Sony EX1R MPEG-2 Long GOP

Dear Apple,
you are a fan for all your Apple products, recently I bought a SONY camera EX1R MPEG-2 Long GOP CODEC.
I'm in love IMOVIE to its simplicity, unfortunately does not handle movies Sony EX1R, Final Cut but it works fine.
I was wondering if you're planning to read this format in IMOVIE
future version?

There is no one from Apple here. This is a user to user forum. I suggest you provide feedback to Apple by clicking iMovie/Provide Feedback within iMovie.
A couple of thoughts...
It seems a bit of a mismatch to pair a $7,000 camcorder with a $15 editing app, but I agree with you. iMovie is a pleasure to edit in.
Since you are likely to have Final Cut Pro installed, you should be able to import from this camera into ProRes422 using FCP. iMovie 11 can edit ProRes 422 (but only if Final Cut Pro or Logic Studio is installed), so you might try editing in iMovie that way. I base this on hearsay since I do not own Final Cut Pro or a $7,000 camera.
Good luck.

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100mb long gop or 200MB iframe for editing?

Hi
Hope to shoot various slomo, regular speed, timelapse of ballet/jazz dancers agaianst a white curtain on a black stage. Using my SONY EX1R and probably renting a NANO which will give me 100MB or more...
Question is, should I record it in in the NANO at 100MB or more long gop or 200MB-ish iframe, what's the difference and can FCP 7 and my MAC PRO 3.0, 7200rpm internal hard drives edit this kind of footage - probably shoot 1280x720 24p 60fps mostly.
THX

Don't shoot any kind of Long GOP if you can avoid it. They are not editing formats and will have to be transcoded to an iFrame format.
Many consumer and prosumer cams shoot Long GOP MPEG 2 or MPEG 4 and FCP does a very good job of transcoding to ProRes for example, but you need to take a look in the Easy Setups menu. Those are the formats that FCP works with.

No shuttling of Long-GOP?

I'm still new to Pr. Up to now, I've been editing with ProRes or DVCProHD. Those are intraframe codecs. I just loaded a 7D project (h264). I have no ability whatsoever to shuttle the Source or Sequence monitors. I only get an update when I release the CTI. And not only that, the update takes a second or two.
Is this how Pr handles Long-GOP codecs?
Is this how FCPX does it? I'm intrigued by their skimmer, and I wonder whether it works on Long-GOP; and if Apple can skim or shuttle, can't Adobe?
If this is the way Pr handles Long-GOP, I'm going to go back to transcoding it all before editing, and start ridiculing the idea of native editing in Pr.
Somebody please tell me that I'm doing something wrong.
I don't have a CUDA card installed. If I got one, could I shuttle like I can with intraframe sources?
I'm on a pretty fast MacPro octo 3GHz, with my footage on a roughly 1GB/s RAID.

Hi Jim
Really, for 5D or 7D footage, you don't need to transcode with Premiere Pro. I edit that footage all the time with a bunch of other codecs too, sometimes a 5D, 7D, AVCHD 60P, EX all running in a multiclip, and don't usually experience what you are seeing.
AVCHD plays about as well as 5D or 7D, maybe slightly more lag. I actually use a 60P version of AVCHD which I think is more stressful on PPro and it's fine for the most part. BTW, AVCHD is using H.264 encoding, the AVCHD denotes all the extra files that surround the .MTS files inside the AVCHD 'wrapper' and it's what Blu Ray and all kinds of AVCHD camcorders use. When you bring a AVCHD directory into PPro, it strips out everything and you wind up with those .MTS files.
I use the same 'selects' technique as you. I'll drop everything shot on a timeline and then do selects. Sometimes I'll sync a bunch of footage together (using PluralEyes -available for FCP and PPro) and do selects on a variety of shots. I scrub through 'virgin' shots to do this, and I can do it all day. Occasionally there will be a pause before the new clip appears in either the source viewer or program, like PPro needs to fill a buffer, but for the most part it's pretty smooth. If I'm doing a bunch of disk access in the background with other apps things bog down, and sometimes I'll notice this and I'll notice that I'm doing some background copying or whatever and I'll stop that and then PPro picks up.
I do have very fast eSATA RAID connections running around 200-250MB/second on 5 different separate drives.
Also, I think that where your 'media cache database' and 'media cache files' (check PPro prefs) are stored should be a fast drive with a fast connection. I use my fastest drives for that.
On the Mac, use Activity monitor to see if some other non-PPro process is taking up cycles when you're trying to shuttle, this would result in the problems you're seeing as well.
Try this:
You have the ability to adjust the playback resolution of both the source viewer and the program viewer, it's a little menu in the right top corner of those panels. Adjust it to something other than what causes you problems. Intuitively having 1/2 or 1/4 would seem to make it work better, but sometimes having it full works better, even if the panel is not big, especially with H.264 encoded material.
BTW, Quicktime player is very bad playing back H.264 anything, the underlying engine is just not built for it. However, even on my Mac, which is not as fast as yours, QT plays back native 7D files fine, though scrubbing is not great. If you want to see how Premiere should play back on a Mac, use the free Movist, it's the best and simpliest and least expensive player of anything out there. QT will not play back AVCHD files that well if at all, as they are more highly compressed than Canon H.264.
That being said, if you can live with the transcoding model, using MPeg streamclip to Prores is probably the smoothest and fastest way, however, gave up that model a long time ago when I switched to PPro. It's a joy to not fill up hard drives with terabytes of prores nor take the initial time to transcode and instead use the source material directly. You'll also avoid strange QT gamma problems if you use the source files rather than the Mpeg / QT transcodes. Look up Shane Hurlbut's talks on these issues. Tons of former FCP DSLR and AVCHD editors have done the same. Figure out the time savings and hard drive savings and it behooves you to try to make the Premiere Pro non-transcode model work for you.

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Giving up? Four product releases in nine months. That's a pretty aggressive development schedule for a new product.
Motion is a separate development track and always has been. Roundtripping to Motion was not available in its first releases. Apple has taken a new approach with publishing and rigging, which has great benefits. It basically meant that the entire effects, transitions, generators, and titling architecture didn't have to be rebuilt in FCP and that the two applications can work together. There are a lot of things this allows. For instance, if you want to add effects from Motion to clips in FCP, roundtripping is quite unnecessary; simply publish the effect with the parameters you need and apply the effect inside FCP.
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Getting red frames when export from cc 2014.2 codec used panasonic mxf format long GOP 50p. If any solution please help on that

getting red frames when export from cc 2014.2 codec used panasonic mxf format long GOP 50p. If any solution please help on that

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Sony HDR-HC3 no longer works in iMovie 08 under Leopard

Hello all,
Prior to my upgrade from 10.4 to 10.5, I had been using iMovie to import from my Sony HDR-HC3 mini DV camera without any difficulty - building a library of video from my rehearsals so that I can prepare doctoral audition DVDs.
Now, since upgrading to Leopard, it no longer works. Has something changed? Using the same hardware, connections, and settings, and choosing either 'large' or 'full' to import from 1080i on the camera, and trying automatic or manual, and connected via iLink as usual, it starts the camera properly, but when you play the tape no video shows on the Mac - when using Automatic it will shortly stop, rewind as if it found the end of the tape, and gives an error beep but no messages.
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Are you controlling the camcorder manually also and do you specify a specific output (and if you do, did you follow instructions and pull the FW cable to force the change to take affect)?

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I have a Sony HDR HDD camcorder that, for quite a while now, had no issues with its 4pin DV-USB cable (that came with it) connection to my Mac Pro being recognized by iMovie 9. I haven't made a video in a couple of months, but recently, I filmed about 3 hours worth of wedding footage, connected the camcorder to the Mac as before, iPhoto recognized it instantly (and auto-launched as always) but iMovie refuses to believe the camcorder exists.
I've been told that no stores sell Sony's proprietary DV cables for their products (which makes since as universality would only benefit consumers and not businesses). Additionally, some go so far as to say Sony doesn't even make such a firewire cable to handle an issue wherein iMovie 9 now requires a firewire connection—or so I've heard.
1) Has iMovie 9 been nerfed in some update that now requires camcorders to be connected via firewire now.
2) If so, is there some method to import the videos either directly to the finder or into iMovie without the need for a potentially non-existent DV-Firewire cable?
PS: The connection is no longer recognized on my iMac as well.

Well… I opened Image Capture with the camcorder plugged in and modified the "Connecting this camera opens…" menu to be iMovie. Unfortunately, all that resulted in was opening iMovie upon connecting the camera. iMovie still refuses to acknowledge that the camcorder is connected.
Related: This is my work machine, wherein we do moderate amounts of video capture and I am using iMovie '08 7.1.4 on OS X 10.6.8. I'm really disappointed in Apple having altered something within iMovie (or the OS) that prevents the camcorder from being recognized. The last import I had performed was March 25, 2011.
More info regarding the camcorder: Sony Handycam HDR-SR11 60GB HDD. I am going to try to burn straight to DVD and then try and import from that, but that is, of course, not ideal. I'd much prefer to import into iMovie directly from the camera as I used to be able to do.
EDIT: I'm guessing you need to install the Picture Motion Browser software for the Disc-Burn feature of the camcorder to work. And that is only available on a Windows-based PC.

Image quality issues - Sony Handycam (MPEG) to iMovie / iDVD

I have read through dozens of posts but the recommendations vary widely and am hoping I can get some guidance specific to my situation. The image quality I am getting from home movies I edit in iMovie11 and burn to DVD in iDVD are far inferior to the original material.
I have a Sony DCR-TRV17. This camera is a little over 10 years old. It is a miniDV with 500 lines resolution, 680K gross pixels and uses MPEG. While not HD, the image quality is exceptional. The DVDs I used to create using my Sony Viao likewise looked fantastic. But the results I get from iMovie and iDVD are on par with VHS -- very poor, especially in low-light.
I hope the issue is just the settings when I import, edit (iMovie) and share to iDVD. I generally use the default settings, and often alternate settings don't seem to be selectable. It also sounds from other posts like iMovie sacrifices quality for reduced file size and increased simplicity? I would appreciate help with the following:
1) Please list the settings I should be adjusting from default when I a) import, b) edit in iMovie11 and c) share to iDVD and burn -- and the recommended settings for each
2) Is there a process I should be trying? Should I be creating test DVDs using different settings at each stage and then reviewing various setting combinations to find the best one?
3) I will most probably buy an HD camcorder very soon, and plan to burn to Blue Rays. I have no problem with going ahead and buying Final Cut and an external drive to burn Blue Rays. Should I just go ahead and do it and get away from iMovie / iDVD entirely. Will Final Cut solve this issue for my old miniDVs without a whole lot of hair pulling? Or will I still have to tinker with a bunch of settings or convoluted processes to get it "right." I never had to tinker with settings on my Viao. Really expected Mac software to be more user friendly…
Thanks very much for any help or advice!

On Import you could try unchecking Optimize video and choose Full Size. Your disk space however will get eaten up incredibly quickly choosing these settings as each hour of video = 40GBytes of disk space. So be forewarned about how big those files will expand as they come off the MiniDV tapes.
Another thing you will immediately see a difference in is how you move files from iMovie to iDVD. Share to iDVD while named in an intuitive way, is NOT the best way to get good quality DVDs out of iMovie. Instead you want to Share to Media Browser. Choose the Large Size setting. Then quit iMovie. Open iDVD, click the Media button, the Movies button. Find your project listed under the iMovie star icon and drag it into the iDVD project. Burn the Disc and see if you get a higher quality disk by Sharing to Media Browser instead of Share to iDVD.
If you choose a Blu-Ray burner, also get a copy of Roxio Toast. The encoding to Blu-ray that Toast provides will be top notch and prevent you from making mistakes as the recordable Blu-ray disks are more expensive than DVDs. So every mistake will be expensive.

Sony SR7 Mpeg support

Hi
Two question:
I Captured footage through a camcorder using Edius and a Canopus capturing card. It saved my file as a .avi on a pc... I now want to open it in FCP but it only gives me sound and no image... When I try to render it it tells me I ned to get the right codec... Can somebody help with this...
2) I have a Sony SR 7E hardrive camcorder, and I took some footage with it in SD mode(mpeg2)... When I import this footage into FCP it gives me image but no sound... Again some advice would be great!!!

1. Sounds like the material was captured with a propriatary codec. If you do not know what it is or it is not available for the Mac, you'll need to either convert the material using the PC to something the Mac can edit. Quicktime DV (NTSC OR PAL) is pretty standard.
2. The file is in an unsupported mpeg2 format. you need to convert it to an editable format. Many people use 'Mpeg Streamclip' for this purpose.
x

SONY DSR-11 No longer supported in 5.1

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It is worth noting that the DSR-11 is still listed as a supported device under the PAL device category. In the spirit of pure, unsubstantiated speculation, perhaps support was dropped for the DSR-11 using NTSC because the DSR-11 does not support the North American NTSC Set-up Standard for IRE levels? Okay, not really related to its functionality with FCP as this is an AD-DA conversion issue, and this is still an issue with the DSR-25, which is supported, but maybe?
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Dual 2.7 G5, PB 15" 1.5Ghz Mac OS X (10.4.6) FCP 5.0.4

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I believe this might be a proprietary thing that allows Quicktime Pro to open and play the clips, but will not edit it or export it with the audio. In QT Pro, you don't see the edit arrows and exporting it into a DV format does not export the audio with the video. So, it begs the question. Are Sony and QuickTime in cahoots about this, or what? Does iMovie 08 import it properly? I only have iMovie 06 HD. I'm surprised that the Cybershot people I've read in the different forums and the one I'm dealing with do not have an app that will edit this stuff! What are we missing here QuickTime and Sony people. Are Cybershot being clipped of their movie clips?

Using EX1 and native Long GOP with FCP

Hi,
I have heard it suggested on forums that presently FCP has a preference to convert HDV to prores and that if you want to work with GOP, the files have to be converted to prores in compressor for the workflow?
How does FCP handle native GOP as a workflow rather then converting to prores? I have a Macbook 2.2GHz Intel Core 2 Duo with 4GB ram and am worried that my system will not be fast enough to work with this material?
Also, if I work with native GOP and set the render to prores 442, will this have any effect on the performance on FCP (bearing in mind the speed of my machine)?
Thanks

I have heard it suggested on forums that presently FCP has a preference to convert HDV to prores and that if you want to work with GOP, the files have to be converted to prores in compressor for the workflow?
When capturing from HDV via Firewire you have the option to capture as native HDV, Apple Intermediate Codec (AIC) or Apple ProRes 422. All of these formats are natively supported formats that you can easily work with in FCP. Your post title suggests that you are actually working with an EX1 and so would not be capturing HDV via Firewire. With the EX1 your basic choice would be direct clip transfer via the Sony's Log and Transfer plugin or by using Sony's XDCAM Transfer app, neither of which provide transcode during capture to any other codec. Such captured footage would have to be transcoded after capture, using Compressor or similar, if you wished to work natively in a different format. Alternatively you could use a third party I/O device to capture your footage to another format via the camera's HD-SDI output.
How does FCP handle native GOP as a workflow rather then converting to prores? I have a Macbook 2.2GHz Intel Core 2 Duo with 4GB ram and am worried that my system will not be fast enough to work with this material?
FCP handles working with native HDV easily. With FCP 6 you also have the option of choosing to work with the native HDV and have FCP handle all rendering using the Apple ProRes 422 codec. Another option in FCP is the Open Format Timeline, which like the rendering option above, allows you to edit with the native HDV clips directly in an Apple ProRes 422 timeline. Your MacBook should be fast enough to handle any of the above workflow choices, though my recommendation for you would be to work in a native HDV timeline with renders set to ProRes. That set up would probably provide the maximal performance for your system.
Also, if I work with native GOP and set the render to prores 442, will this have any effect on the performance on FCP (bearing in mind the speed of my machine)?
As noted, that setup should work well.

Sony EX1r versus Panasonic AG-HVX200a

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Thanks for you help, I did go with the HPX170. I used more than one P2 card during the shoot (and did keep labelled slot 1 and slot 2) after taking cards out and write protecting.
It's a documentary so I'm keeping all the footage just in case, and so would like to save all to my hard drive with a backup copy on an external hard drive.
I connected the camcorder via firewire and each card shows up as an individual storage device. I assume there may be clips that span both cards? If so, how do I make sure to copy in the correct order?
Thanks for your help.

Sony NX5U Log & Transfer Long Clips Issue

I've used FCP Studio for a very long time, and have been using the Sony NX5U camcorder for 3 years. Never had any problems once FCP 7.0.3 came out. But about a year and a half ago, I started noticing long clips would crash FCP 7 just seconds before the end of the upload. The max length seems to vary between 65 minutes and 75 minutes. I could swear I had earlier projects with longer clips and no problem but couldn't track any down. Yesterday I uploaded a 74 minute clip no problem, but a 93 minute clip crashed. Today a 68 minute clip crashed the program. Never had a problem with clips under 60 minutes.
The upload indicator bar gets within 1/32 of an inch from the end when the crash happens.
My work-around has been to break the clip into clips shorter than 60 minutes. I overlap the time code by about 1 second and then put it all together on the timeline.
I started looking at the forum today because in the last few days I recorded two separate projects each with multiple long rolls of either music performances or speeches. Most are about 90 minutes, two as long as 180 minutes. It's a hassle breaking these clips into shorter pieces so today I started reviewing the forum to see if anyone else has run into this.
There doesn't seem to be a lot posting about it, and the the ones that do post seem to have different "crash" times ... I saw one having a similar problem with clips 45 minutes in length, for example. The only suggestions offered are to use programs like Clip Wrap.
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What other experiences have users had trying to Load & Transfer long Sony AVCHD clips into FCP 7?
I'm OS 10.8.4 on my iMac and 7.0.3 in FCP. I run into the same length restrictions running FCP 7 on a new MacBook Pro. Thanks in advance for any suggestions or advice.

I've never worked with clips that long but have noticed a problem skimming longer clips in Log + Transfer to set in / out markers.
My advice would be to use Clipwrap. You can either re-wrap the file or transcode it to PR.
Their gig is file conversion so if there's a problem they'll eventually fix it.
Hope that helps.
g

Sony EX1R MPEG-2 Long GOP

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