[Bob Cole]

[Craig Seeman] “Usually 1 happens if you don’t wait for the light over the card to change back to ready.”

Do you have to check this light before starting to roll every time?

[Bob Cole]

Wow, thank you so much. I haven’t tried Joey’s tutorial yet, but I loaded this AEP. I am running AE 4, which does not include DE Freeform AE. Is there a substitute? I don’t want to buy Freeform, because apparently it is included in AE 5 anyway.

Thanks again to all of you for your kind help!

Bob

[Bob Cole]

Thanks! That works. Is there any way to make the edges rounded off, as with the classic round magnifying glass effect?

[Bob Cole]

I enjoyed your post, but PBS disagrees. As do viewers who are looking for objectivity, and are smart enough to say “Well, who’s paying for this?” I suspect even Michelangelo would have had something to say about the problem of balancing Medicis and Popes, but that’s out of my league.

It isn’t just whether the filmmaker is ethical, but whether his audience will give his work the credence, if the sponsors are also the subject matter.

[Bob Cole]

I downloaded the Avid HD codec and thought I had followed the recommendations in Michael’s guide, but the Avid editor just sent me some frame grabs which show that only the top half of the video frame came through. Does that ring a bell?

Bob C

[Bob Cole]

On the ethical side, Nick has raised the questions you have to ask yourself. If PBS broadcast is a potential goal, you may want to consult with them, or research their funding guidelines, before accepting this funding. Your example of This Old House is interesting but it is not an absolute “go ahead.”

It would be cleaner if you found a venue to videotape which is compatible with the public interest of the sponsor, while not being quite so tightly identified with the sponsor.

Bob C

[Bob Cole]

[Todd Terry] ” No bullet-time DSLR rigs at work there.”

Just curious – how can you tell? At least that one shot looks pretty convincing to me.

[Bob Cole]

GoPro’s are great for compositions with similar lighting across the frame, but for certain circumstances (e.g. lots of backlight) an HD camera of the “Palmcorder” size, with the ability to expose for a section of the frame, or on a face, can save the day.

[Bob Cole]

[Richard Cooper] “while the other cannons down-convert upon recording you will find the 7D does not.”

Do all the other Canon DSLRs down-convert the external video signal on recording? What about the 60d?

[Bob Cole]

Don’t see the “Blue” video link – just a black box. Is there another link to this?

re: Chipmunk effect. Where the singer winds up being normal-speed, while the crowd is in slow-mo, I understand the concept of playing back the audio 2x, so the camera overcranks and plays back normal speed. But I’d think the crowd should be reacting to the normal speed playback. Does the principal singer wear an earwig with the sped-up track, while the crowd is hearing the normal tempo so the crowd can dance in apparent slow-mo?

There are a couple of shots around 1:05 in the second video where the camera moves around a frozen crowd. They’ve included headset wires that are frozen in place, in nice curves, not limp – so was this done by asking the crowd to stay still, along with stiffened fake headset wires, or was this done with a “Matrix” style set of synced DSLR’s in a semi-circle?

Bob C