[Mark Frazier]

Congrats on the impending family addition! Your true education is about to begin.

Maybe Ron could add a “Feeding and Diaper Changing” forum? Should we call it “Sights and Smells”?

Best of wishes to you and your wife. The grazers look forward to reading more in the future.

[Mark Frazier]

If I understand you correctly, the video remains the same but change ONLY the titles of people speaking on camera. If this is the case, build your timeline for “Monday” with appropriate titles. When it’s approved, copy the entire program into a second timeline, label it “Tuesday”, and change the titles on the talking heads. Copy the whole program into a third timeline, label it “Wednesday”, change the titles, and do this as many times as you have need for.

If at all possible, provide the client with each day’s program on a separate disc/tape, clearly labeled with what day it is to be played. Then all they have to do is put the right disc/tape in on the right day and all is well.

Hope this helps.

Mark

[Mark Frazier]

The plasma screen is going to be more of a daylight color balance. Check that by setting your camera to an outdoor filter and using the white balance preset.

See if there is an adjustment on the plasma screen itself to change the color temp to 3200 degrees. If not, you can color-correct your set lights to 5600 degrees. If you use gels to color-correct tungsten lights, you will be losing some intensity, so you will also need to crank down the luma on the plasmas.

Good luck!

[Mark Frazier]

Ditto for “O Brother”. If you liked the music in the movie, you’ll sit through the credits just to get a little more.

[Mark Frazier]

Here’s an interesting trick I learned at a Photoshop seminar:

If you need to enlarge your video freeze (after following Floh’s advice), use your “image size” function and set to 110%. (By increasing your image by that small amount, Photoshop will “fix” the pixels, and it won’t appear “blocky”.) Repeat until it’s whatever size you need. Or better yet, set a function key to do the action to speed up the process.

I didn’t believe it, either, until I got back to the office and tried it.

Enjoy.

Mark

[Mark Frazier]

I use Boris Red, which combines attributes of FX & Graffiti, so I hope you can apply this info to your application.

Primarily, I have used After Effects to render the DJ files to M100 codec, then import that file into a M100 bin to use in a program. If you don’t have AE, and if Juicer can render to QuickTime, you could then import the QT file into M100 (I know…. fewer steps would be better.)

Put the DJ file in a M100 video track, if it needs to be looped. Butt it nose to tail for as long as you need it. Just check to make sure there’s no glitch at the edit points. (I’ve had a couple that had an “extra” frame that made the loop point jump a bit.) Build your graphics track on top of that, but instead of just using the background track as your video underlay, create a new track and assign the video track as its media type. Then you can manipulate the size, shape, color, etc. all you want.

If the animation’s longer than the graphic file, you can just assign a Boris track to the Movie File media type, and select whatever DJ file you want. You should be able to manipulate that track as well.

Hope this helps. Good luck.

Mark

[Mark Frazier]

In the DVEs effects, there is a QuickTime Effects option. Choose that, and click the Custom Settings button, twirl down the Special Effects triangle and select the Film Noise option. In that, you can adjust the hairs, scratches, dust, etc.

I hope this message reaches you in time……

Have fun with it!

[Mark Frazier]

It appears that you found the answers to your initial concerns – going right to the biggest dog that has a pass/no pass vote. Congrats on pulling it off!

I have to concur with the previous posts on how to work past the incompetent “helpers” who want to “assist” you in the direction of the project. When I have those “helpers”, I let them know that if they bring me footage, pictures, whatever, I will do my best to incorporate them into the finished piece – providing the components actually contribute to the story I’m trying to tell. (Asking them to actually do some legwork to get me physical materials usually shuts up about 90% of them.) If they feel the need to be a contributor, make them part of your team. That, of course, means having to do some work. (Of course, being VERY diplomatic in the approach helps to ensure employment longevity, as well as sets a precedent for future projects.)

In the end, telling the story that the “big dog” wants to hear is the primary goal. All other “contributors” must work within those parameters. HOW we tell the story is what separates each of us from the other producers – and makes for a lot more latitude in our production and edit decisions.

I hope you can now take time to relax a bit. These projects are always stressful, but when you get a room full of emotions when it’s shown, the chaos almost seems tolerable. Like Mark Suszko referenced, I have to also remember that even with all of the frustrations this career brings with it, I could be doing work that is MUCH less rewarding.

Once again, congrats on a successful production!

[Mark Frazier]

This will get you there, or at least close….. this info is a couple of years old, but may still be valid.

Mark Greenhouse
NASCAR Images
4205-K Stuart Andrew Blvd
Charlotte, NC 28217
704.943.4329 (office)
704.201.3029 (cell)
mgreenhouse@nascarimages.com

Be prepared to put the crowbar REAL deep into your wallet.

Hope this helps.

Mark

[Mark Frazier]

I’ve had similar issues, primarily with moving text. In your preferences, under the Local Projects tab, check the box for 1:2:1 Deflickering and see if that helps. Unfortunately, this will not remain the default setting (even though the box says that it will), so you will have to do this with each new project.

Hope this helps, and hope it’s not too late.

Mark