[Brad Steiner]

I sue zebra bars to check levels on a green screen. They are set to 70. If I shoot the green and get smooth zebras across the whole field, I’m close. Open the iris a bit and light the talent.
I’d love to have a scope in the studio, or one of the new monitors with one built in, but alas I don’t.
Some cameras can set the zebras to different levels. I suppose you could set that to whatever level you really need.

Just some ideas for those of us without the fancy smancy gear or high priced lighting guys. 😉

BrAd

Praise to the COW

BrAd Steiner
ImageWorks Media Group

[Brad Steiner]

Here’s a kind of opposite quesiton. I’ve got a box with studio 1 on it, running tiger. What’s the highest version of Quickitime I can go to without screwing up studio?
I don’t want to just get the very latest only to have to backtrack to make studio 1 work again.
(why still studio 1? it’s an old personal box, not a work box and it won’t run studio 2)

Thanks, and sorry to barge in on someone else’s question. I might post this generally too. But you guys seem to know stuff.

BrAd

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BrAd Steiner
ImageWorks Media Group

[Brad Steiner]

Ok,

so I’m working natively in within all the set ups given me in the EZ set up, with the exception of renders in the Sequence settings.
What about other settings where you decide if FCP or the Kona card are handling effects, or real time, etc.
And the settings on the Kona control panel. Anything there to keep in mind?
Thanks,

BrAd

Praise to the COW

BrAd Steiner
ImageWorks Media Group

[Brad Steiner]

How is that done exactly? throw away the contents of the folder? While the project is closed?

Thanks,

BrAd

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BrAd Steiner
ImageWorks Media Group

[Brad Steiner]

because no one sells them for that here, unless I want to pay shipping. And I can make them for less, and sell them to you for $20 each. plus shipping of course.

BrAd

Praise to the COW

BrAd Steiner
ImageWorks Media Group

[Brad Steiner]

What about using 5/8 all around? Too weak? I was doing some calculating, and I think I can get one full and 1 half out of a 4×4 sheet of ply (with a bit left over). It’d be better to use just one type of ply and get in a single sheet. But then, I don’t want boxes two heavy or too light. Ideas?
When I get it worked out completely, I’ll post the cut sizes if anyone is interested.

BrAd

Praise to the COW

BrAd Steiner
ImageWorks Media Group

[Brad Steiner]

While the 7 words of advice are appreciated (and the 10 before that), they don’t really answer the questions I was asking in the first place. I’ve apparently posted these questions to the wrong forum. I’ll try FCP.

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BrAd Steiner
ImageWorks Media Group

[Brad Steiner]

That’s a good point. Perhaps two different reels. Or both on one DVD. But 50% of what I’ve shot, I’ve also edited, so it seems to me I could feature them together.

BrAd

Praise to the COW

BrAd Steiner
ImageWorks Media Group

[Brad Steiner]

There were some great article in Milimeter (i think) about the production workflow of Collateral. Video offered them better images in low light than film would, I read. Production was generally faster too becuase existing/natural lights were used more often.
Second hand knowlege I know, but Milimeter (and others) might have articles archived.

my two to three cents.

BrAd

Praise to the COW

BrAd Steiner
ImageWorks Media Group

[Brad Steiner]

I’ll try that. Thanks so much.
It looks like this is the all northwest topic. I’m in Pasco, SE Washington. The other guy’s in Bremerton, you you’re in Oregon.

BrAd

Praise to the COW

BrAd Steiner
ImageWorks Media Group