[Del Holford]

I looked more closely at the video and saw things I never saw the first time. Going full screen helps but YouTube is terrible as far as resolution. There are obviously numerous layers composited in the sequence and transparency with each key and probably some blurring of the matte could help realize the effect. Careful planning of the shoot would be very important. The clothing they are wearing helps create the effect you see as well. This is not a definitive answer, just impressions. If you could get a better version to analyze it might be easier to emulate the effect.

Del
fire*, smoke*, photoshopCS3
Charlotte Public Television
del underscore edits at wtvi dot org

[Del Holford]

The Ohio State Police used to make all the gory driver’s education movies. They probably have available footage.

Del
fire*, smoke*, photoshopCS3
Charlotte Public Television
del underscore edits at wtvi dot org

[Del Holford]

While Kevin may be correct, you might try posting in Audio Professionals forum as they have more knowledge of filters and plug-ins that might help.

Del
fire*, smoke*, photoshopCS3
Charlotte Public Television
del underscore edits at wtvi dot org

[Del Holford]

Actually the ghost never goes away but the camera cuts. This is cheating but effective. By compositing the “ghost” over the background and using a garbage mask on the ghost, you could vary the opacity of the unmasked and masked parts and use blur on the masked part (the right edge in the video for example) so that as blur increases, opacity decreases. This is my quick version of how I’d do what I saw. HTH

Del
fire*, smoke*, photoshopCS3
Charlotte Public Television
del underscore edits at wtvi dot org

[Del Holford]

Thanks Chris and all.

Life goes on….

Del

Del
fire*, smoke*, photoshopCS3
Charlotte Public Television
del underscore edits at wtvi dot org

[Del Holford]

Richard is so right (still, again). BTOW can be a real lifesaver. If they don’t have one, I never hesitate to call the client and ask for an eps file. Rarely do they refuse my request, though sometimes I have to explain exactly what I’m using it for.

Del
fire*, smoke*, photoshopCS3
Charlotte Public Television
del underscore edits at wtvi dot org

[Del Holford]

There are still some things that are best done manually and moving an image from camera to CS3 is one of them. One of the reasons for that is so you choose whether you want jpeg, tif, RAW or whatever format to be moved. With a Nikon camera it sometimes works better to use the RAW adjustments before sending it on to PS. You could set up an action to help you pull photos from the camera and save them, but you’d still have to make sure the camera was there to pull from and you’d still have to hit the start button on the action to proceed.

Del
fire*, smoke*, photoshopCS3
Charlotte Public Television
del underscore edits at wtvi dot org

[Del Holford]

I probably would be one of those mentor types, but occasionally a piece comes in that just cries out for breaking the rules. The story is best told by jarring the viewer into a realization of the message and do that is a lot of fun.

On the other hand, subtlety still has a lot going for it. Sometimes the touch of a hand on someone’s arm conveys the story or letting the talking head make a poignant pause before moving on adds emotion to a piece. That’s why editing is such a great craft – we get to use whatever tools and methods we like to create whatever mood is dictated.

Del
fire*, smoke*, photoshopCS3
Charlotte Public Television
del underscore edits at wtvi dot org

[Del Holford]

thanks Rich
Chris’ post was very helpful in other ways but you nailed it in regard to the fact that HD rendering is so much longer. With our systems, which are 6 years old SGI computers, SD renders in seconds, while even a mild color correction or x-y axis move in HD takes at least 3 minutes. I think the accumulation of these times is what is hurting us. The independent producers who come in and edit have no experience in long form HD processes are therefore frustrated by that accumulation of render times that are necessary to see the timeline play out. Often, after seeing the rendered clip, corrections must be made and you have to render it over again. The good thing about sending to QT for FTP or the web is that we can do it as we leave at night. Having a producer patient enough to sit through the HD editing process is becoming a sticky wicket.

Del
fire*, smoke*, photoshopCS3
Charlotte Public Television
del underscore edits at wtvi dot org

[Del Holford]

Thanks Chris (now that I know your other name)
I’ve read your posts here for years. Glad you guys were able to get “enough” storage. That’s a severe limitation here. How long do you think the project as described with the storage available, would take from script delivery to finished off-line for each seg? How long for the on-line (from re-digitizing to playout (each seg and finished program)?

I’ll look closely at Stage Tools and working in 16×9 for off-line never occurred to me. That’s a great move. Thanks.

Del
fire*, smoke*, photoshopCS3
Charlotte Public Television
del underscore edits at wtvi dot org