[Pat Ford]

Thanks, John, I appreciate it.

We will be editing on Premiere Pro CS3 if I do it…Final Cut if my editor does it.

The edited length of the final cut will be very roughly two hours. We had a deck capturing the output of the director as he chose the camera signal to send to the two large screens to either side of the stage. Ideally, we would just make corrections in that tape and burn a DVD. If we have to color correct it may greatly increase the time to do the edit. With that said…the director was favoring #1 camera.

The cameras were both Sony PD 150s. They have 70/100 zebra settings.

Another thing which I don’t understand..I notice that overlimit ire setting would blow out the image…on my waveform monitor…there is much of the footage from #1 camera is overlimit but still looks good…has good color saturation etc.

I realize I am all over the board here…I appreciate the advice given….

[Pat Ford]

Thank you sir.

The cameras were not matched before shooting as you suggest. We have shot this job two times with the same cameras before without this problem. I know that’s no excuse; in the future I will certainly do it in the future.

As I think I mention, #2 camera would not white balance to match #1. #2 seemed to be washed out in comparison. We tried it with and without warm cards to no avail. At the beginning the iris on both cameras were at 4; I stopped down to 5.6 to no avail…then I just flipped it to automatic…that seemed best.

The main reason I posted here is to discover if the fact that the spot beside #2 was at close to the angle of the camera on the contestants. Whereas the spots struck the contestants more obliquely for camera #1….hope I made sense. Thanks again.

[Pat Ford]

I don’t think so…the important from Final Cut was in place at the time of the presentation…the other way was forthcoming. Peter above mentioned that he saw something about it as well.

[Pat Ford]

Thanks Peter…yours is the first post out of 10 or so I have had here or elsewhere that actually answered my question. I infer that Apple is dragging its feet on cooperation. That would not be surprising since development on Premiere Pro and other tools has moved ahead while Apple seems to be concentrating on gadgets and not on Final Cut.

I have used an edl to export to Final Cut. Unfortunately, it is very limited. When it works, the cuts pop up on the Final Cut timeline. More often though, you have to laboriously assemble the cuts manually.
And it works with cuts only…no transitions, titles, opacity…nothing.

One can export using AAF, automated authoring format, that seems to be somewhat more versatile. Never used it myself though.

Thanks again.

[Pat Ford]

two months and counting for me.

[Pat Ford]

Thanks, I’ll check it out.

[Pat Ford]

Are you sure that your motherboard is an Asus PN5E? Can’t find it on Newegg and only a few mentions on Google. Makes me think those are mistaken. Is this the right model?

[Pat Ford]

Ok, Ann that’s interesting. Has the 64 bit been much of an advantage? I have some older programs; I am concerned that they won’t run.

[Pat Ford]

Don’t know how to answer this. But it is certainly not that most work is web stuff.

I am guessing the activity is somewhere in the middle. Others with more comparative knowledge might put in an oar.

[Pat Ford]

I asked this question some time ago…there is a Cow tutorial using the caustic effect….not real simple as I recall.