First off, I discovered that Vegas Pro 8.1 does render out a proper MP4 file and QTIndexSwapper will convert the file with no errors. So if you’re using 64 bit Vegas Pro, you’re good to go.

Playing a hunch, I was able to extract the files from the mcmp4plug.cab file from Vegas Pro 8.0b. I replaced them after backing up that folder to my desktop and rendered an MP4 file from 8.0c with no issues. QTIndexSwapper does read the MP4 file correctly and does process it.

If you have any questions, give me a shout and I’ll try to help.

Only other option is to render out an uncompressed mov file and then open Quicktime pro, export it out as an h.264 mp4 file, then run QtIndexSwapper on it.

I’ve posted a question to the developer of QtIndex Swapper asking if he knows what might be the issue.

Seems like Vegas users keep getting the raw end of the deal trying to work with it efficiently.

I got up to the QTIndexSwapper (v1.42) step, then get the following error:

File.size: 195393916
Reading Atom Metadata: [code: ftyp,size: 24,offset: 0]
Reading Atom Metadata: [code: mdat,size: 194733721,offset: 24]
Reading Atom Metadata: [code: moov,size: 659601,offset: 194733745]
Reading Atom Metadata: [code: uuid,size: 570,offset: 195393346]
ACTION: Parsing Bytes for Information 195393916
ERROR: encountered non-QT top-level atom (is this a Quicktime file?)
Completed Time: 3.633s

Any suggestions?

They occupy different parts of the spectrum - entertainment and journalism - and ever so often they shake hands.

The video above you’re referring to is a trailer, but in fairness the production will combine said elements.

There is a long tradition of feature stories, as opposed to news i.e. breaking hard stories, having such post production make overs.BBC TV’s “Reportage” which I worked on on the early 90s is just one example.

Telecine (e.g. After Effects), Typography (Livetype) and a DOP approach to videojournalism (e.g. depth of field and lighting) are terms rarely liberally used in vjism.

The signficant differences and shared space between TV, Cinema and VJism is such that this not so new-kid-on-the- block can borrow from others, as well as chart its own course.

It’s interesting don’t you think that we might talk of genres of cinema, even television making, but hitherto little has been said about emerging multiple styles of videojournalism.

Early days yet, though we glimpsed some differing narratives at the International Videojournalism Awards in Berlin couple of years ago.

Videojournalism, TV, Cinema are all living arts. They change, grow, evolve - that’s all that’s happening, the ageing process.

I guess for me a couple of things have altered somewhat from 94 Vjing.

More poignantly somewhere in a bedroom right now is a teenager re-inventing one person productions with a whole new style of their own - and that can’t be a bad thing.

d

p.s on viewmagazine.tv there’s a 960X400 file of the 64 sec trailer which I have just edged through at break point at 9mb - reduced from 300mb. Also look out for Duncan Whiteman, a genius coder whose model for HD down the net and an app that folds several broadcast tools together on a PC is wowing observers.

Matt Hanson

I work with a pair of SONY HC7’s with an Azden SMX10 External mic. I did pimp my camera’s so to speak by purchasing and modifying a couple of SONY A1U lens hoods. Lighting is simple - A lowel totalite and a lowel iLite. I use a couple of softboxes designed for video hot lights, a couple of compact light stands and some collapsible reflectors. I don’t usually work with the lights unless I have a formal interview I’m shooting. I honestly don’t think many need the upper end gear that spin doctoring ad wizards say they do to accomplish their work.

I hear that there can be challenges getting footage from the Canon’s into Vegas so be aware of that. Only Vegas Pro 8 will allow you to work in HDV with what you are working with NLE wise.

HTH,

Cliff

I couldn’t agree more.

As for me I’m considering an additional new hobby/career and am curios. Do you have a link to the type of equipment you personally use. I have been considering a HV30 or HV20. I’m interested in doing artist type interviews-in studio-as a possible spring board for more in depth discussions on art etc. Ceramics, mostly. I am a ceramic artist and would probably post such stuff on related sites. Thanks ahead for any info.
MY gear, xp duo core, 1gig memory, with vegas 4 and 8b installed. Yes I will at update the memory.
Thanks, again
Al

I think much of this depends on your perspective regarding future proofing your gear. The PD-150 is a great camera - but you are stuck with standard def 4:3 material. The HV20 is a different class of camera - it’s only a one chip consumer camera. But you do get HD, which can always be down converted to SD if needed - and it looks better than footage shot on an SD camera. The disadvantage is low light capabilities - the PD-150 is said to be the champ in this arena.

Having said that - Why are your choices limited to these 2 cameras? For the price of a PD-150, you can get into a SONY A1U which is HD and has XLR. The question I ask is are you going to be shooting completely solo or are you going to have a crew? Shooting Solo will dictate a different set of gear compared to shooting with a crew.

There are very few advantages to shooting with XLR - my understanding is that other than the duability of the plug, there are really no advantages except for more mics are available in that plug style.

There is a mic I came across from Ambiet Recordings called the TinyMic that fits mini-jack and is said to be as good if not better than many XLR based mics. And its name belies the sound quality.

Specifics will dictate your equipment choices. I shoot with a couple of HC7’s due to the fact that there is only one pro grade underwater housing - whereas the HC7 has several.

Unless I know more about your shooting style is, it’s hard to give an accurate answer about equipment recommendations.

HTH,

Cliff