Erik Pontius
Forum Replies Created
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The didn’t give you any feedback as to what was wrong specifically?
You might try and download the trial of Gear Software’s Gear Pro Mastering software. It will allow you to restore the files from the DLT. You won’t be able to do much with the files, but it will give you an idea as it if there are data errors on the tape.Erik
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There many ways this could be done….just be creative.
If you know someone that can do a lifecasting of your talent to create a mold of their head, then create a fake head you could fill with all kinds of chum.
Or another way is to place a mask (could a store bought mask…) over a melon filled with various squishy things (a Troma favorite method).Then on set shoot a couple of passes with a locked down camera. Once with talent lying on the ground, then another with the head and the car running it over in the same spot. Then composite things together, or just do quick cuts in the edit. Most sfx are so quick, you can really get away with a lot.
Erik
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You’ll probably have better luck connecting the camera to the system via firewire rather than USB. Firewire is the traditional way of transferring DV video and device control.
Erik
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the “analog” reference in your manual is not refering necessarily to the actual device…but rather the video output type. Your camera is a “digital” camera, however, s-video is an analog video type (versus firewire which IS digital).
Your capture card software and drivers would need to be written in such a way that windows and premiere recognize it as a video capture device. Some capture card drivers and software are proprietary and will only work with the software that came with the card.
If the capture card drivers and software are written properly, Premiere should be able to see the device as a capture device and it can be configured in premiere using the menu option Project>Project settings>capture
Analog brings with it a whole host of other problems that firewire doesn’t, including video quality loss.
My advice would be to either get the camera’s firewire port fixed (not cheap), buy a replacement camera (many people with expesive cameras will purchase very inexpensive DV cameras to use as a deck to save wear and tear on their good cameras), or purchase or rent a DV deck, decks are designed specifically for heavy shuttling through tape (where as the transports on cameras are designed more for casual use and playback).Erik
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MPEG is what DVD is. Any assets you import into encore (or other apps) and transcode will end up as MPEG files.
I tend to do all my transcoding outside of Encore, using procoder so that I can control and tweak various aspects of the encoding…I’ll create “elementary” mpeg streams (separate files for video and audio) and import them into Encore. -
I’ve edited a couple of short files using PP as a NLE and then Audition to mix/sweeten the audio.
During my edit I’ll create several audio tracks usually at least one dialog track, and FX track and a music track. When the edit is locked where no other edits will be made, I output an AVI file and separate wav files for each of the audio tracks (disable all the outputs except for one, then export audio, then repeat with the next track). I then have an AVI video file and several wav files that only contain specific things (dialog, effects, music). I’ll then open audition and switch to the multi-track tab, import my AVI file (just the video) and all the separate wav audio files. I then place each of the files in the multi-track, making sure to place the start of each wav at the beginning of the track. Audition has a video window synced to the track where you can watch the video as you mix and add more effects and such. When all of it is done, output a mixed stereo track from audition and import it back into Premiere…turn off all the audio tracks and place the new mixed wav on a new track (being careful to make sure that it starts at the beginning). Then output the whole thing back to tape, MPEG or AVI…Erik
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Avid seems to be very slow to evolve. Probably comes from alpha dog mentality, since they were on top for so long before the new breed of NLE’s came along and perhaps don’t recognize the new guys as a threat to their market share.
Went to a panel on editing at a film conference a year ago. On stage were about 10 editors with various years of experience ranging from first feature to 40+ years of film editing. None of them edited actual film anymore (steenbeck, Moviola, etc..), some had edited with Avid in the past, and all were currently editing with FCP.
Overall, an NLE is just a tool to accomplish a specific task…and being well versed in the serious players will help to select the right one for the job…often there are other factors involve such as budget (FCP at >$1k versus Avid at <$1k+), interoperability with other facets of post, etc.... Erik -
[David Willis] “hmmmm….yet one more reason to use FCP: no dongle.”
Oh, FCP has a dongle, Apple just calls it a G5.
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You’ll need to export it using the correct pixel aspect ratio (ntsc 16×9 has a 1.2 par.) This creates a 720×480 image with the entire 16×9 image squished into it. When the MPEG’s are made for the DVD, the flag for 16×9 will need to be set to indicate to the DVD player that the video is 16×9…the player then figures out what it should do based on it’s settings…add black bars to letterbox the 16×9 or unsquish it to fill a 16×9 set.
Erik
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I had a co-worker check with her own personal avid…it didn’t complain when the dongle was pulled…allowed her to mess around with bins…but attempting to do any edits caused the “no valid dongle” message and closed the software.
I just wanted to make sure that I hadn’t been using the system with it gone…say if someone slipped in a swiped it while I went to the can and left the door open.
We pulled the logs from the badge reader and there were only 3 people in between 5pm and 9am (and all are adversly affected by its disappearance). So someone jimmied the lock or used a key –off the grid so to speak.