Pat Ford
Forum Replies Created
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Thank you, thank you, Mr. Geddes…I think that was the problem.
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cs3 on xp by the way
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Thanks…I may have done that…
It was suggested on the Adobe.com that one do a “match frame operation” This is done by positioning the CTI over the audio clip, then press M.
This worked on one of the two parts of the video which had dropped sound…the other had sound when reopened.
I don’t understand…but whatever.
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[Eric Jurgenson] “Click the little X on the sequence tab. This closes the sequence, but it remains in your project bin. You can reopen it by double clicking the particular sequence icon you want to open in the bin (list mode, not picon mode). You have to restart Premiere to actually clear out the memory.”
I’ll be darned if I can see the “little x” to which you are referring.
Any clues? Using CS3.
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Well said Craig, thanks.
In the future, if we do this job again, we need to have a production meeting regarding the stage set-up. We could avoid such things as:
1. Black background on the stage. The girls’ dresses were light or white…against a black ground with a spot. As my #1 camera guy said….”It’s like trying to shoot a supernova on stage!”
2. We tried to make the spots go away this year, but we were not successful. In my humble opinion, the spots add nothing to the stage presentation. The two huge screens to each side of the stage serve the purpose of highlighting the girls. I am not a stage lighting expert, but it seems to me that the use of the spots in a fairly brightly lit venue is well-nigh useless. In the old days, they were used to create dramatic pools of light in a dark hall. This ain’t happening here.
By the way…none of this means that we could not have done our job better. That is certainly true. This shoot is a huge job…set-up takes a significant amount of hours over two days. However, we need to have the cameras matched. We need to have a video production meeting for 15 minutes or so before the start of show.
By the way, I have used the term “girls” throughout our discussion. I do not mean any disrespect here…you would not catch me performing in front of several hundred people…let alone walking down a runway in high heels wearing a two piece bathing suit.
They are talented and brave people. Kinda cute too, if an old geezer can say that without fear of getting arrested!
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Gotcha! Thanks!
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Sorry for the lameness…what do you mean by close the sequence?
I will check out memory preference setting. Thanks
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We might just have a winner!!!
I guess I knew this about the gain control…but it had not occurred to me.
I had left set-up for the cameras to the last moment. And in the flurry of activity I may have missed the fact that the gain number was not showing up. I rarely, if ever, pump up the gain. I may not have noticed that the gain number was not showing…
Thanks Jason!! And thanks to all of you for your kind help. You’ve been most generous!!
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Craig,
Thanks so much for taking the time answer my post; you all have been generous with your time.
A saying I have is that with any major shoot you learn something new. This time it’s to be sure the cameras match.
I have done this shoot twice before and we have have no problem with the cameras matching. This time we had trouble. I still do not know why. I could not get camera 2 to white balance the same as the other camera. It looked washed out. We became aware of this in the minutes before the show. The flash video is early in the program when the difference is most obvious.
Since I last posted, I went back to my camera tech shop and presented him with a tape of the same video as appears on the web. He ran the video through a vector scope and a waveform monitor. In a nutshell, he said that the chrominance was not far off; the problem was mainly in the luminance. Like you, he suggested I use a ND filter. I have tried to color correct to overcome these problems and have succeeded in improving the situation somewhat.
….time passes….
Eureka…maybe…One of the moderators of this forum kindly called and suggested that I check out the data code on the camera tape…heretofore I have been running the tape of the director’s switcher output. So…I checked #2 camera. It appears early on that the iris was being rapidly moved to various settings as wide as 2. Also, the gain seems to be being messed with…it went as high as fifteen…the movement is so erratic that it is possible that it might be a camera malfunction.(?)In any case by the third and final tape the erratic iris movement has ceased; the camera is set at 5.6 and the gain at 6db. And, as I understand it, a setting of iris 5.6 and 6db gain would roughly equal an iris of 4 and 0 db on the other camera. The third tape on the #2 camera matches #1 fairly well.
Strangely the gain on the second tape on camera #2 is 15 db. There does not seems to be a noticeable amount of noise.
If the gain was the problem…and indications are that it is, it is unfortunately my fault. The camera guy did not notice it, but I was acting as a producer/production manager at this event. Furthermore, it’s my damn camera. If the gain was set incorrectly…it was almost certainly showing on the camera lcd screen. The camera guy did not see it nor did I. Seems crazy and unlikely but that’s the best explanation so far.
Anyway…it’s up to me to fix it. Thanks for your help.
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[John Fishback] “You can certainly color correct the tape. The challenge is how to handle dissolves. I’d blade the clip before the dissolve to the next cut or after the next dissolve. Then color correct that clip and add dissolves as necessary so the transition to color corrected footage is smooth. If the cameras are consistently off, you’ll be able to color correct one time and apply that to the rest of the clips to save time.
Gotcha. …the bid for the job is pretty tight…we’ll experiment. One complicating factor is that I am color blind…I hate that…would have to have my editor do the color correction and not me.
[John Fishback]
How a particular device handles video over 100% varies depends on how it’s set up. Most cameras can record over 100% and still not clip. AFAIK, zebras are simply indicators. They’re not a threshold over which clipping will occur. At least that’s the way all the cameras I’ve worked with operate.”I should add that the ire levels were checked on the software waveform monitor on Premiere Pro.