpha DSLR's? Share Yours!

    Hey everyone out there, I wanted to make a thread were we could share lens profiles for the Sony Alpha DSLR system. I currently use the A-700 and the A-900 for all of my "Pro" work. I welcome this new tool with open arms as distortion is sometimes a huge issue when using some wide angle lenses.
    I personally use the following lenses on a daily basis and will be making profiles for these lenses sometime today!
    Tamron 70-200mm f2.8
    Tamron 17-50mm f2.8 (lots of distortion on the wide end)
    Sony 50mm f1.4
    Sony 70-300G
    Sigma 50mm f2.8 Macro
    Minolta 28mm f2.8
    So lets see if we can get the most popular lenses for the Alpha mount profiled and ready to go to share with everyone and help make the Sony shooting experience a whole lot better!

    function(){return A.apply(null,[this].concat($A(arguments)))}
    Gaspyy wrote:
    Yes, I actually believe the difference is minimal. The optical distortions & vignette would be the same. Obviously when creating the profile, it would help to use the higher-res camera, as it would allow better recognition of a finer grid chart, but the light would fall on the sensor in the same way for both cameras.
    I'm not looking to argue with anyone. I know things tend to get heated sometimes here and I don't have any desire for that.
    Let's say we have different opinions.
    Nothing wrong with that so long we behave in in civil way.
    The size of the microlenses on top of the photo cells also differ from earlier CMOS sensors.
    That can influence the CA.
    Color fringes, particularly noticeable at the edges of high-contrast photos, are is principally caused by lateral chromatic aberrations, where the lens — like a prism — splits the visible light into its different color components. DxO Optics Pro analyzes each image and automatically detects and corrects these fringes or irisations, thanks to its precise characterization of the fault based on the specific lens-camera combination that you use.
    http://www.dxo.com/intl/photo/dxo_optics_pro/optics_geometry_corrections#ColorFringing
    Regards

  • Canon HV20 24P HDV workflow, Some things with FCP and Quicktime are ODD.

    Canon HV20, 24P, HDV, CMOS sensor...
    First, I do hope and pray that the FCP dudes are making this work native at HDV 24p -- great!
    But until then, there's a workflow (see below) and a real oddity I can't figure out, and if anyone has any thoughts about it that would be great.
    Sometimes, the image captured/shown/exported is a lighter picture, and other capture/playing/export methods are darker picture. Example: the captured 60i from Final Cut Pro has a light gamma picture when viewed in Quicktime Player.
    But playback in Final Cut Pro appears darker, and rich. But then exporting it out turns it light again, but export out to a MPEG-2 DVD is darker again? ODD.
    Can anyone explain the FCP capture size of 1888 x 1062?
    Anyhow, here is some workflow success that I had.
    Capturing in Final Cut Pro using the HDV 1080/60i setting with HDV firewire basic NDF. But 60i is evil. So that's not enough. Got to get it to 24P,since that allows 20% more bandwidth, space, faster renders, and DVD players can play it.
    Transcoding to a regular editing codec before converting to 24P is required. I found that MPEG Streamclip would create a wierd, jagged edges on small moving figures with high contrast, no matter what the settings, so I refuse to use it to export the footage.
    So instead, FCP has an additional capture option of "Apple Intermediate Codec" or something like that, which transcribes it on the fly to AIC. I always stayed away from AIC like the plague, but they must have spent some time with it because it's nearly identical to the HDV original.
    Next, open up in Quicktime Player, and start the clip on that second P frame. Sounds odd, I know. Goto the first interlaced frame, and back up two frames. Mark the "I", and then move that Out marker to the end, and then Trim the clip to the selection. Do that with all the clips, and then you can batch 24P them all.
    If you don't want to find that one frame each time, here are the other settings:
    First, open up the clip inside cinema tools, and then select Rev. Telecine button.
    Find out which of these your clip is doing at the very beginning:
    p-p-i-i-p - aa
    p-i-i-p-p - bb
    i-p-p-p-i - bc
    p-p-p-i-i - cd
    i-i-p-p-p - this is no good. must remove at least one frame from the beginning of source file
    i = interlaced frame
    p = progressive frame
    all settings use the F1-F2, style one, standard upper/lower

    Sometimes, the image captured/shown/exported is a lighter picture, and other capture/playing/export methods are darker picture. Example: the captured 60i from Final Cut Pro has a light gamma picture when viewed in Quicktime Player.
    But playback in Final Cut Pro appears darker, and rich. But then exporting it out turns it light again, but export out to a MPEG-2 DVD is darker again? ODD.
    This is known. This happens with ANY footage you look at in FCP and QT player. QT lightens the gamma of the footage. Why? Something to do with adjusting the image for computer monitors.
    Shane

Maybe you are looking for