Ben Avechuco
Forum Replies Created
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If we assume it is a Chroma Key off of a background, it looks to me like you could then do a luminance key, for the shape, then tint the image of the person for the first dark tone, then add another layer on top of that with the luminance key adjusted, and tinted just a bit lighter. All of this on a bright background.
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I recently had a presentation I was very proud of. It looked better than I had thought it would.
instead of a DVD player, I was able to create my presentation in a 720×1280 HD sequence then output it to an Apple-TV player which I took to the event and plugged into the HD projector.
I don’t think I’ll do an SD-DVD again if I can help it.Since you asked, I try to avoid using images larger than 2500 pixels x 2500 pixels.
It really slows things down. I tend to convert images to the best resolution JPEG if they need to be
large images as opposed to using a TIF or PSD file. Personal preference. -
To avoid fine line flicker during movement I usually turnn on motion blur, and in the composition advanced settings, I have my shutter angle set to 400-450 degrees
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You’ll want to do a clean install of the operating system on the G5 then use the Migration Assistant to move your programs and settings and files to the new system. You should have better luck this way.
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I’m using a M- Audio firewire 410 box for my monitoring interface.
You’ll need to choose 6 output channels in the sequence settings,
and assign the output channels in the Audio MIDI setup utility,
and the interface goes for about $250 according to google right now.It has worked wonderfully for me.
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What preset or easy setup did you use for your 1080i sequence?
If you chose a 1080i60 sequence and played this off to HDCAM, then you would be meeting their requirements. There is no need to go to compressor and make an adjustment.
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WHat are you using compressor to transfer these from? What is your original footage?
The specs they are talking about refer to what is expected on the final videotape and not to file settings.
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Listen to Rich. He’s pointing you in the right direction.
– Ben -
I don’t have the DVD (yet) but here is our setup at KAET-TV Phoenix (PBS)
We have several folders on the root level of the XSAN:
PROGRAMS (TV shows)
PROMOS (On Air)
MARKETING (Sponsorships)
PLEDGE ($$$)
PRODUCTION SERVICES (Clients)
XSAN UTILITIES (Installers, Extra fonts, Parts all users might need access to)
Final Cut Pro Documents (Created by final Cut Pro)
XDCAM MEDIA (Ingest folder)
etc…
In “PROGRAMS” there are folders for each program we are working all. All materials for a program are placed here, and broken down into folders based on the segment names…For each new project, we name them by:
1) A 3-4 letter code for the project name
2) The initials of the person responsible for the content of the project
3) A description of the segmentSo, for the program Arizona Stories: season 3 with David Majure’s piece on German WWII POWs “Great Escape” in Phoenix, the FFCP project name is:
AZS3_DM_GreatEscape.fcpThe Scratch Disks for ALL users is set to XSAN:Final Cut Pro Documents so we can find Digitized footage, and render files all in one place for archiving and deletion.
If we shoot on XDCAM, ALL footage goes into the XSAN: XDCAM MEDIA folder with the same naming convention with a Disc# appended to it. We also have an automator script to rename all the files in the folders to add the same name as the disc.
To create backups of the project files, the project is copied, and renamed to add the current date, and filed. The name of the original project never changes so we don’t get a multitude of render file folders.
With this system, we wanted to be able to know, at any given time, what project the footage was used for and who is responsible for it.
That’s how it is SUPPOSED to happen. It has been pretty successful, but some folks will forget how the system works occasionally.
Is this the kind of information you’re looking for?
– Ben
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I’d recommend using a diffusion fogger in the space to enhance the glow of the wall of light.