[Kelly Griffin]

Ron, I think we call this a “wipe” (?)

You follow the edge of the door on the incoming scene with a mask and let it overtake the outgoing scene.

I don’t use AE, but Fusion does it marvelously easily. SVP can likely do it, too, but I find its masking tools cumbersome.

–KG

[Kelly Griffin]

Hey Mike, can you e-mail me privately please?

kelly@kgcreative.biz

(And, Steve, if the budget works for you I don’t care if you live in Hong Kong)

–KG

[Kelly Griffin]

Unless I’m misunderstanding what you’re asking, it seems to me that “downloading your silencer” doesn’t help you much (?)

Unless the weapon to which you need to attach it stays in profile for your whole clip(s), isn’t what you really need a 3D animator to follow the weapon around in the shot and add it that way?

–KG

[Kelly Griffin]

Hmm, okay, but that just seems peculiar.

Maybe there’s some advantage to NOT being able to use the same element in a different way on a different track, but it’s not occurring to me what that might be.

–KG

[Kelly Griffin]

Hey Raymond–

Just make a black bar graphic top and bottom and stick ‘er on the top video layer.

Boddaboom.

–KG

[Kelly Griffin]

Hey Gary–

Not to evade your question, but why not just rent a camera that resolves your concerns?

–Kelly

[Kelly Griffin]

Unless I’m missing something, how would you just “add it onto the end of the project” otherwise?

–KG

[Kelly Griffin]

Bruce,

I don’t know what “X.264” is, but I’ve found that every station here (Portland, OR) can take MOV/H264 just fine, even when they specify something else.

MP4s straight out of Vegas could work fine for you, too. You may just need to make a phone call.

And, yes, I think by “full mixed” they mean same audio on both channels.

–KG

[Kelly Griffin]

Hey Bruce,

Here are my answers to your questions, based on my experience in Portland, OR:

Tone: You should be able to find tone online. You’re looking for minus 20dB.

I’d consider Vegas’ master levels meter a “true” meter. You’ll want peak levels at minus 10bB.

I use volume envelopes, too. Also, John Rofrano was kind enough to set me up a long time ago with a nifty master preset, that keeps audio all tucked in to where it needs to be. I can send you that doc if you’d like to have it.

You should be fine just using the “Broadcast Colors” VideoFX. In twenty years I’ve never used a scope and have never had a spot rejected, so I wouldn’t sweat it too much.

For 16:9 stuff, I’d recommend you ask them their requirements for what they call “safe area”; some stations here letterbox to get their SD 4:3, others do a centercut (which I still find completely frustrating… wouldn’t want to actually be able to USE the widescreen format).

Hope this helps,

–Kelly

[Kelly Griffin]

I’d second that idea…