Bill Davis
Forum Replies Created
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Does the content need to run in sync?
If not, $39 DVD players from the local box house and individual DVDs authored to auto-run in loop mode would be a cheap and pretty foolproof solution.
FCP since NAB 1999
creator: muti-track movies
http://www.starteditingnow.com -
Using a digital still camera seems REALLY complicated to me. Why not just take a thumb drive along and having the presenter copy their PPt presentation directly to it?
That way you can “fix” the poor quality design if need be – making fonts bolder or changing to a more video friendly font.
Even if the presenter doesn’t want you messing with their slides, you can just have them export their slides as a series of JPGs.
This is just digital data. Why would you want to dumb down the raw data via camera to a 2d plane then have to mess with that afterwards???
Doesn’t make sense to me.
FCP since NAB 1999
creator: muti-track movies
http://www.starteditingnow.com -
While there are Macros that can easily run from a CD on insertion, load a player, then run a video file, they all rely on the underlying operating system of the computer the disc is being loaded into.
The problem crops up if you put a disc designed to call those macros on, say, a PC – into a Mac or a Linux box. It simply won’t work under those circumstances.
And it’s always unwise to presume the capabilities of any computer that will be used to present a video.
Unfortunately in the CD realm, there’s no “universal standard” equivalent to the DVD-Video standard for playing (and auto-playing) video off a CD.
Sorry.
FCP since NAB 1999
creator: muti-track movies
http://www.starteditingnow.com -
Another voice in support of reading Tufte.
His book, “Visual Display of Quantitative Information” remains the gold standard for understanding how to present information to an audience.
Plus, ya gotta love someone who appears to hold such vast contempt for the typical PowerPoint presentation in business!
FCP since NAB 1999
creator: muti-track movies
http://www.starteditingnow.com -
It’s never easy, but there are two standard approaches.
The first is to use judgement to minimize the contrast range in the scene. That starts with a visual analysis of your scene followed by making simple decisions such as putting the windows at your back, closing drapes, and/or turning on or off the room lights.
The second level is if you can’t control contrast – such as in your “drawings” example – think about doing multiple exposures. Lock down your camera and shoot the scene exposing for the overall room. Then iris down and expose for the drawings. In post, you can easily combine the two shots digitally.
This works equally well when you’re shooting high contrast scenics. Lock down you shot and expose once for the foreground – then expose for the sky and combine the two shots in post.
There are other tools such as gradient filters, or simply using a piece of Neutral density gel a little like a photographer might “dodge and burn” a print to expose parts of a scene differently – but there are no hard and fast rules.
Hope this helps.
FCP since NAB 1999
creator: muti-track movies
http://www.starteditingnow.com -
Mark,
Don’t mistake my intent. I’m ALL FOR someone reading any and everything they can get their hands on.
Learning is ALWAYS a good idea.
But I thought the original post was from someone who is trying to produce these NOW – using a variety of non-pro talent – and yet wishing to generate professional results.
In my experience, a script written incorrectly (which is to say a script that is needed to be read aloud, but written in the same style as a document designed to be read visually) is nearly ALWAYS the weak link that pulls the rest of the project down to it’s level.
No different from composing a wonderful polka – then expecting people to waltz to it.
Writing for the eye, and writing for the ear – are two separate disciplines. Just like playing basketball and playing baseball. And remember, even an ultimately superb athlete such as Michael Jordan had significant trouble switching from one to the other.
We ask people to respect our learning and craft as video creators and not expect to get the same results that we do by simply buying a fancy camcorder, mics and lights. Because we understand that it is the knowledge and experience that matters.
Same thing with writing. So asking someone who doesn’t regularly write video scripts, to sit down and do a great job of that simply goes against common sense.
I do agree that books, articles, and other resources are a great place to START. But respectfully, not if you’re on deadline!
Peace.
FCP since NAB 1999
creator: muti-track movies
http://www.starteditingnow.com -
Jeffery,
I think what Greg’s saying here is that if a laptop was a viable replacement for an actual video monitor, we’d ALL be using them, because clearly they are a LOT easier to use in field work.
But most of us DON’T use laptops for critical field monitoring.
Why? Because they aren’t field monitors. What you see on a computer display will NOT necessarily be what goes to tape. No matter what software you use.
Laptop LCD screens – heck ALL LCD screens – have display issues that can fool you into thinking you’re recording a properly exposed or white balanced picture – when in fact you ARE NOT.
So what you’re suggesting is a “try it at your own risk” scenario.
Good luck.
FCP since NAB 1999
creator: muti-track movies
http://www.starteditingnow.com -
I’m sorry, but the “buy this book” approach will, in my opinion, elevate your results from poor to mediocre. Probably no farther.
I know everyone thinks they know how to “write.” And “writing” is taught in every school in the land. But what is actually taught is business writing for the eye. Stuff to be visually read off a page and comprehended at it’s basic informational level.
That same style of writing will always get you exactly the problem you’re facing here. Dry, lifeless, one-dimensional “talking head” scripts. Put that kind of writing in a video and you’re lucky if the audience doesn’t fall asleep.
REAL writing for a video performance has to go WAY beyond writing for the eye. It needs to incorporate rhythm, expression, coloquialism – it needs to make ROOM for visual clues like the actions and expressions of the humans delivering the message. It is writing for the EAR – and that’s a far different kettle of fish. (A colloquial phrase I might put to great use in a a video script – but would expect to have CUT from any printed training manual as useless puffery.)
I’m always surprised at how companies figure that anyone who can write decently in a general business context can simply be re-tasked to write good video scripts.
It’s like saying the because someone can press a piano’s keys, that means they can actually play the piano. Or perhaps to expect that since someone has advanced at the keyboard to the level where they can play pop music chords competently – they should ALSO be able to suddenly play JAZZ well.
It just doesn’t work that way.
These are skills based in training, talent, and practical experience.
Like all the rest of us who produce video, you need to find PEOPLE WITH TALENT. In both scripting and on-screen presentation. Without identifying and recruiting those kind of people, results beyond what you’re getting right now will likely remain beyond reach.
My 2 cents, anyway.
FCP since NAB 1999
creator: muti-track movies
http://www.starteditingnow.com -
I was one of the Beta Testers for Red Lightening’s software.
I only use it in DV mode, but since the product shipped, I’ve found it to be a VERY solid performer. I use often it for basic shot monitoring, and even video capture during seminars and other shoots.
I think it’s a great tool to have in your arsenal. Works as advertised, and has a lot of nice extra features.
The only two warning’s I have is that LCD computer monitors are NOT and WILL NEVER BE broadcast monitors – so even with the nice basic screen calibration software included in the package, I never trust ANY LCD as far as picture color or quality. It’s a wonderful framing tool – and the scopes and overlays are GREAT as far as they go. But the basic picture is still an LCD screen – so kiss dependable colorometry goodbye – not because of the software but because of the inherent problems of ALL LCD screens.
And if you decide to use it for field monitoring, at LEAST get a laptop with a matte screen – never glossy. The modern glossy screens make it REALLY hard to calibrate a picture since they change what you see as the angle of the screen changes.
Hope that helps.
FCP since NAB 1999
creator: muti-track movies
http://www.starteditingnow.com -
The LAST thing you want to take on vacation is “industry” reading.
Take something FUN – but perhaps with a plot that reflects the industry you love.
I’d recommend either William Gibson’s “Pattern Recognition” – which speculates about where media and culture is headed wrapped up in a mystery about who’s creating and posting some very beautiful snippits of web video that’s capturing the imagination of the artistic community the world over.
OR, if you want something lighter and more pure fun – there are the always enjoyable Dick Francis books – which typically center in the horseracing world, but his classic “In the Frame – is about a movie director who’s in pre-production on a historical movie. Somehow Francis always provides insights into whatever topic he’s writing about while remaining intensely entertaining. I LOVED his take on how the craft of directing and how the artistic content of movies REALLY come about. Highly recommended.
Both should be available at any bookstore.
Enjoy.
FCP since NAB 1999
creator: muti-track movies
http://www.starteditingnow.com