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Videoon 12/11/2015
red event on timeline
Thanks Peter. That is certainly worth a try. Ken
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Videoon 12/10/2015
red event on timeline
Has no one else experienced this? Ken
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Videoon 11/15/2014
Editing GoPro 1080P 60 in 1080P 30 timeline VP10
Thank you both. I'm thinking that checking "do not resample" might take a bit less processing power than setting the undersample rate and letting Vegas "smart resample". Or not Best, Ken
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Videoon 8/12/2014
Force Best/Full preview in V10?
Thanks Mike! Right in front of me...must have passed over that check box a dozen times. Works fine now. Ken
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Videoon 8/7/2014
Imported AVCHD clips truncated audio in V10
Thanks Rob, I spoke too soon. The mxf render on the second card still has the audio breaks. At 5 1/2 hours to re-render 1/2 hour of AVCHD to mxf, I'll just sync up to the master audio track (recorded on my DVX100a) and lose the others after the edit. I'll see if I can get the Sony software for future use (these were not my cameras). Probably available for download somewhere on the Sony site. Thanks again, Ken
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Videoon 8/6/2014
Imported AVCHD clips truncated audio in V10
Well, I discovered that when the files are imported into V10 as a group, they show up in the timeline in proper order and render out to Sony.mxf correctly, with no audio break. Takes time to transcode, but the mxf files play back at full speed in Preview Full on a dual core laptop. Way easier to edit in multicam mode! Ken
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Videoon 7/21/2014
1080P/60 in a 1280x72060P timeline in Vegas 7
Old Smoke, I hear ya. As soon as my hardware is upgraded, I plan to do just that...at least to V12. Ken
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Videoon 7/21/2014
1080P/60 in a 1280x72060P timeline in Vegas 7
Old Smoke, I converted the .mts file to an mp4 with VLC and loaded that file into GoPro Studio, which then converted it to the Cineform .avi. Long way 'round and about 25 times the file size, but it did work. At least that's another option. Thanks, Ken
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Videoon 7/21/2014
1080P/60 in a 1280x72060P timeline in Vegas 7
Dave, No, my current version doesn't support them. John, The only import choices I see in GoPro studio are: MP4, MOV and JPEG. It won't even see those .mts files. Tried renaming the file to .m2t...no luck. Ken
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Videoon 7/21/2014
1080P/60 in a 1280x72060P timeline in Vegas 7
I read the cautionary notes on the GoPro site. They say that if a file has been modified outside the camera, it may not load. I shot a brief clip with an old Canon SX10 (SD 640x480.mov) , and it loaded and converted. File size was almost double as expected, but it did work. Hopefully, the Sony files will too. I'll give those M2Ts files a try. Thanks, Ken
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Videoon 7/20/2014
1080P/60 in a 1280x72060P timeline in Vegas 7
I downloaded and installed Go Pro Studio. It wouldn't load one of the mp4 files I tried from the page Old Smoke referenced. Same clip plays fine in VLC. Any idea what I might be doing wrong? Thanks, Ken
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Videoon 7/18/2014
1080P/60 in a 1280x72060P timeline in Vegas 7
Well, I may be forced into a new MB/processor & ram sooner than I thought. Just cloned a failing system drive to a new HD and took a good look at the old Soyo motherboard. At least 2 leaking capacitors (the MB is vertically mounted, so they are leaking on each other)...not a good sign. Guess a new Z87 or Z97 setup is in my immediate future. I'm sure there must be some short (10-20sec) AVCHD clips out there I can download and try with GoPro Studio to see if it actually works. Ken
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Videoon 7/18/2014
1080P/60 in a 1280x72060P timeline in Vegas 7
Thanks to you both. I'll try the Go Pro software (think I downloaded it a while back). I see an HDV 720P30 and HD1080i option in project properties for V7, so perhaps the GoPro/Cineform workaround will do it. PS: What! You mean I can't edit the latest, most complex codecs on my 11 year old Pentium 4 with XP SP3 and a gig and a half of ram????? I'm shocked. Shocked I say! :) Thanks again, Ken
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Videoon 3/4/2014
high bit rate mpeg2
"KPLO, ah the "Flipper". Some producers I know nearly came to blows over that one". I hear you mountainman. Standard practice used to be: shoot digital (DV, DVCAM), edit, drop a broadcast filter on your out put. Render to uncompressed .avi or .mov for archive and render out the DV tape from that. Then, have a BetaSP master made for the cable company to compress and ingest into their system. Even a gorgeous Beta master could end up with greyed out blacks and low chroma. Could bring tears to your eyes. The flipper likely has changed slightly to accommodate more HD origination and delivery, but getting more spots into the available space is still the rule. I'm amazed that many local spots look as good as they do. Ken
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Videoon 3/4/2014
high bit rate mpeg2
videoTguy, "ridiculously compression rates makes no sense at all".?? Sorry, but as of about a year ago it made perfect sense to cable companies. Think: putting 6 pounds into a five pound bag....maximizing available bandwidth by compressing content to "acceptable quality". This is for SD spots...HD uploaded material may have slightly higher specs. It's not just Charter/Time Warner systems either...I'm quite sure Comcast as well as smaller providers do it as well. This is a well known standard industry practice at the local level for commercial insertions, and my comments are not meant to denigrate any provider. I've had many years of good relations with these companies and am more than a little finicky about the proper display of my clients' spots, but these are the facts of life when producing commercials for local markets. It's a good idea to make a copy of your program material rendered out at the mpeg bitrate the cable company compresses to. If this looks good, you can be reasonably sure that it will look good on-air. Communication with the engineering dept. will go a long way toward getting the best quality from your material in their service areas. Hope this helps, Ken
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Videoon 3/3/2014
high bit rate mpeg2
Mountainman, I've produced and uploaded many 15mbs (highest mpeg2 program stream Vegas 7 would render) SD spots to Time Warner/Charter servers with very good on air results in the Los Angeles broadcast zones. Remember, they "FLIP" or re-encode your SD spot to 3.75mbs anyway. That's right: 3.75mbs! Maybe they require higher bitrates now because they use the larger file for the HD stream. The good news: they don't mess with the black levels or chroma levels when compressing the spot for their broadcast servers. If you are up rezzing your SD spot to an HD file before upload, then 20mbs may be prudent. However: I've seen my 15mbs spots up rezzed by Time Warner for the HD stream and they look really great on a 50" HD set. Try and contact the compressionist at your Charter facility to get details on the best submission parameters for your area. The comressionist can be your best friend and well worth a good bottle of wine come holiday time. Hope this helps. Ken
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Videoon 1/27/2014
OT: Plasma versus LED/LCD TVs
Arthur, Last year, my friend was looking for a 40-42" LED HD set. We hit the local Best Buy, and true to form, all the sets were maxed out in brightness and contrast (the default "store setup"). What surprised me, was that Samsung, Sony and LG all had distinctly blueish whites and greys...only Toshiba had a truly neutral white and grey. We bought the Toshiba 40" w/120hz. (the one that's not a "smart" TV) The salesperson who seemed to know the most, told me that many buyers opt for the (expensive) "professional home setup option" where the tech actually accesses the internal service menu to adjust the individual colors, etc. Stuff that's not normally accessible to the buyer. You would think the manufacturers would make this tweaking part of the QC process. Like you, i also noticed the nice wide viewing angle. Once I tweaked the set with color bars and disabled the auto contrast / brightness stuff, the picture is really excellent. Great to watch Turner Classic black & white movies that are truly neutral black and white with no color cast. On the other hand, there are post facilities that are using the high end Panasonic plasmas as client "reference' monitors. I must say, when properly set up, they do look really great. Ken
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Videoon 12/31/2013
Size/quality balance for DNxHD from DV 16x9?
I tried the Avid 1:1x codec as you suggested for an SD intermediate, but it only renders to an NTSC 720x486 file, not the DV 720x480. Am I missing a setting in there somewhere? Yes, I would really like to save a native resolution file that is smaller than straight uncompressed .avi, and was hoping that the 1:1x choice would do that. Thanks for the handbrake tip...I'll try that. I shoot progressive, so don't have to worry about interlace issues. Thanks again, and have a great New Year. Ken
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Videoon 12/30/2013
Size/quality balance for DNxHD from DV 16x9?
I did a quick test with a 1 minute piece shot in squeeze mode and mastered to DV widescreen in Vegas 7. I imported that SD file into Sorenson Squeeze and rendered directly to the Avid DNxHD codec (DNxHD 75 8 bit). As expected, quality was better than going to the Cineform codec included in Vegas 7. Filr size is about 10% larger with those Avid settings It appears that the Avid DNxHD codec will accept SD material. I can drop the SD widescreen stuff into a 1280x720p project in Vegas and render out to the Avid HD codec as well. Uncomressed SD .avi was 2.05GB, Avid DNxHD QT file was 460MB. Seems like a pretty good way to go when saving upscaled stuff for the web. Ken
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Videoon 12/28/2013
Size/quality balance for DNxHD from DV 16x9?
I uprez DV for Youtube on many projects. Rendered out as a 1280x720p Cineform intermediate (the version in Vegas 7) then prepared for the web in Squeeze. I find the final Youtube version superior to simply uploading a SD file. I'm really just looking for a way to avoid archiving uncompressed .avi files of my SD projects. Thanks for the Avid 1:1x tip..I'll give that a try. I agree, SD DVDs can look great on a HD set, even without player/hardware upscaling. My friend's DVD player only has the 3 wire component out and SD material still looks good on her 42" HD screen. Thanks again. Ken
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Videoon 11/24/2013
Particle Illusion + Vegas Pro. What Workflow?
Grazie, I've been using PI3 for years as a stand alone app. After selecting the desired particle emitter(s), I import my video file into PI as a background so that I can view the placement and motion of the emitter for the length of the shot. I then remove the BG image file and render out the PI file as PNGs with alpha channel. This drops into Vegas (I'm still using 7.0d) as an image sequence on the track above the BG scene. You can do the composite in PI, but I like the extra flexibility of separate elements...lets me change the visibility of the PI file if needed. Hope this helps. Ken
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Videoon 9/19/2013
Attn filmheads: 16mm anamorphic 1955 film to 16:9?
John, As I recall, 16mm anamorphic lenses of that era gave the 4:3 image a 2:1 squeeze. This would make the display ratio (unsqueezed) aprrox. 2.66:1. If the taking lens and projection lens matched, the image was perfectly linear...ie: same stretch at center and edges, so no worries there. I only shot with 16mm anamorphics on a few occasions in the '60s, but the images were pretty nice on a large screen considering the anamorphic "lens" was actually an anamorphic adaptor mounted to the prime camera lens. As JJKizak says, play with the PAR until it looks right. Hope this helps. Ken
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Videoon 9/12/2013
Diffusion in Vegas similar to Magic Bullet Looks?
Thanks atom 12, David Jimerson came up with an elegant solution on another forum (not sure if I'm allowed to mention the name here). It involves duplicating the track to one above the original and playing with brightness/contrast, gaussian blur and maybe levels; then lowering the opacity of the top track to allow as much of the original to show through as desired. Did the trick for me. Much more control than MB and rendered in less than half the time. Ken
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Videoon 9/12/2013
Diffusion in Vegas similar to Magic Bullet Looks?
Surely some of you FX gurus have done this before. Please share that secret sauce. Ken
kplo
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