The end result

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So here we are Program number one out, took about a half a day to film and edit. The camera was the Canon C300 with a 50mm Leica f1.4 lens set to f4 recorded onto CF card at 50 Mbps 4:2:2. Edited on Final Cut Pro 10 and Motion 5 using Skype call recorder for the inserted interview. All produced at zero budget but Scott hopes to attract sponsorship as the competition goes on.

For all your video production needs in Scotland, get in touch with Small Video Productions

Getting ready for Euro 2012 “Four layers later the final conclusion”

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Finally after a lot of investigation it looks like we are ready for our first Euro 2012 web insert tomorrow. The Canon C300 will shoot the chroma key inserts and Final Cut Pro 10 will be used to edit various footage from multiple sources. Due to using Matrox MX02 FW 2.5 I have had to forgo external monitoring.

The graphic above is 4 layers, the Euro 2012 logo, the blue background, iPad coaching App insert and Scott the presenter via chroma key all done with FCPX.

I had to re-install the software for my Matrox MX02 back to version 2.5, this gave me the final version of Matrox Vetura Capture which by-passes the need to use log and capture in FCP-7, the iPad works a treat with the special dock cable to HDMI out which plugs straight into the HDMI on the Matrox MX02. You can choose how many audio tracks you need from 2 to 16.

This is a very simple but effective interface if you need to get live footage into FCPX, you must set up your preferences to 720p in order to take iPad footage live into your computer which is fine as I am editing in 720 50p HQ, all you do is import the footage into FCPX and your sorted.  Why HQ, Alan Roberts an ex BBC research engineer wrote a white paper on the Canon C300 footage and if you treat your footage as 10bit you get a better result from your 4:2:2 8bit signal.

The Chroma key is exceptional, very fast and very clean in FXPX which is why I have plumbed for it with the 10 minute Euro 2012 inserts though speaking to a few editors yesterday for long hall projects they advise Premiere Pro CS6, one editor Rick Young told me he has over 50 hours of footage to ingest into FCPX as he thinks FCPX is more than capable of long hall work.

We are living in confusing times, there seems to be a general consensus that no one edit program serves all needs, many broadcast work including the official Euro 2012 edited in Warsaw will be cut on FCP-7, I personally would have stuck by FCP-7 if chroma key had not been an issue but having struggled in many occasions with 4:2:2 chroma key footage in Final Cut 6-7, it was a joy to swap over to FCPX if somewhat late in the day.

Apple need to address the live ingest with FCPX as many post houses will not consider an NLE without the ability to ingest live footage from various sources, especially tape.


For all your video production needs in Scotland, get in touch with Small Video Productions

Volumetrix Upgraded to 2.1 for Final Cut Pro X

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Volumetrix Upgraded to 2.1 for Final Cut Pro X

The previous version supported Final Cut Pro X, but everybody asked us if we could build all the cool presets from FCP7 into effects. So that’s exactly what we have done: all 64 of them, transitions too.

Volumetrix still supports Final Cut Pro 7, Motion 4&5, Final Cut Express 4 and Adobe After Effects with one licence working for all hosts. The best news is that the 2.1 upgrade is free to all existing licence holders.

If you already use Volumetrix, then you’ll know that the rays, glows, glints and object transparency are all controlled by one easy to use parameter. No hassle having to mask the object underneath the effect, we do all the hard work for you. The wipe, rays or glow travel are set by one rotary parameter giving a full 360 degree choice of effect direction.

If you haven’t tried it before, you can instantly get great volumetric lighting effects with one click by adding a preset to text, images and video or use the effect as a starting point for your own custom reveal, conceal or highlight. We also decided to publish all the plugin parameters in each effect, so every timing, display option and volumetric light type can be adjusted without having to load up another preset.

For all your video production needs in Scotland, get in touch with Small Video Productions

FCPX and no “Live ingest”

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Producing a football program this week has set the heather alight in my edit suite, let me explain. Having swapped over earlier on this year to the Matrox MX02 I was hoping for an ingest box that covered many options.

Driver installs the Matrox MXO2 with MAX v2.4 (build 14) software for Mac OS X Lion only (10.7.2). This software supports Apple Final Cut Pro 7.0.3, Adobe Premiere Pro 5.5.2, Apple Compressor 3.5.3 and 4.0, and Adobe Media Encoder 5.5.1.

So thats two NLEs to choose from out of the one box…great !

Then came driver The Matrox MXO2 MAX v3.0.1 (build 13) release for use with Apple FCP X 10.0.4 and Compressor is now available on the MXO2 User Forum. This release provides professional monitoring capabilities while editing with Apple Final Cut Pro X and encoding video in Apple Compressor using the Matrox MAX H.264 codec.

Not so cool…this driver is only useful if you are only using FCPX remembering you cannot ingest live footage into FCPX !

Then came driver installs the Matrox MXO2 with MAX v2.5 (build 34) software for Mac OS X Lion only (10.7.3). This software supports Apple Final Cut Pro 7.0.3, Adobe Premiere Pro 5.5.2, Apple Compressor 3.5.3 and 4.0.2, and Adobe Media Encoder 5.5.1.

So that gave me a good option to swap between FCP-7 and Premiere Pro 5.5

Recently we have driver installs the Matrox MXO2 MAX v3.1 (build 86) software for Mac OS X Lion only (10.7.4). This software supports Adobe CS6 only (with Premiere Pro 6.0.1 and Media Encoder 6.0.1)

So what has happened to a box that once supported two NLEs and now only supports one…sadly for independent editors like myself I have to compromise video monitoring to allow me live ingest of iPad footage. There are Euro 2012 Apps to be reviewed in this series of programs and I have spent a day figuring out how to achieve this and have had to compromise FCPX in order to do so.

The MX02 can only have 1 chip that deals with the new software why can’t we have 4 chips inside to cope with different set-ups and 4 switches on the outside to allow you to switch between FCPX, FCP-7, Premiere CS6 and AVID.

Matrox Vetura was an indépendant ingest program that Matrox produced up until version 2.4 then for some strange reason it was dropped, this would have been perfect for FCPX yet Matrox in their own wisdom decide to drop it last April.

If like me you need to ingest live footage into your NLE and you are using FCPX, own an Matrox MX02…you can’t !

Workaround…You need to install version 2.5, then use FCP-7 via log and capture, ingest your “live footage”, export out as a self contained quick time then re import the QT file into FCPX…its a joke !

The real culprit here is Apple themselves by re-inventing the wheel and coming out with a square one…FCP-7 was a great program that needed a few updates like memory leakage problems and it would have been the king on NLEs, instead some joker in Apple decided to take all the functionality out of FCP, make it into a laughing stock…take 4 updates to add in the functionality they ripped out in the first place and still can’t ingest live video footage !!!


For all your video production needs in Scotland, get in touch with Small Video Productions

PART TWO…”Making the Jump”

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My son wants to produce a few video inserts during the up and coming Euro 2012 for his blog so today was the build a virtual studio in his room. Basically we have a green screen with five LED lights, four pointing at the green screen and one in front of Scott using his white door for added reflection.

I had read that FCP-10 was good at green screen but WOW…I had a perfect key without doing anything, obviously the Canon C300 with its 50Mbps, 4:2:2 and 50mm f1.4 Carl Zeiss lens helps but I was blown away with how easy it was to achieve such a fantastic key in a matter of minutes.

But I also discovered that in order to run in his iPad information I had to revert back to FCP-7 using log and capture, running the live iPad footage straight into the MacPro via the HDMI on the Matrox MX02.

Dilema time…As I have FCP-7, FCP-10 and Premiere Pro CS6 what do I choose…so for the rest of 2012 I am sticking with FCP-7 and FCP-10. I used this combination successfully with my C300 DVD, using FCP-10 for effects then re-importing back to FCP-7.

I think Adobe have shown me over the last 2 weeks that they are not as advanced in many ways as FCP-10 nor can you get the same level of 3rd party plug-ins as you can for FCPX, I left the PC many years ago and by all accounts has only grown up with Windows 7.

I may come back to Premiere Pro CS6 in the future but for now I will stick with FCP-7, FCPX and Motion 5.


For all your video production needs in Scotland, get in touch with Small Video Productions

ADOBE launch links but don’t work with Safari !

Categories: Miscellaneous 4 Comments


This is very poor indeed but after waiting 7 days to add the missing content from Premiere Pro 6 and Encore the two ZIP files don’t work using Apples legacy browser Safari !

After all my blogging it appears that the Encore content of 1.7GB only downloads 205 MB of data this is a joke !!!

You are welcome to check for yourself here

For all your video production needs in Scotland, get in touch with Small Video Productions

PART ONE…Which way to go ?

Categories: Miscellaneous 6 Comments

As far as I am concerned I have four choices when it comes to editing for the rest of 2012…

1. Stay with FCP-7

2. Move over to FCP-10

3. Re learn Premiere Pro CS5.5

4. Start afresh with Premiere Pro CS6

Lets start with FCP-7, a program that I have been editing with for the best part of 5 years and am very comfortable with but as a serious editing program has now been left behind with rendering and frame rate problems with no possibility of any further updates from Apple.

Final Cut Pro 10 has very good points not to mention the vast amount of plug-ins being produced almost weekly for FCP-10, Apple are supporting it and updating it with new features like Canon MXF and 1080 50p support… but it does not act the way you think it should act and thats a serious stumbling block and a lot of the FCP-7 style of editing is hidden. I have lost material using FCP-10 even lost edited projects and that disturbs me.

Premiere Pro 5.5 is a bit quirky and does not behave as you expect coming from Final Cut but it will allow you to use the same Matrox MX02 MAX box and drivers as Final Cut Pro 7 giving you a safety margin if all else fails.

Premiere Pro CS6 is very responsive using the Mercury engine via the Nvidia FX4800 graphics card for mac. It has a “Final Cut look” about it which is very satisfying and you can now choose between one clip or the other the same as FCP-7 which means Adobe have been listening to Final Cut end users. Adobe major on Premiere Pro as a company, the same cannot be said about Apple so Premiere in my opinion has a future. The downside is the Matrox MX02 box which needs “flashed” with drivers installs the Matrox MXO2 MAX v3.1 (build 86) software for Mac OS X Lion only (10.7.4). This software supports Adobe CS6 only (with Premiere Pro 6.0.1 and Media Encoder 6.0.1).

By doing this you are sailing with Premiere Pro CS6 alone with no FCP-7 backup.

I gave my friend Paul Joy a phone this afternoon who switched over to Premiere Pro last year and Paul told me that he is now glad to have swapped over as he feels Adobe are listening to the end users and have improved Premiere no end with the addition of CS6. There are a few bugs in CS5.5 that seem to have been dealt with and the look and feel of CS6 is very close to FCP-7.

Paul has written about his experiences using CS5.5

Philip Bloom has moved over to Premiere Pro and has been using CS6 for a few months now…”Since getting CS6, I have been sinking my teeth into it and found it incredibly rewarding and exactly what I needed FCP to become. It’s also better for mac users without Nvidia cards as the Open CL means we can get the Mercury Engine working on non-Nvidia graphics cards. Multi-format timelines with NO TRANSCODING? Brilliant! I can even mix 24p and 25p on the same timeline. One of the projects I am editing currently is a documentary with epic, F3, a f100,5dmk2 footage all on the same timeline, all native. It works. Yeah the 5k stuff struggles on my laptop and I have to drop resolution, but you can do it. The rest of the stuff works beautifully.”

Philip has written about his experiences moving over to CS6

In PART TWO on the 31st May “Making the jump” I will tell you my final decision to go with FCP-10 or Premiere Pro CS6

For all your video production needs in Scotland, get in touch with Small Video Productions

Probably the best Aurora footage you will see this year

Categories: Miscellaneous 3 Comments

I am a big fan of the Nothern Lights, this has to one of the best collection of stop motion footage seen this year…fantastic !

For all your video production needs in Scotland, get in touch with Small Video Productions

Shocking development from ADOBE with CS6

Categories: Miscellaneous 13 Comments

After 2 weeks of turmoil and Adobe accidentally erasing my order for Premiere Pro CS6 I get a further more serious shock…

When you load up Encore CS6 from the dock you do not have any buttons or templates rendering the program useless, this is shocking from such a so called professional company hard on the heals of Apple’s FCPX.

Was this a mistake or a case of getting the product onto the market at any cost, as a video professional I find this totally unaceptable to produce almost half a product, especially Encore which relies on the missing templates to function properly.

To add insult to injury we are supposed to believe it takes 7 days and counting to transfer and upload this content to their server, I am very angry but as was clearly demonstrated today by Adobe “NO ONE KNOWS WHATS GOING ON” as I was passed over to 4 separate departments with still no outcome…very poor indeed !

Here is the link

I was very hard on FCPX when it first came out and I also find after some investigation that Premiere Pro CS6, as yet…does not output the video to an external monitor if you are using a Matrox MX02.

Considering how long we have waited for CS6 this seems a sheer shambles, half-backed software with no thought given to editors like myself, eager to try it with the possibility of adopting it for professional use !!!

Do not install Premiere Pro CS6 or Encore CS6 because it will also wipe your CS5.5 content as well taking away all the buttons and functionality of BOTH CS5.5 and CS6.

I decided it was no great shakes as I would revert to Encore CS5.5 meantime to discover the stupid CS6 installer had wiped my CS5.5 buttons as well !!!


For all your video production needs in Scotland, get in touch with Small Video Productions

Nvidia QUADRO FX 4800

Categories: Miscellaneous 5 Comments


Gripe number two is with Nvidia who sold me a Quadro FX4800 graphics card £1200 over a year ago for a Mac that will not accept it, if your Mac is 1.1 to 3.1 then this card will not work and hey presto no where in the NVIDIA bumf that ships with this graphics card tells you this, nor does the on line shop who sold me this card.

To put you in the picture I have a second Intel MacPro that was bought January 2008 but built late 2007 that I hoped to install the graphics card into to setup Premiere Pro CS6 giving me a second edit system utilising the Mercury engine.

The Quadro FX4800 for Mac was available May 2009 and there is no mention of this card not being compatible with MacPros pre 2008 other than small print on the Nvidia web site that I have not been able to locate yet !

This has been superseded by the FX4000 at £700 but I think its still relevant information.

I did a bit of swapping cards this morning and installed the latest Lion drivers for the 4800 on my main MacPro ver 5.1 and for the first time in over a year I now get a fully functional FX4800 graphics card working with Premiere Pro CS5.5 and it certainly makes for a snappier Premiere.

I look forward to receiving my copy of Premiere Pro CS6 on Friday and finally giving you all my account of what has been hailed FCP-8 !


For all your video production needs in Scotland, get in touch with Small Video Productions

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