[Erik Pontius]

Has it already been shot? The best film look is achieve by lighting well, framing well and moving well during production.

Red Giant’s Magic Bullet software is popular.

Erik

[Erik Pontius]

I own a XL1s for my personal use…the quality is good but still not up to broadcast standards. The DVX100a looks better IMHO.
I work in the communications department for a major corporation. We deal with the broadcast media all the time and beta is still a pretty standard format for delivery…kind of a lowest common denominator with broadcast folks. A used betacam is probably a better bet for serious work…and used they are still upwards of $10k. You’ll need a betacam deck as well if you don’t already have one, since at least the Sony betacam cameras will not playback tape through video outs (only the viewfinder).

ENG DVcam is becoming popular too and broadcast folks are more likely to accept DVcam over DV tapes.
HD is something to think about, though not too many folks are equipped to accept it and you’ll end up bumping it down to beta, digi, etc…

erik

[Erik Pontius]

Costing $1k to get it replaced.

[Erik Pontius]

Thanks. That’s very helpful. I’m trying to get a timeline down. I’m just trying to narrow things down….make sure I wasn’t still using the avid with the dongle missing. My dongle has mysterious walked from a “secure” badge/key access only studio in a large corporate building last night or this morning. I know I was using the avid actively until I left last night at 10:30 when I finished outputting a project to beta. And my system was shut off (I left it up and avid running last night) this morning and the dongle gone when I arrived at 9:30am.
Oddly enough they only took the dongle…which was on the back of the workstation underneath a desk with loads of crap around it and not the flat panels, betacams, notebooks or any number of other high $ crap we have laying around….Most likely an inside job with our security folks.

Is there any log files that might indicate when the dongle was removed.

Thanks,

Erik

[Erik Pontius]

The guys at Synthetic Aperture wrote a white paper on it.
https://www.synthetic-ap.com/tips/index.html

Click on the “Calibrating Video Monitors” link under the “Digital Video” section for a PDF.

[Erik Pontius]

Oddly enough…I found this in the AE help file:

Proxy

Most often a lower-resolution or still version of existing footage used to replace the original to save processing time. Use a proxy when you have the actual footage but you want to speed up previewing or rendering of test movies. You must have a file available to use as a proxy.

Using either method, any attributes and keyframes you apply to the placeholder or proxy are transferred to the actual footage when you insert it. You can even set a proxy for a placeholder, so that you use a low-resolution or still version of full-resolution footage that is not yet available. (See Working with missing source footage and Substituting a low-resolution proxy for footage.)

If final footage is unavailable, and you simply want to substitute draft footage or a storyboard still image, you can import the draft footage and replace it with final footage later.

[Erik Pontius]

Any reason why you can create 5 text layers, one character per layer. Flip the 3d switch for all of them and rotate them all with keyframes?
like this: http://www.burningfromice.com/video/ae/five.wmv

Erik

[Erik Pontius]

I just did this exact same thing for a show. Moved a camera in 3d through a maze of video walls, to end with the title. I don’t know of any
You’ll want to set up a workspace where you have an Active camera window, a Top view window and a Right view window…this will make it easier to navigate around in the 3d space (also keep the “H” and “V” keys handy to switch between the hand tool, needed for moving the view around in the windows and to manipulate keyframes and object, respectively. Create a white (or color of your choice) 2d solid to act as a cyc (2d objects are not affected by cameras). Then start simple…enable the starting keyframes for the camera and point of interest, then move towards the end of your comp where you are going to end up, move the camera into place to set ending keyframes. Loosely drop in your videos (in my case I created separate comps for each of my videos, using a mask and the stroke effect to frame the videos). Then start at the beginning of the comp, moving the camera and point of interst to the major turns. Use “continuous bezier” for the keyframe interpolation. Smooth out the turns by adjusting the bezier handles and the position of the keyframes in the windows, and in time on the timeline.
Trish & Chris Meyer’s book “Creating Motion Graphics with After Effects vol.1” has a good chapter tutorial on 3d camera movement.

[Erik Pontius]

I’ve used a combination of utilities to accomplish this. I use DVD Decrypter to extract the VOB files from the DVD, then Canopus Procoder 2.0 to convert the VOB to AVI. Procoder is intelligent enough to recognize pulldown. You’ll also need DVD player software with dolby digital in order for Procoder to be able to read the AC3 stream(s) properly.
Import the AVI’s into Premiere.

Erik

[Erik Pontius]

NTSC video is 29.97, often refered to as 30fps. 23.976 is 24p, which is the way 24p cameras such as the Panasonic DVX-100 can record. 24p gets complicated because the camera is actually recording 29.97 to DV tape, in order to do this it uses method called “pulldown” to make up the extra frames. Premiere Pro is able to recognize this pulldown, discard the extra frames to get back to the original 24 frames, so that you can edit in 24fps.
For an explanation of drop frame and non-drop frame check out:
https://en.wikipedia.org/wiki/SMPTE_time_code
https://www.csif.org/html/dropframe.html

For a detailed technical explanation of 24p check out:
https://www.adamwilt.com/24p/index.html