[Kevin]

Headed over to Event DV to check out the article. Many thanks for the pointer Nate.

Best

Kevin

[Kevin]

Thank you Vincent for this great feedback.

Wondering if there is a mac equivalent of On Location. It’s looks perfect for what I want to do.

Many thanks again,

Kevin

[Kevin]

Thanks Dennis,

Thanks for posting back. I can dim the greenscreen lights. Hopefully I can get a vectorscope going and see the specific reading of all areas of the set.

So I guess we light for indoor tungsten. I didn’t quite understand the logic of using daylight lighting on the subject.

Do you generally use flourecents on the screen?

Thanks again,

Kevin

[Kevin]

Hi John, many thanks for your feedback.

I did go the NP-1 route and love them. Much longer lasting, lighter than my old Bescors. Only thing is when they are ready to give up you don’t get a lot of notice, so I always try to have an xtra. But I do love them, their quicker charge time and also the ability to power up other peripherals from them on the road with an assortment of connectors.

Again many thanks for your feedback.

WArmest,

Kevin

[Kevin]

Thats specialcase for posting back. Awesome to hear from someone having success with a particular keyer. I’ll give it a shot. Can I ask two followup questions?

Do you round trip from FCP to motion with HD media imported from a P2 card?

Shooting greenscreen, I’m gathering 30 p progressive is an ideal mode as it removes any interlacing. Is there an optimal frame rate to avoid any motion blur. (I’m shooting dancers for an online interactive game).

Many thanks in advance for any illumination.

Best,

Kevin

[Kevin]

Hey Todd,

Many thanks for taking the time to post back with this great info.

I am using Panasonic DVX-100s powered by Panasonic longlife batteries.

Powering the camera for me hasn’t really been an issue. One battery will last almost a full day’s shooting so we always have plenty in our bag.

The issue I’m trying to thing through is powering on camera lighting.

I did take a look at the Anton Bauer system but frankly the bricks are way too heavy for us to carry around all day.

As I mentioned I have been using the smallest Bescor belt mounted batteries but we need about 4 ofthese per camera, so on a three camera shoot, that’s a lot of weight. Plus at ths juncture when a lot of batteries need to be replaced, I’d rather not reinvest in an older technology.

So – my latest thought is perhaps using a NP-1 style battery with a tap that adapts to my on camera frezzi lights. Probably not that much of a saving in terms of weight but I think the run times will be longer.

I currently have a NP-1 battery charger and system from an older camera (JVC-500) so I can quite cheaply put that into service to power the on camera lights.

I’m always on the lookout for a better (lighter/longerlasting) way of powering both ligghts and camera, so would welcome any suggestions for alternates I could take a look at.

Again many thanks for your feedback.

Warmest,

Kevin

[Kevin]

I have noticed that when I export as an AVI that I do get a 16:9 image. However when I export as a self contain QT from the same sequence, I get a 4:3 image. At least a partial workaround but I’m still curious if anyone might be able to tell me how I can get a 16:9 QT our of FCP?

Of further note, the 4:3 QT I get, when opened in Premiere (I know) that QT shows up as a 16:9 image also!

I’d b very grateful if anyone could shed some illumination on the subject.

Warmest,

Kevin

[Kevin]

Thank you so much for your prompt response. OK, I have resized in a sequence that is 4:3 with anamorphic checked and it looks good. Yet when I export I get a 4:3 movie.

Are there settings I need to change in the export to maintain the 16:9 image I’m viewing.

On another note might I have gone stepped through the sequence, matched back to the original footage and rebuilt the project that way to maintain my 16:9 image.

Again many thanks for your assistance. I hope I’m close.

Warmest,

Kevin

[Kevin]

Hi Tom,

Many thanks for this feedback. Looks like it’s tough to accomplish getting a thumnail storyboard with my workflow ie. cutting from whole chunks (hours) of media into the timeline. If it’s not possible to keep the order of the sequqnce when you make subclips in the browser then batch export doesn’t look like an option.

Thinking now more towards some automation like quickeys whick might have a recordable action to advance to the next clip, export a jpeg and on and on…

Other than that it might be a screengrab of each frame in the browser, but that’s not v ery time efficient at all.

I’ll post back what I come up with.

Surprised it’s hard to do this as I think i would be a a useful feature for editors to be able to see their cut visually on paper.

again many thanks Tom for you input.

Kevin

[Kevin]

Hey Tom,

Many thanks for posting back and for sharing this tip.

Some followup questions if I may?

I am cutting from hour long captured tapes – so if I create subclips by dragging all my clips from the timeline they are rearranged by parent media name – Tape A1 etc. Is there any way I can arrange the subclips I’ve created in the browser in the order they are in my timelinee?

Setting poster frames. Do I do this in the time line or in each newly created subclip in the browser?

Will batch export export the first frame of a subclip (presuming I have to be working in the browser to use batch export). This would be fine for my purposes and avoid having to set 100s of poster frames.

Again many thanks for sharing your knowledge.

Warmest,

Kevin