[Benjamin Tubb]

Steve, that is most unwelcome news. I just don’t have the money to buy stuff right now (Film School). Thanks though!

And Toby, that might be a potential work around. I’ll have to look into it. Trouble is, the ‘line of footage’ I’m bending into a cylinder is a line of fire. So if it’s off even a bit it’ll look messed up. It might work though. Thanks!

“Of course, I could be wrong. In fact, I’m probably wrong.”

[Benjamin Tubb]

Kevin, your idea might do it. That’s interesting, I never knew expressions could interact with layer markers.

Kyle’s idea is good too, but not all of my ‘tracking points’ are actually ‘tracking points’. Some of them are Point Controls animated by hand frame by frame.

Thanks for all the help

“Of course, I could be wrong. In fact, I’m probably wrong.”

[Benjamin Tubb]

Okay, that helps… but then how do I change it again after that? It needs to use a total of 4 different tracking points over time.

“Of course, I could be wrong. In fact, I’m probably wrong.”

[Benjamin Tubb]

Nah, that won’t work for what I’m doing. I have the corner pin effect on Layer 1. I need one of it’s corners to track a tracking point up to a certain amount of time, and then change to a different tracking point. And do it again, and again… Thanks though…

“Of course, I could be wrong. In fact, I’m probably wrong.”

[Benjamin Tubb]

Stabilize in post?

…

hahahhahah

sorry, I got nothing.

[Benjamin Tubb]

In general, it won’t matter what tapes you use, as long as you follow this simple rule. It’s the only thing you really need to worry about.

If you’re going to use Sony tapes AT ALL, then ONLY USE SONY TAPES. EVER.

If you aren’t planning on using Sonys, then NEVER USE THEM.

Sony tapes use this weird oil based lube that gets on the tape heads and just kinda chills there. Which is fine, because that’s what the next tape has on it (assuming that too, is a sony.) But then if you put anything other than Sony in it, like Panasonic for example, then that one’s powder-based-lube-stuff mixes with the oil stuff to make a freaking GLUE. That kills your heads.

Sonys are fine, as long as that’s ALL you’re going to use. Therefore, I’d recommend you use something else, since that means more options.

The tape I’d recommend is the Panasonic 63 AMQ. The PQs are good too. As far as I can tell, the AMQs are about the best you can get.

Also, stay away from the long record time tapes. Like those 80 minute ones? Bad news. At least with the HVX. Or so I’ve heard.

[Benjamin Tubb]

Wow guys… that doesn’t make any sense. You’re all recommending that sammy upgrades the system, sets up a RAID, etc… but that shouldn’t be necessary. I run Production studio on my computer (which is about equal to sammy’s), and I have two sata 7200 internal drives. 300 GB for apps and documents and such, 500 GB for Source files. I edit 1080P DVCProHD with no stuttering playback. Sammy, I don’t think you need to upgrade your stuff. Here’s my question to you, and please excuse me if I sound patronizing. Are you rendering your work area for preview? And if you are, and it’s still stuttery, then try changing your preview codec to something easier for your computer to handle, like cinepak. You can do this in the project settings dialog.
And also, what kind of footage is it? Standard DV25? HDV? DVCProHD? Because if it’s High-Def, then yeah, it might be a hardware-not-good-enough issue. But if you’re getting this problem with footage off a MiniDV camera, then there’s just something wrong. Your equipment should handle that with EASE.

“and secondly, what is that message I get?”

What message are you talking about? You didn’t mention one, unless I’m just so exhausted I didn’t see it. Which is possible.

[Benjamin Tubb]

I don’t know about Avid, but in PP2, one just uses the ‘export to tape’ feature. I’ve done this to MiniDV on my HVX200, with full deck control from the computer, so I KNOW the camera is capable of it. If that’s any help.

[Benjamin Tubb]

Well, as for the recording to laptop thing:

I use Premiere Pro 2.0, so I can’t record HD through firewire… I know PP2 can capture HDV through firewire, and HD through HD-SDI, but I dont’ have the latter, and I’m not shooting HDV. So that doesn’t help me.
However, in the next week I should be receiving a free copy of DV Rack HD 2 (My teacher is an Adobe Master Teacher), and I’ll be doing that… but I’m still kind of sketchy on that. I’m going to be shooting a feature film in 720p24pN, and you can’t do native 24p through firewire realtime, can you? If not, then if I mix standard 24p footage with 24pN footage in a timeline, will that mess anything up?

As for the DV thing, I’m just starting out in this business, and since I don’t have much to show, the only hook I have to offer clients right now is “Hey! I can do HD!” So naturally, that’s what they all want. On top of that, it just so happens that all of the things I’m working on pretty much NEED HD. The feature film, for example. I don’t want to shoot MiniDV and blow it up to a theater screen. Then I have another project that relies almost entirely on keying, and key miniDV footy? Been there, TRIED that.

[Benjamin Tubb]

Thanks for all your answers… I followed the link, and it looks like it’s in progress. I can rest in peace now.

I wish I could rent one, but I’m OUT OF MONEY. My current balance is NEGATIVE 500 dollars. I’m working 7 bucks an hour to pay that back… Until, of course, I get the P2 card, then I’ll be doing video productions to make the cash. But ’til then, everything I want to do needs that card, so I’m just kinda on hold.

Thanks though.

Ben Tubb