Charley King
Forum Replies Created
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[Pixel Monkey] “Also, the biggest problem with chroma keys is having the subject too close to the color (thus it reflects onto their clothing, etc – like a weatherman). Build depth into your shot.”
When depth is not an option, use a backlight most opposite the key color thus with green screen a light blue backlight will help counter the green contamination. Amber works well with blue screen.
Charlie
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I’m not sure I even know what you are talking about. I always just made the edit where it felt good, If it don’t feel good, there ain’t no theory that works. So I guess I edit on the feel good nethod.
Charlie
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Yes you can integrate TBC’s into the system, but it isn’t going to change anything with your problem. We looked up the MX 20 and as I was saying like the MX 50, the only way to do clean switches is to preset your shots so it can lock the incoming video to the same vertical interval as the outgoing video. Cuts on the program bus will freeze the outgoing video for an instant til the incoming video can be switched in the vertical interval.
Charlie
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Many times I find you can hide the lack of continuity with the cut, jsut a frame or two adjustment one way or the other will make some of the movements come close enough to matching you can live with it. The whole thing is step back and look at it with different eyes, see if you can imagine a slight change to make it work.
Charlie
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B>[Mark Suszko] “I don’t get why some guys do that to excess, smacks of a lack of confidence”
I have had some of the best takes lost because the shooter started recording over the end of a shot he had just checked to make sure it was there.
[Todd at UCSB] “The thing about making a list/guidelines for students is that you have to write it for the least common denominator,”
I use to do training videos for the Navy, those were done for the student who was a complete imbecile. The trainers stated most were. So I fully understand this part of it.
As an editor, I have preferred the tapes with hours as reel numbers, makes it so much easier to find a take you have logged if you know to go to that reel, when working with 8-10 reels of footage. That was my point in the topic.
Auto settings are the number one cause of a scene not being usable, in my opinion. It was so nice before they invented those.
Charlie
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The cameras I referred to, stop on the last time code read. If there is a blank spot it will remain, but the recording will continue from the last time code it had on-tape. You can also preset the time code to start recording at whatever time you prefer, many times that is time of day or some other setting such as hour 1 for reel one hour 2 for reel two etc. There is also setting for record run which will start from last recorded time, and free run which picks up from where it would be if the recorder had been running all the time, (as long as the recorder power is left on.)
Charlie
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OK, that explains it. The higher end cameras, can be set to read the previous time code and use that as a guide to resume recording. There will be a break in the control track and slight break in time code as a result, but the time code will be in sequential order.
I come from live black & white, through razor blade editing on 2″ tape, punch to edit, Ampex Editec, the advent of time code, 3/4″, 1″ Beta, Beta SP, Digibeta, all linear editing to my current setup of Avid, Vegas Video, and Premiere Pro. So I have pretty much seen it all. Opps I forgot to throw in film editing with a cold splicer and hot splicer, optical sound, mag sound, and double system.
Now I guess that pretty much covers it all. Sorry I didn’t mean to be rude either, just feel it is best if we have all the facts, and since I am ignorant of DV Cam, that is a new item for me to learn.
Thank youCharlie
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Thanx Tom,
I’ll try that the next time.Charlie
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Maybe my memory has failed me which happens at my age, but I thought the MX-50 and MX-20 were similar in the bus configuration. Program bus, Preset bus, fader, and adjustable take button.
Charlie.
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[Tore Gresdal] “2. Continous timecode (use striped tapes) “
The only times I have ever in over 40 years had continuous time code on a shoot was when it was a film to tape transfer. If you attempt to do your shots as edits onto the master footage tape, you might sometimes miss a shot. I have no problem with breaks in timecode as long as the code is in order, and doesn’t skip around. I haven;t worked with the DV Cams of today, but I only prestripe tapes for mastering and archive.Charlie