[Mark Frazier]

Here’s how I got it to work:

Each column is a layer of text in it’s own title container. Justify the text in the text window (left justify for the right column; right justify for the left column) and position the X-axis of each CONTAINER to where you like it.

If you adjust the Y-axis settings, remember to set both containers to the same values so they will roll at the same speed.

Give it a try, and if you come up with a more expeditious method, let us know.

[Mark Frazier]

Is it possible that the RED layer you are importing the movie file into has an improper setting? (i.e. transparency or scale set to 0, etc.) Have you tried making a new layer and importing the movie file into that layer?

I have had similar issues with RED, and had to save the project, close it, and then relaunch it to get it working properly. Don’t know why, just know that it worked.

Good luck!

Mark

[Mark Frazier]

You might check the preferences in the program you’re using to move the picture. I have used Boris Red to move pictures, and there is a “deflicker” setting the preferences that needs to be turned on (unfortunately, it can’t be set as a “default”…. yet) to keep fine detail from flickering.

If that doesn’t work, try a VERY slight blur effect to reduce the fine detail and see if that helps.

[Mark Frazier]

Lots and lots of good advice in this thread! I wish I had this information a dozen years ago.

If you’ll pardon my cynical generalization of your potential client, remember that spending many years at a university has the potential to inflate one’s ego while diminishing the understanding of producing a profit in the business (what we know as the REAL) world. Clearly written, signed contracts are your friend.

If you MUST provide a price for a given time frame of “unlimited editing”, make sure it’s enough to live on with no other jobs during that time. But I’m not sure I’d get out of the electric chair for a client with a request like this.

Good luck dealing with the ONE check-writing “gatekeeper” who agrees to prompt progress payments, and your sanity will remain yours.

[Mark Frazier]

Tom,

Just after sunrise and just before sunset, you will have your sunlight coming in at a very shallow angle, but your color balance will also be a bit more amber. Depending on cloud conditions, relationship of sun to subject, the look you want, etc., those half-hour to 45-minute segments may or may not be good for you.

If you don’t have the budget to override strong shadows, you may want to plan a long meal/planning break for when the sun gets almost directly overhead (10:30-11:00) and plan to continue shooting a few hours later.

Whether you choose to shoot in the morning or afternoon hours may also depend on the relationship of coastline and sun, and if you plan on having the water behind them at all times, etc. etc. etc.

Good luck!
Mark

[Mark Frazier]

Mike,

I’ve been shooting BetaSP for many years, and to get a less “video” look, I have lowered the detail level on my camera. (For reference, my camera has 1/2″ chips and I’ve got the detail set to -07.) There’s a noticeable difference between the video I have shot since I did this and the video I shot before I lowered the detail.

I’m not personally familiar with the DSR-400, but I would assume (knowing what happens when you assume anything) that you have a menu that lets you change many attributes. Another setting you can manipulate is the black level up or down a few points, but that will depend on the lighting situation you’re in for any given scene. Having a good field monitor will save you having to “fix it in post”.

If you use filters when you shoot, you may want to check out the Tiffen Black Pro Mist filters. The lower density filters will get you closer to a “film” look without too much diffusion.

Of course, if you have the flexibility to shoot a few scenes multiple times, using different filters and/or camera settings, you’ll get a better idea what works best for your camera and personal tastes.

Have fun experimenting!

Mark

[Mark Frazier]

One possibility is to choose the frame that has the most “facial clarity”, export a freeze of that frame to Photoshop, and enlarge it incrementally by choosing “Image”; “Image Size”; choose “Percent” in the top pulldown selections, set it to 110% and hit OK. ( By enlarging it by only 10%, it will “fix” the pixelation issue.) Then repeat as many times as it takes to get it to the size you need. Set one of your function keys to make this a saved action, and you can do this very quickly. Needless to say, you won’t be able to do this with moving video, but maybe you can get an ID from the still shot.

Keep in mind, you can’t get much worse than VHS for image clarity, so don’t expect miracles.

Good luck!
Mark

[Mark Frazier]

I wouldn’t let photographer ego get in your way of any checklist. Even the most experienced pilots use a checklist each and every time they get in their plane, be it a Piper Cub or a 767. That way, they have less of a chance of ending up in a smoking hole in the ground.

And I agree that the photog and editor need to get together before the shoot, but the photog also needs to spend time in the edit bay as the project comes together to see what he missed, could have done better, or what can and can’t be “fixed in post”.

[Mark Frazier]

I have to agree that the edit goes where it “feels” right. As a general rule, I use the waveform to see right where the”plosive” is and put my cut one frame before that. For me, that 1/30th of a second gives the edit a sharper look.

[Mark Frazier]

Can you define what you mean by a “thick” PSD image? When I have a masked photo (with multiple layers, not flattened) from Photoshop, it has always imported into Boris as a “Still Image File” with the mask intact, and I could manipulate it from there.