Alan Lloyd
Forum Replies Created
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There are utilities to read Mac drives under Windows, though I’m not sure I’d want some third-party thing sitting between me and my edit files.
I’d set up the transfer to run overnight(s) and just do that.
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After Effects?
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Smaller, simpler projects tend to be better to manage, don’t you think?
Even if you had the 72 sequences in one project, you’d still have to change them all.
The workaround for this might be to back up the original elsewhere, then change the branding (I’m thinking graphics overlays from your description, if I’m wrong please say so) and re-save it using the same filename for the branding graphic, then re-export to WMV using the same settings. Since Encoder will be calling for the same filename with the updated file, it might be less of a headache than going through all the sequences – or projects – with a text editor or any other brute-force method.
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Well, first off, it’s a GL-1!
(grin)
Seriously, it sounds like a lens issue. Bad news is, if it’s broken, it’s probably not repairable. Canon no longer supports XL-1/GL-1 vintage cameras.
Good news is, it’s probably replaceable for less than the GL-1 was new, and by a better camera.
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72 different files is going to be a PITA no matter what.
What I’d do is:
Set up a template with branding, etc.
Save project #1 under your desired name.
Set up a profile in Encoder for your desired output of (dimensions)@(bitrate/audio settings) and all paths correct, output naming proper, etc.
Save the project again.
Drop each individual sequence in and save it as “project_name_(#)” where # = clip number, making it visually apparent if one’s missing. Important: Do this after setting up your first sequence and the encoder settings! (That’s the PITA part.)
When all the projects are saved, reload the very first project and verify that everything is proper.
Hit “OK” to go to the encoder page.
Then load the rest of the project files as a batch load. Encoder will increment the output filenames for you.
Let it render overnight.
Note: I am not in front of a CS4 machine right now. This is from memory, though I don’t think I left anything out.
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Reshoot.
Seriously. I had a guy ask me to “fix” his wedding video, which was so blown out that when I dropped the levels, it all just went gray instead of white. There was nothing I could do to put back what had been eliminated in the previous step.
(And I would normally never touch a wedding video anyway, this was kind of a favor.)
Clipping eliminates the detail data rather nastily in digital video.
And Vince’s zebra setting suggestion is bang-on. Set it to 80 and place your skin tone highlights there.
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Create your beginnings and endings, titles, etc., and have them available for each sequence.
Best to save those elements in a lossless format to avoid recompression.
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Floor-to-ceiling windows? How tight a shot are you looking for?
I see the potential for very distracting interior reflections from anything in the room being hit by daylight as an additional complication if you’re at all wide.
And a potential solution:
Put your interview subject 6-8 feet from the window. Hire some grip equipment and put at least a 4×4′ double net on a stand immediately in front of the window to knock down the intensity of the outside light. Position it so the edges are not visible, of course. If you need to be wider, an 8×8′ frame with a double net will take care of it, though it will take time and care to build and set up properly. Wrinkles will be a problem.
Light your subject to the proper level, using whatever instruments you choose, making sure to avoid window reflections. “Wedge” them to daylight (presuming they’re not HMI or Kinos) and set your camera’s white settings appropriately.
Position yourself 6-8 feet back and push in to narrow your depth of field. You will probably want your iris to be as wide open as possible, engage your first internal ND if needed.
It’s best to not be perfectly “square” to the window, to minimize reflection issues.
Look at your image on a good monitor. Check for color balance, exposure, and reflections.
If you run into reflections, there is a solution, though it’s a bit of a PITA.
Setting large sections of black foamcore or pipe and drape in front of things that are reflecting will minimize them.
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I did exactly that for an recognition show intro by someone who could not attend.
It worked surprisingly well, and yes, locking down the camera is a must. It took several layers stacked carefully to pull a clean (luminance) key.
I was not in attendance at the show in question, though I heard the audience loved the piece.
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There is a free program called Any Video Converter that will do what you want.
Just Google it.