XL-H1S...PMW-EX3...

Hi,
Any FCP user deal with XL-H1 or PMW-EX1?
Canon and Sony about to release the upgrade XL-H1S & PMW-EX1 in the mid of the year...what do you think?
are the above model support by FCP...capturing thru FIREWIRE?
will you choose the media..TAPE or TAPELESS?
at last,what's your current Camera?

XL-H1 is tape based, and yes, I have shot and captured this format...via firewire.
The Sony EX-1 is SxS (Express34) card based...no capture, but rather INJEST, and I have also injested footage from this camera as well. You must be running FCP 6.0.2, and you must install the Ex1 driver and Sony transfer application. Pretty fast and slick.
New EX1? No...they just announced the EX3 at NAB, but that is a $12,000 camera, not an update. The EX1 JUST came out..no update for that soon.
I choose both...tapeless has advantages, but archiving is still an issue. Tape is in your hand, but then you need to use your camera as a deck, or have to buy or rent a deck to capture this footage. Injesting requires no deck.
My current cameras are a Canon GL1 and Panasonic HVX-200.
Shane

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Black video window trying to share video from elgato video capture connected to a sony pmw-ex3 camer

Hi,
Im trying to share video on adobe connect with "elgato video capture" usb plug in capture card, connected with a sony pmw-ex3 professional camera on a Lenovo windows 8 laptop, but the video window appears on black.
I have tried to change the resolution from low to high on the program, but it doesnt works. i´ve tried to change from panoramic to normal view size, and still dont work.
If i use the "elgato video capture" software from elgato web, the card works fine and capture video from the sony camera.
What should i do?It could be caused by screen resolution?
P.S: I have tried on a windows 7 asus laptop and it works fine.

You may need to use DVdriver along with your desired USB device. It allows your computer to see the video input as a 'webcam' and thus allows Connect to see it. Free to try, $20 to buy.
DVdriver: DV Camcorder to WebCam Converter Software by Eagletron 2014-05-27

Sony PMW-EX3 vs. Panasonic AG-HPX300 & FCP

For FCP editors, which HD camera would be the best choice?
They're now almost identical in price... so if someone handed you ten grand and said buy a camera, which one would you buy?

I have an EX3.
The SxS cards unload very quickly and there is NO processing before you work with it - I love that. Also the Express card slot on a MacBook Pro will read (and write) the SxS card so you do not need to carry a reader when you're on the road. The video plays perfectly and does not load the processor at all. I can also edit the video and the RUN IT BACK INTO THE SxS CARD (try that with P2) - this allows you to play it out through the SDI port on the camera and feed the video to the networks or other equipment that is not connected to a computer.
The low light abilities of this camera blows me away. I shot our local capital rotunda from 3/4 of a mile away at night, without any gain - in fact I had to close the iris down a bit! The blacks are black without any noise.
Battery life is great - about 3 hours on a 1.95AH small battery. Plus if you want to "Run and Gun" you can still get away with it using this camera - it is not too big.
Another really great thing about the EX3 is the viewfinder. People like Robert Primes (CSA) says this is the best viewfinder he has ever seen. You can actually use this camera without a large monitor. You really need to check one out in person. Mr. Primes talks about the EX in two different videos on a Sony web site at:
https://vts.inxpo.com/scripts/InXpo.nxp?LASCmd=L:0&AI=1&ShowKey=1405&LoginType=0 &InitialDisplay=1&ClientBrowser=0&DisplayItem=NULL
You'll have to look around in the XDCAM EX area of the "Convention Center" for the videos (I don't know why Sony hides them). It is very enlightening.
This camera is a full raster 1920x1080 and shoots NTSC (and PAL) with native real 24 fps format not pull downs.
The first thing that everyone that says when they see footage off this camera is "WOW" - really! (The last one was a guy at a TV station.)
So I think everyone should buy the Panasonic camera because I love having an unfair advantage.

HELP! XDCAM TRANSFER - No media !!! From a PMW EX3

Help! I have tried to open the movie clips in XDCAM Tranfer, I'm trying to import them in to Final Cut Pro 6.0.1.I can see them in XDCAM EX Clip Browser, but In XDCAM Tranfer [version 2.10.0] I got this message:
- No image available !
What am I doing wrong???

I have the same problem! And your suggested procedure doesn't work.
Yes, I do have the latest version of XDCAM transfer (2.10) and I've installed Snow Leopard lately.
Before installing SL I've imported around 200 hours and never had a problem... Now I have this "No Image Available" thing and nothing helps!!! It is really annoying, because there's no possibility to import the movie files without clicking several hundred times on an error message.
And then after clicking 100 hundred times on this error message FCP is crashing for sure, but there had been 300 files to import. Now I can restart the whole procedure... this isn't funny!
What to do next?

I am having difficulty opening video content from Sony PMW-EX3

Audio transfers OK to final cut

Hi
Talking out of not knowing anything.
Your Camera has.
i.Link IEEE 1394, 4-pin x 1, HDV stream input/output, S400
Did You try to connect it via FireWire ?
Did You try to put Your MemoryCard into a MC-Reader (USB2)
and neither worked ?
• FireWire - Log and Capture
• USB2 - Log and Transfer
Or am I just blabbing (only got miniDV tape Camera from 2000 - so I'm wildly guessing) - Bengt W

EX3 10bit? Final Cut 8bit?

Hello Everyone
I have recently filmed some green screen footage on Sony EX3. Which I'm assured by the Manufacturer is HD 4:2:2 10bit camera.
I have imported the footage to FCP via Media Transfer. However when I play out the footage for my model maker (Who is working on PC based Cinema 4D) in image sequence PNG (millions of colours)
The end result is only 8 bit frames not the required 10 bit.
Has anyone else encountered a similar problem or any idea how to get my footage PNG in 10 bit quality?
Thanks for your help
Jeff

Dear Andy
Firstly many thanks for your speedy reply and to the point information. To be honest it is as I suspected, however I was rather confused by this reply from Sony:
Dear Mr Leahy,
Thank you for your email.
The PMW-EX3 is 10 bits (interlaced) or 20 bits (progressive) camera. The transfer of the material from your PMW-EX3 to your computer is without any loss. The fact that it outputs 8 bit images, might related to the specifications of your computer or your software.
Unfortunately the operation information you are asking is related to the functionality of FCP. We, as Sony PrimeSupport, can only give you information about the functionality and operation of the PMW-EX3. For information about the export options in FCP I have to ask you to contact Apple.
Best Regards,
Frank Sijm
Sony PrimeSupport Engineer
B2B service and support
However I shall give up trying to get 10 bits out of current footage, so thanks for info. Once we start the project we intend to film the green screen straight onto the Mac Pro. I guess it’s a little cheeky but my partner and I were wondering what codec workflow you would recommend for 10 bit HD?
Bearing in mind that I am working FCP (mac) & the models are Cimema 4D on AE (PC). We’ve been informed that the best codec’s are AVID.
• Mac_AvidCodecsLE.zip
codecHowever I’m having difficulty connecting these downloaded codecs to FCP? Do they have to be dragged into Compressor and files burnt? None of the recommended Avid codec’s appear in FCP?
Anyway any help and advice much appreciated. And thanks again for putting us straight. Yours Jeff

Sony EX3 with FCE??

Do clips from the new Sony PMW EX3 work with Final Cut Express HD 4.0?

If you converted the material to the Apple Intermediate Codec, how would the workflow look like? What additional steps would be necessary? I'm asking because all I have right now is FCE. I want to see how hard it will be to make the Sony EX3 work with my current FCE program.

Long-form workflow best practice? (sub clips)

I am struggling with the new media management and organizational challenges of FCP X.
Am I the only person in the FCP community who used sub clips? In all the extensive belly aching about the new FCP, I've yet to see anyone list the death of subclips as a dealbreaker.
This leaves me to believe that even in the pre-FCP X world people used a different (better) workflow than the one I used for over a decade.
Tom Wolsky tells me that I'm trying to force the new software to work like the old... Maybe, but I think it's reasonable to expect that an "upgrade" means that the new version of a software will have all the functionality of the software it's replacing with new capabilities added.... What we have, however, are lots of new (and admittedly) very desirable new capabilities with (infuriatingly) many of the capabilities most of us thought were crucial to our editing approaches stripped entirely. Of course there's the promise that "some" of these capabilities will return at some future, unspecified date.
Enough of my mini-rant, here's the question....
If I shoot 22 hours of raw footage and hope to mine 90 minutes for the final cut, which has approximately 45 scenes, how should I use these radical new organization features to be able to easily locate my clips?
In the old way, I'd get my Sony PMW-EX3 clips into FCP (not intuitive--another question, when will FCP accept the native SxS files?), then look at each of those master clips and cut those clips into sub clips.
Each subclip would have a unqiue name. And I would create a series of folders for the subclips. Very clean, very organized and when I need a cutaway shot of the dog barking in scene 22, I look at folder 22, open it and there it is... "Dog Barking."
The new FCP X uses Favorites or Keywords... both approaches inferior (in my opinion) to my old workflow... So what am I missing? How is the new way better? Was there a better way before that I was just missing???
And now I'm getting the whiff of an even bigger problem... I haven't encountered it myself but others are finding that once a project exceeds twelve minutes, things become terribly unstable.
Oh, well. Growing pains, I suppose. And people are correct, I can just use FCP 7... but I had such hopes... such hopes....
Dale

Yes, I know FCP X is an upgrade in name only. That's part of Apple's PR headache over this whole debacle. When people launch a program and 10.0 Final Cut Pro X stares them in the face, they are justified to expect that it's a true update (upgrade) of Final Cut Pro. And with Apple overselling the product.... oh, well, it is what it is.
Most of us would have been happy with Final Cut Pro 8, a true 64 bit upgrade of the program that was working for us.
Yes, Favorites and Keywords are similar to Subclips but they are still so tied to the Master Clip.. If I Favorite 10 clips and sort by favorites, I get the Master Clips and have to hit the triangle beside them to see the Favorites. Even if all 10 Favorites are from the same Master Clip, I get ten redundant lines I have to wade through....
The old way was better... One bin with ten uniquely named subclips. Clear and clean....
The new program does not seem informed by anyone who ever made a movie longer than five minutes... and evidently (from all reviews) it wasn't influenced by anyone who considers himself a professional editor. (I do not consider myself a professional editor, just an independent movie maker who writes, directs, acts, edits, etc., and who happily used Final Cut Pro for over a decade.)
I'm hanging around for FCP X 10.1... I've never seen Apple so mishandle a situation... On a much smaller scale, it's Apple's Vista moment....
Thanks for responding...
Dale

Camera Advice

We are looking to buy a new profession camera instead of the Sony handycam we have.
The only professional camera i have used is a Sony Ex1 and i love it. Nice size, easy to use and everything you could want.... But my boss has only given me a budget of £1000 for a camera and i have no idea what to go for. Any ideas?
Requirements:
HD
Memory Cards
External Mic

My mistake, the link should have been http://www.millcon.nl/Harm/BBC_Approved_HD_Cameras.pdf
Interesting (though not for the OP) to see five cameras in comparison based on today's prices at B&H and including 3 hours worth of storage at maximum quality:
Camera
Base price
Storage 3 hours
Total cost
Panasonic HPX-250
$ 5300
$ 1950 (3 x 64 GB P2)
$ 7250
Sony PMW-EX1/R
$ 6300
$ 1350 (3 x 32 GB SxS) or a Nano Flash $ 3000*
$ 7650 / $ 9300*
Sony PMW-EX3
$ 8320
$ 1350 (3 x 32 GB SxS) or a Nano Flash $ 3000*
$ 9670 / $ 11320*
Canon XF300
$ 6500
$ 390 (3 x 32 GB CF Extreme)
$ 6890
Canon XF305
$ 7500
$ 390 (3 x 32 GB CF Extreme)
$ 7890
If you belong to the category that needs more than 3 hours of card storage (events, weddings, trainings, etc.) then the cost differences increase even more.
* required to meet the BBC requirements. The further assumption is that the 250 will be approved shortly, as the 371 was last year.

Mac Book Pro as field monitor?

Would it be possible to use the Mac Book Pro (the new 15" or 17") as a field monitor when shooting with a Sony PMW-EX3?
That would be neat to use the screen as a field monitor, then edit on the same machine...
Wouldn't that save in not having to have a monitor for the director?
If possible, how could it be done?
Thanks!
R. Dale McCarver

OnLocation from Adobe
HD Monitor
ScopeBox
Google each for their capabilities.

Brightness Filter effecting quality and color.

Hi, Guys.
I could really do with your help.
I shot a scene in low light conditions so the image is fairly grainy anyway (I shot the scene on an Sony PMW EX3).
Some of the shots are a little bright though. I want to darken the image slightly but when I do this, using the brightness filter, it makes the whole image ridiculously grainy (blocky) and it also changes the colors to like a greeny color.
Does anyone know what I mean and does anyone know how I could adjust the brightness without increasing the size of the grain (without losing quality and color).
Cheers guys.
H

Yes Tom, the reverse ... but steady as she goes going in the opposite direction. You might want to explore some possible denoise options too if the grain is really too distracting.
Take a look at Mattias Sandström's Smart Noise Reduction filter which is part of his completely free and completely awesome Too Much Too Soon filter set: http://www.mattias.nu/plugins/
On the commercial side there is the highly recommended Neat Video plugin: http://www.neatvideo.com
Or ReVision Fx's aptly named DE Noise plugin: http://www.revisionfx.com/products/denoise/

CANNOT IMPORT FCP .XML FILE INTO PREMIERE PRO CS5

Hi,
Camera used:-Sony Pmw Ex3
Footage       :- XDCAM sp(1440 * 1080i) PAL
Edited in      :-final cut pro 7
Error            :- failed to import .xml file into premiere pro cs5
I tried to import the .xml file into premiere CS5 ,it asked for the media files to relink .whn i linked the .mp4 files it showed the error messege "The selected file cannot be linked becouse it has 2 audio channel(s) and the clip was created with 1 audio channel(s).
then i tried to relink the .mov instead of .mp4 file (which i used in final cut pro on apple machine)i got the error "Codec missing or unavailable"
what should i do???..i almost done all the editing in final cut pro and i bought the adobe coz i thought i can finish all the pending FCP projects in Premier Pro..??

What is the CODEC in your MOV file(s)? MOV is but a "wrapper," like AVI. This ARTICLE will give you some background. It could be that you just need the proper CODEC, or it could be that it is a Mac-only CODEC, and then you will need for the producer to Export in another CODEC, that is PC-compatible.
This ARTICLE will give you some background on CODEC's, in general.
Good luck,
Hunt

About to purchase new Mac Pro - Need Advice

I am about to purchase a new mac pro and have some questions
I am planning to use final cut pro as well as Edius on Boot Camp.
I intend to edit footage in HDV from a sony Z1 and also from the new sony - pmw -ex3 which i will be planning to edit in HD and 24p.
1) the default config for the mac pro is dual 2.8.ghz processors, what advantage gain will i get i upgrade to 3.0 or 3.2, is the extra power worth the money? will this give me more real-time editing
How many layers of HD 1920 x 1080 from the sony pmw-ex3, will i be able to edit in FCP 6.0 without any problems? would you advise more ram
2) i prefer to work from RAID 5 drives and keep system drive separate, this is how i have worked on in PC/Windows environment. Can anyone confirm if i can have one JBOD drive for the system and 3 drives configured as a RAID 5 drive?
Will i be able to use a boot to run windows and also be able to use the RAID 5 drive on windows side?
3) Is anyone using the 3ware RAID 5 side car? what is experienece is this compatible on the windows partition from boot camp
4) How will i be able to preview HD footage?
5) Do i need to invest in a better Graphics
Thanks in advance

Hi,
Here are a few answers.
1. The Mac Pro 2.8 GHz model performs so well that it is difficult to justify paying 28% more for 7% of additional processor power in the case of the Mac Pro 3.0 GHz or 56% more for 14% additional processor power with the Mac Pro 3.2 GHz model. You might see a small 5-10% increase in performance when compressing video with the 3.2GHz model but it certainly would not be worth paying 50% more to me. In addition, Amazon has the 2.8 on sale for $2599 after an easy rebate:
http://www.amazon.com/exec/obidos/ASIN/B000VR4F2Q/arizomacinusergr
That is a $200 savings off the retail price.
2. If you want to use boot camp I would NOT recommend the Apple RAID card. Boot camp does not work with this card which leaves you wondering why you bought the card and how to get around this HUGE limitation. Instead, I would recommend the Areca ARC-1221x, HighPoint RR 3522 or the ARC-1680x if you want a SAS card. All of these cards have new firmware available that provide awesome performance and boot capability with the Mac Pro 2008. I would also get a SeriTek/2eEN4 4-bay and 1TB Samsung HDs. This gives a solid, quiet 4-bay enclosure that can support RAID 5 with any of the cards and you can add a second enclosure later if you want to use all eight external ports with RAID 6 (for added redundancy and increased volume size). This leaves the internal bays available for Boot Camp, Mac OS X, backups or mirrors and provides RAID 5/6 capability that can be configured to perform almost twice as fast as the Apple RAID card and provide double the redundancy with RAID 6. Links with more information are found here:
http://firmtek.stores.yahoo.net/sata2een4.html
http://www.newegg.com/Product/Product.aspx?Item=N82E16822152102
http://www.amug.org/amug-web/html/amug/reviews/articles/highpoint/3522/
http://www.amug.org/amug-web/html/amug/reviews/articles/areca/1221x/
http://www.amug.org/amug-web/html/amug/reviews/articles/areca/1680x/
3. The 3Ware RAID 5 card is not a top pick in the Macintosh market. The options outlined above will provide much better performance and RAID 6 capabilities.
4. You can view the the HD footage on the monitor.
5. You may want a better graphics card but I would try the stock card first. I was surprised how well the ATI radeon HD 2600 XT card performs with Apple applications.
Have fun!

Live media encoder not recognizing my camera

I am working on a MacBook Pro with a Sony PMW-EX3 HD camera connected through iLink with a Firewire 800. My iMovie recognizes the camera, so I know it is not the computer. However, in Live Media Encoder 3,1, I am not allowed to choose my Sony camera for input. It is like Live Media Encoder does not recognize the camera.
Any ideas?

I'm sure you checked this but just in case...
Is the camera on or in the mode to output to firewire when you have it connected to FMLE? I also have experienced devices not showing up when connected when the device is not on or sending out a picture. They also don't show up usually when you connect it or turn it on when FMLE is already running (which can be fixed by closing it and restarting the program).

24 FPS vs 30 FPS

Just bought a new PMW-EX3 Sony Camcorder. The tutorial DVD that came with it by Doug Jensen of Vortex Media says that unless you're planning to make a film transfer of your video, then you should shoot in 30 fps because DVDs and TV broadcasts are all in 30 fps and that the other six frames "will have to come from somewhere."
Is it better to shoot in 30 fps unless your work is going to film?

I think the look of film has a lot more to do with depth of field, and quiet, yet really saturated color. That, and film grain. 24fps shot correctly will exhibit less judder, but then you are constrained to slower moves with the camera... I've shot 35mm and 16 over the years too, and find that more fps = better movement... Can't help with judder if the action is fast even in a tied off shot... not as big an issue with higher fps. We used to make a lot of commercials destined for the air, and we'd shoot them at 30fps... looked much better to me and still looked like film... because it had that shallow depth of field, and the saturated color. And dynamic range of course is much better with film. But 24fps isn't the main ingredient don't think at all. I don't know, I just like smother looking motion pictures...
Not trying to start a war or nothin' here, but 24fps video in and of itself doesn't fool my eyes into thinking it might be film.
Jerry

XL-H1S...PMW-EX3...

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