[Bob Cole]

Not knowing the specifics of your arrangement, it is hard to say.

But if it were my client, I’d be falling all over myself apologizing, and take the material off the website immediately. It’s a “service business.”

Bob C

[Bob Cole]

very much!

BC

[Bob Cole]

[Chris Blair] ” Not much you can say to an $8 billion company when they send you a letter like that. “

Especially when it’s signed, “Heywood U. Buzzoff”

[Bob Cole]

My first introduction to this was Kodak’s purchase discount for raw stock. I think it was 5% and it was like “found money.”

I’ve never offered it, though. Can’t articulate why, but it hasn’t seemed appropriate, somehow, for my clients and business. But now that we’re in the “longest recession since the Depression,”
all bets are now off. I may start to offer it.

I’m just glad it isn’t only me and my immediate local circle of friends who are experiencing this problem.

[Bob Cole]

[Curt Pair] ” I just generally use different instruments these days. Again, it’s more TECHNIQUE than fancy lights. “

Great advice about the wave form monitor. Like others, I also use the zebras, which will work as long as you know you’re on the edge. But I will take my copy of Adobe OnLocation with me on the next green screen shoot and try that.

I tend not to worry about uniformity across the entire screen; I just use a garbage matte for the edges anyway. Also, I tried turning an HDV (Sony Z1) on its side for a vertical subject to increase the image size/pixel count for the keying — worked great.

But I’d like to know more about your “TECHNIQUE” for lighting. (I use two Mole Nooklites with barndoors, which are very effective, if there is enough space to back them off. Tight spaces have been a challenge to create a large even key, but as I said above, I generally am lighting only for the area behind the subject.)

Thanks for the informative post.

Bob C

[Bob Cole]

I appreciate the insights and the advice. It’ll be my first order of business Tues a.m.

Bob

[Bob Cole]

Thanks.

What about the procedure question? Compressor’s presets are so nicely arranged, but when I customize them I can’t seem to label the folders, etc. It’s already a huge mess of unlabelled folders and it will get worse if I modify every preset.

Bob C

[Bob Cole]

[Nick Griffin] “Quite possibly of far greater comfort for back and neck pain is having a set of fixed vision glasses.”

Nick has a good point. Ever since I needed glasses at all, I realized that editing, especially with dual monitors plus a broadcast monitor, required me to sit farther away than I would with a laptop, but still not so far that my distance lenses were helpful. Since having a special pair of editing glasses made, I have tended to contort and strain forward a lot less just to see what I’m doing.

I’d like to see that Anthro set-up sometime.

Bob C

[Bob Cole]

[Jordan Wolf] “Pin-1 Lifts can work fine – I prefer an isolation transformer”

I’m just curious – why does the Pin-1 Lift work? Why do they call a hum-inducing ground a “ground loop?”

Bob C

[Bob Cole]

I’ve checked out some of the rec’s here. But I thought I saw something on location once that I haven’t seen online. It was an XLR hum eliminator which had a switch, so that you could either pass through all three XLR pins, or eliminate one, to get rid of the hum.

Does that sound right, and familiar? It seems better than the Ebtech HumXLR, just because if the XLR cable isn’t really the source of the hum, you don’t have to disconnect and reconnect to track it down.

Bob C