Dean Sensui
Forum Replies Created
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I used to leave my systems on all the time until the cost of electricity climbed to unreasonable levels. Now I turn everything off at the end of the day.
By shutting down my home office overnight I save about $100 in electricity a month. Usage dropped from a peak of 40 kilowatt hours/day to 25 kwh/day.
Almost half of it is probably the air conditioner.
Dean Sensui — Imagination Media Hawaii
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Here’s the settings I use:
Video cam
1080p30
Detail level -7
V Detail level -7 (both helps minimize edge artifacts)
Detail coring 0
Chroma level +2 (a bit more saturation helps the green channel)
Gamma Low
Knee Low
Matrix Norm
V Detail Freq ThinI’m using a green screen from EEFX.com and it’s exposed at 50 IRE.
For software I’m using Primatte.
Dean Sensui — Imagination Media Hawaii
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Might be something to do with the way your edit system is configured. It could be adding frames or doing some sort of odd pulldown that you’re seeing.
Try taking a look at the footage played back directly from the camera and compare that with what you’re seeing in the computer.
If it’s OK from the camera then there’s something else outside the camera that’s causing your problem.
Dean Sensui — Imagination Media Hawaii
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Hi Dustin….
Glad to hear you got it all sorted out nicely. I co-produce “Hawaii Goes Fishing” and have to do exactly what you’re doing, making the program start exactly at 1:00:00;00 for delivery on Betacam SP.
What I do is set the sequence start at 00:58:55 to allow for bars & tones and the slate. I’ll pre-set the timecode on the Betacam deck to 58:50 and record some black onto the tape. Then “assemble edit” is used in “edit to tape” with the in-point set to match the start of the sequence. Nails it everytime.
I was working on “All For Melissa” earlier this year with Scott, Vince, Gerard, Anne and the gang. Great bunch of people and a wonderful experience. It was the first time I’d ever worked on a feature-length film. It recently screened at the Hawaii Int’l Film Festival and is headed to a number of film festivals elsewhere.
Hope all’s well in Texas.
Aloha,
Dean Sensui — Imagination Media Hawaii
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Dustin…
If you’re not able to solve your problem let me know.
I’m able to do frame-accurate assemble and insert edits on a UVW-1800 and I’m using a Decklink SP card.
I’ve been doing this a lot for Scott Mason and Keala Lucero recently.
Aloha,
Dean Sensui — Imagination Media Hawaii
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I started working with Commotion long before I started working with After Effects and like the way it deals with roto work.
It has some great plug-ins, too!
I wish that it hadn’t been abandoned by Pinnacle!
Dean Sensui — Imagination Media Hawaii
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If you have After Effects you can rotoscope with that, too.
As Bill said, whatever software you choose, it’s still a tricky and time-consuming task. And the results can vary widely, depending on how you break down your image into component pieces, assign points, apply feathering values and so on.
Dean Sensui — Imagination Media Hawaii
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I used to pre-stripe tapes but that was in the bad old days of building a program with a million insert edits.
Now I do what Walter does. Write the first several seconds of tape to establish a starting time code, then assemble edit the program onto the tape.
Dean Sensui — Imagination Media Hawaii
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Great news, Barry. Thanks for the update.
As for the Firestore comparison it’s apples to oranges. With P2 cards there’s no waiting for it to power up; No additional batteries to worry about; it can’t be misconfigured; clips can be played back in the camera directly; there’s no cable to mess with; and if you drop it just pick it up and dust it off. Unless it fell out the open door on a helicopter or off a boat transom (yikes!).
Dean Sensui — Imagination Media Hawaii
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This guy claims to be putting together a serious production, but really now — pizza and chicken? What sort of half-hearted offer is this? It should be pizza and BEER.
Either this guy’s new to this country or he’s never been on a softball team.
Dean Sensui — Imagination Media Hawaii