Marc Rolph
Forum Replies Created
-
I’m using a 1082 with a Kona 2 without issues. So, I know it does work. All transport buttons work, and the shuttle button works.
Marc Rolph
Producer/Director
Mississippi State University“If you chase two rabbits, both will get away.”
-
I’m using mine with a Kona 2, and I haven’t had any problems yet. I haven’t delved into the guts of using the control surface yet, but so far all the shuttle/jog controls work fine, as well as the fader bars.
Marc Rolph
Producer/Director
Mississippi State University“If you chase two rabbits, both will get away.”
-
I agree with Walter (per usual.) My Panasonic plasma just about rightly matches my Sony broadcast monitor. But, I don’t really turn the plasma on except at the end of a long edit session to see the progress I’ve made, or when I’m showing the final product to the client.
We’re still in the stage of the big monitors, plasma and/or LCD, are for pomp and circumstance. Getting a traditional CRT broadcast monitor, now multi-format, to do your editing on should be everyone’s choice.
Marc Rolph
Producer/Director
Mississippi State University“If you chase two rabbits, both will get away.”
-
As somebody who just purchased and mounted a Panasonic Plasma in my editing suite…I’d have to say it’s not made for editing. There are all kinds of reasons, but I’d say mostly it’s not always color accurate and plasma’s do suffer from burn in, which could be an issue while editing. Get the Sony CRT while you can, you won’t be dissapointed. Then, when money is available, add the Plasma for other people. Think of yourself and your work first.
Marc Rolph
Producer/Director
Mississippi State University“If you chase two rabbits, both will get away.”
-
We use the IOla hooked up to a Beta deck for in and out. I edit using a Kona 2 card. So, I digitize using the IOla with either DV or Uncompressed 8-bit coded, then the IOla sits dormant while I edit and monitor video and audio using the Kona 2 with the K-box. Works great. We’ve got the Kona 2 for our DVCPro50 gear that will be arriving in a little over a month, and gives us an HD upgrade pathway.
I haven’t used it, but if I had to do it all over again…I think I’d go with the Kona LH. One stop shop.
Marc Rolph
Producer/Director
Mississippi State University“If you chase two rabbits, both will get away.”
-
Comp time? What’s that? We don’t get any comp time, we’re classified at Professional Staff…exempt from overtime and comp time. Plus, and here’s the kicker, I and the rest of my cohorts also work athletics on top of our usual duties.
Marc Rolph
Producer/Director
Mississippi State University“If you chase two rabbits, both will get away.”
-
A couple of years ago, I did a 125th anniversary video for us. Send me an email, mrolph@utc.msstate.edu, and I can help you out on this. It’s quite an undertaking, because the college/university system has such a broad scope. You have to be careful to not leave anybody out.
Marc Rolph
Producer/Director
Mississippi State University“If you chase two rabbits, both will get away.”
-
Yea, that’s what I meant by acceptable…for clients watching their SD stuff on. I’ll have a PVM14L5/1 for CC.
The 37″ looks like what I’ll go with.
Marc Rolph
Producer/Director
Mississippi State University“If you chase two rabbits, both will get away.”
-
I dont’ think I would consider a window background with trees boring. That’s better than a blank wall, or maybe better than a bunch of books.
This shot will all be determined by the sunlight outside, and what kind of lights you are using inside. It would be best if you could use HMI, and match the lighting indoors with the sunlight outside. This would give you the best background. If you could time your shoots to when the tree is being backlit or sidelit, that would look nice, plus would give you some seperation with your subject.
Of course changing the angles of each interview would be important, so that they don’t all look the same.
Another quickfix would be to set up some sort of background, and attach it to the wall over the window. Then you could throw different lights on the background, maybe a colored sheet, that would give you an infinite amount of possibilities.
Marc Rolph
Producer/Director
Mississippi State University“If you chase two rabbits, both will get away.”
-
A good lighting company will take into consideration that the event is being shot on video when setting up their scheme. Your filter would only be determined by what kind of lights they are using.
Sounds like you need to talk to the project manager for the lighting company, and request that subject lighting gets a little more attention. Sometimes, and I’m as much a culprit as anyone, lighting is done for asthetics before it’s done for practicallity. But, it might look good to the eye, but if that camera isn’t getting good levels…it won’t look good on video.
If they are trying to blow out your background…it’s gonna be hard for you to get a nice even shot.
Marc Rolph
Producer/Director
Mississippi State University“If you chase two rabbits, both will get away.”