Chris Young
Forum Replies Created
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Tim ~
Would you then suggest that for PAL one would look at 655 x 576?
Chris Young
Sydney -
Oh I like it Gary! Very elegant.
Chris Young
Sydney -
Frankie ~
Put ‘markers’ at your exact in/out points then drag a ‘loop’ region across the timeline area between your markers and this will select all the clips within that loop. You can then ‘copy’ that loop region to another open instance of Vegas and ‘paste’ that selection. ‘Save as’ the new instance of Vegas as a new VEG project. Avoids all that deleting business.
Re the one second trim question I am not sure but Ed, Peter or one of the others would most likely know the answer to that one. Wouldn’t mind knowing myself!
Chris Young
CYV Productions
Sydney -
Tim ~
Re the Media Manager, to date haven’t used it much as it seems to slow up the Vegas boot-up considerably. I guess we are fairly lucky as we don’t carry a heap of material on the systems from week to week. At this point we don’t have need of a major asset management tool, hence we have Media Manager turned off. If I were doing long form doco work though it would be essential to have it working well.
Currently as each program goes out we dump all the weekly footage to make way for the next ingest. All show openers, closers, playins, playouts etc plus the regular lower thirds and repeated graphics are all that we have to keep track of on a weekly basis so it’s not too much of a headache. It’s good to hear that Sony is working on chasing the bugs out. Given our past experience with Vegas I guess a couple more updates down the road and V6 should be looking even more solid
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Mark ~
I am not saying that V6b isn’t stable. Compared to most other NLE apps I consider the Vegas family to be the most stable by quite some margin. V6 though compared to V5 isn’t as stable and it’s not just me saying it. We have had some jobs that will hang V6 whereas the same jobs on V5 just sail through. The Vegas distributor for Sydney suggested it had to be something to do with our systems; we politely declined to accept that diagnosis. Both our systems have exhibited render problems with V6. Both systems also run V5d with which we have had NO render problems.
During the SMPTE Broadcast show here in Sydney I took some material over to one of the Vegas distributors systems, a dual proc 3.4 Xenon with plenty of ram, on which he assured me this particular job should sail through okay. Thirty odd percent through, ‘poof’ it hung the system. There are no corrupted files; these have been checked so it’s not that causing the problems. Most of the problems seem to occur on jobs where large 2.5K to 3K sized graphics are used with Pan/Crop settings, it
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Alex ~
If you end up with heaps of JPG’s or PNG’s after the sequence export a good free utility that can do a good batch conversion on all your stills is ‘Irfanview’. It can do heaps more besides but for batch conversion on large amounts of graphics to and from almost any format it is hard to beat for the price. I use it often and found it very suitable for what you want to do.
Chris Young
Sydney -
Another method to Peter’s would be to use Mike Crash’s ‘Auto levels’ plugin. Use the Color Temperature section. The following settings seemed pretty good.
Correction 100
Red -19
Green 0
Blue -4The plugin is available at:
https://mikecrash.wz.cz/vegas/autolevels.zip
Chris Young
Sydney -
Would love to have a look at that 148.veg file if anyone cares to send it to us. It might gives me some ideas for an upcoming project. TIA.
Chris Young
CYV Productions
Sydney -
i seem to remember that you could use the network rendering program to utilize both CPUs
I would like to know more about this if anyone has the answer to it. Seeing as V5d is the most stable at the moment it would be good to get faster renders out of it.
Chris Young
CYV Productions
Sydney -
Larry ~
Two cents, maybe twenty cents worth here. We do weekly programs for broadcast and do the following and have never had a knock back on illegal levels and believe me they are tough on levels down here.
If you have overall high levels on the program you can select the ‘Video Output FX’ plug above the preview window and then select the ‘color corrector’ plugin and use the ‘offset’ and ‘gain’ sliders. Use the waveform monitor for the following adjustments. Make sure all adjustments are done right at the HEAD of the timeline to ensure the adjustment applies to the entire program output from its beginning.
Set ‘black levels’ first.
To ensure that your ‘black’ levels are correct use ‘Media generators’ ‘black’ NOT blank timeline space as this is NOT black and cannot be adjusted. Place some ‘generator black’ at the HEAD of the timeline on a track above your program tracks for this adjustment; this can be deleted after the adjustment is done. Park your cursor at the head of the timeline and adjust the ‘offset’ slider to bring your black level up to ‘0’. You have to do this otherwise you will end up with black levels below ‘blanking’. Vegas ‘generator’ black if used in the program defaults to around minus -7.5 below ‘0’ blanking (on a PAL system at any rate), it may sit at a different low level on NTSC not sure on that but it should be at ‘0’. Once this is done you can delete the ‘black’ sample from the uppermost track. That is program ‘black’ level set.Set ‘gain’ level last.
Now place some ‘media generator’ ‘white’ at the head of the topmost track where you had the ‘black’. Again ensure your cursor is parked at the head of the timeline. You can now adjust the ‘gain’ slider to bring your program peak levels down to ‘100’ i.e. 1 volt peak level. Now delete your ‘white’ sample.These two adjustments will ensure that you program output signal now complies with the ‘1 volt peak to peak’ broadcast requirement.
This is a much better way of setting levels than using the ‘broadcast levels’ plugin only as this will ‘scale’ the video to the 1 volt P-P requirement rather than just ‘clipping’ the black and white signal levels and peaks. You can now check your program blacks and peak levels by dragging the cursor through your timeline while observing the waveform monitor. If you have done this correctly no black levels will go below ‘0’ and no peak levels, usually whites, will go above ‘100’. You now have met the 1-volt P-P broadcast requirement.
An additional thing to watch out for especially if you use solid colors from the media generator is that these reds, blues, greens etc will blow way out past the legal levels on the vector scope. To control these now apply the ‘broadcast levels’ plugin. Check the ‘Studio RGB’ box. Normally you only need to use the ‘conservative’ setting from the dropdown menu to pull these excessive chroma levels back to legal levels. Just check with someone working in NTSC if you have the 7.5 IRE setting on or off. With PAL we don’t use ‘setup’. In NTSC DV I believe it should be unchecked. Don’t quote me on that though!
As a matter of course we use these settings, first using the color corrector ‘offset’ and ‘gain’ sliders to adjust the luminance range and secondly the broadcast levels plugins using the ‘conservative’ setting to control the chroma levels. Using the broadcast levels plugin last will not ‘clip’ your levels as they have already been adjusted with the CC settings. Use this method and I would be surprised if you get another knock back, touch wood!
Of course all of the above can be applied at either clip or track level plugin if so desired.
Chris Young
CYV Productions ‘Google us’
Sydney