Jon Zanone
Forum Replies Created
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How about us ‘southerners’? I’m in Colorado Springs – I’d be interested. It’d be nice to play hooky from work for a day!
Jon
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The hard way is to create a travelling matte, create two layers and correct each layer individually. You could use Avid, or AE, or something like that.
Another way would be to use the curves section of the CC and bring up your black levels , and bring the white levels down a bit(paying attention to your waveform and vectorscopes, of course) and see what you get.
The easy way would be to reshoot you footage.
The thing to remember is they’re just tools. Everything has limitations on what you can and can’t do.
Jon
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Try doing a mixdown of your audio(make sure you select stereo). Boost the audio level on the mixdown (I like using the audiosuite’s compression). Highlight only the mixdown and video tracks and export the higher level audio tracks. That way, you’ve got your normal level for output to tape, and a higher level for export.
Or, you could normalize your audio in Sorenson to -1db….
Jon
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[Paul Carlin] “a VTR is a dynamic spinning ball of balistic unsteadiness”
That’s hilarious! Kinda’ describes my mornings…
Jon
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I don’t know that it necessarily ‘converts’ the signal to SVideo – after all, SVideo IS a form of component video. There was an explanation here when mojo came out, and I don’t remember the details (I’ve slept since then), but the bottom line was the yellow cable carried an important part of the signal and as a whole, it’s truly is component.
I do think Avid marketing missed the boat by insisting on consumer level connections to the mojo. They’d sell a boatload of Mojo’s if they’d add BNC and XLR connectors. How about SDI? Be still my beating heart….
Jon
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Go to http://www.avid.com – they have a complete list of approved hardware greatly simplifying your efforts.
Jon
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Have you (or an engineer) set up the system? Meaning, set output levels, input levels, checked the waveform monitor to make sure it’s calibrated? Are you monitoring your output signal (SDI or component) or a composite signal? Is everything terminated correctly? There’s a really good book from Tektronix about NTSC monitoring basics. I’d suggest you go there (you have to register) and get the book (it’s a PDF file).
We are going through the same thing. I haven’t cracked the code yet, but I’m getting close. We input and output SDI and compnent to a Meridan system, but monitor the composite output of the Meridian box. If I look at the composite out or our DVC Pro deck, it’s horrible – hot video, super blacks. If I look at the output tool of the scopes, or monitor the CV output of the deck or the Avid, everything is fine. To try and fix the problem, we are investing in a SDI/Component WFM/V-scope. That way we can monitor the specific signal coming from and going to tape.
Unfortunately, there is no ‘make not suck’ button to correct this. It truly takes someone with an engineering background and knowledge of which breed of chicken to sacrifice to get it right.
Not much in the way of specific answers, but I hope this helped!
Jon
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http://www.avid.com (https://www.avid.com/onlineSupport/browse.asp?productID=97&topicID=303&browse=) has all the specs for a well oiled machine….
Jon
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There is a complete list of approved hardware at avid’s website. Buy only approved hardware, or you will have issues not easily resolved. Better yet, go through a reseller and save yourself a lot of hassle….
Jon
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I guess the first question I should have asked was what is your system? Avid is notorius for over promising and under delivering in the mpeg department, IMHO. The best success I’ve had is exporting a QT and compressing it with a 2d party program (Sorenson / Procoder / Cleaner). As long as you are running an Avid-approved system, there should be no conflicts.
Jon