[Andrew Mehta]

Good to hear from you again Kieran.
=/ Unfortunately, alt+Apple+U doesn’t do it on my system.
So maybe it wasn’t introduced until v8, as you feared?

For the record, it’s 7.5 I’ve got, not 7.5.1 if that makes any difference. =P

[Andrew Mehta]

Thanks for your advice. =)

=P Unfortunately, I read it just after I applied an adjustment.

At the end of the day, it’s gonna be viewed on consumer TVs, and even my PD150 DVCAM Camera showed the same issue when the signal was output to that. So I’ve gone for the adjustment route.

I’ll keep my eyes out for monitors on Ebay though. I did have an opportunity to buy one a while ago, but I figured a TV would do fine. =P Whoops.

[Andrew Mehta]

For anyone interested, I’ve settled on an ICE’d Gamma/Pedestal/Gain filter, with 1.10 Gamma, and 0.07 pedestal and the rest default settings, in order to compensate for the darkening, which did seem apparent on all TVs in the house.

=/ Sadly, I’m finding 16 seconds takes about 20minutes to render.
[That’s the boris fx graphics(white polygons, 3d sphere, rotating pct files, and resized video), and the ICE’d filter combined].
3D letters ontop via Grafetti make it a total of 35minutes wait for 16 seconds of footage.

I’ll probably make the composition clips during the day and leave them to render overnight, but the thought of using the Producer or Red trial just to get things moving more quickly did cross my mind, though I don’t know if my machine is up for it. =P

G4 Dual 450Mhz Gigabit Ethernet, OS9 & OSX dual boot, Media100i 7.5, Blue Ice Ultra board / IceFX, Boris FX 6.1, Grafetti 2.1(I think).

[Andrew Mehta]

When I monitor out to my PD150, again, when the bars are black, the resized video is light/normal, when the bars are white, the resized video gets darker.

Am off to check it on some other TVs.

[Andrew Mehta]

I tried adjusting the whites to 233, but still no luck. I dropped them further to 200 which seemed pretty greyish, and the pic still looked darker…in fact, the resized video only achieved full luminousity when the background was black.

Your approach however, encouraged me to look more closely at the BorisFX monitor window….basically, the darkening effect I get on my external monitor doesn’t actually seem apparent on the computer screen.

Could it be the TV that is compensating somehow?
I use a household portable TV to monitor my video.
The project will end up on DVD for home consumption.
Do most household TVs do this?
Should I try and compensate with filters to brighten the image, expecting most TVs to replicate this problem, or just leave it natural?

Advice?

[Andrew Mehta]

Thanks.

Looks like my problem was I was holding down APPLE instead of OPTION/ALT.

Thanks for your prompt response! ^_^

[Andrew Mehta]

Have just found the “Save favourite…”/”Apply Favourite…” filter option, which has sped things up a little, but am still having to start a new comp with a new clip.

Anyone got any advice on how to pull off the more ideal replacing of one video clip with another,whilst preserving filters and other composition settings?

[Andrew Mehta]

Thanks.
The Solid is there.
Just not a null.

Am in the middle of some tape logging atm, but will have a tinker later, and see how I get on. Ta.

[Andrew Mehta]

I once created a short cyclinder, and mapped videos to the back of it (inside of it) and then adjusted the depth so the camera was in the middle. But that’s harder to have seperate videos side by side, unless you create a 2d video that has scrolling multiple screen boxes in it, and then map that to the cylinder. [And to be honest, that was done in BorisFX, but I’m sure After Effects has similar options]

Probably the ring tutorial is better.
But I’m on ooolllddd technology (AE5, OS9) and dunno if I can do that yet. =P We’ll see. I’ve posted a question about nulls.

[Andrew Mehta]

Some Final Cut Pro users showed me three colour circles that they’d play about with, to gain a unique aesthetic. I’ve only got Media100 7.5, but I had invested in the old ICE card, and all the Final Effects filters you can use in After Effects and Boris FX, and was miffed that amidst all these, I couldn’t get a similar look to my media. In the end I used a combination of Boris Color Balance and a weak ICE’d Glow, but it was a poor copycat. =P

Am looking forwards to using the realtime RGB ColourFX in newer Media100 versions, but I still don’t know if it’ll compare to what my colleagues were doing with those damn circles. =P All I got are graphs. Although I’m not knocking them as they seem similar to some photoshop filters.

Basically, I feel Media100 & Boris is good for literally correcting colour, but for boosting contrast in a stylish way, it fails to emulate the unique aesthetic FCP seems to instigate.

Then again, I may be creating a myth about the colour circles, as I don’t use FCP enough to know how similar or dissimilar they are from what Media100 colour correction already offers.