Ralph Keyser
Forum Replies Created
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Another option would be to capture just the audio off of the DV tape and match that up with the original animation. Another format would be better, of course, since miniDV level equipment is not famous for high quality audio.
Given that this sounds like an after-the-fact addon, however, maybe you should just capture the DV stream and plop it on the DVD. For capturing, any camera with a Firewire out will do just fine. The 3-chip stuff only matters for shooting.
Ralph
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That effect is simple in a full 3D package like Lightwave, so that would be my first choice.
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So, heading back towards Jan’s original question, here are some topics I’d like to see at a Mini-VariCamp:
Format overview – review all of the multiple formats and their strengths
Gamma/Cine-Gamma control – features and examples of achiving different looks
Checklists – prior to shooting, what do you absolutely need to have set on the HVX-200?
Lighting – limitations of the HVX-200, and how do you adjust lighting for the best image
Sound – what setting/configurations are best to optimize sound on the HVX-200
Variable Framerate – tips and tricks
Workflows – P2, Firestore, direct to laptop, etc.plus the usual sorts of things like a camera and menu overview.
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What kind of compatibility problems are you talking about? I know of folks using Premiere Pro, Avid, and Final Cut with the XL2.
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Pitch shifting is a must. You might also play with a low-pass filter to cut off the higher freqencies in the voice. And since you don’t have to worry about lip-sync in this case, you can also play with pacing modifications.
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The Main Concept guys do have a plug-in that permits native editing of MPEG in Premiere. If you plan on doing a lot of this type of work, it might be worth a look.
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I’m always playing catch-up on message boards. How big is the Rifa light in your kit? My experience with the 1K Rifas has been pretty good. A medium sized soft source with a little more reach than a 1K instrument behind a Chimera. Once again, it depends on the blocking and setup.
While I’m about it, I’ll throw in a plug for renting gear. Renting lights, especially tungsten instruments, is really pretty cheap, and most places will work with you even if you only need one or two for a shoot. A great way to have what you need for a shoot even if you don’t own them.
Ralph Keyser
Albuquerque, NM -
There are several different routes to get a monitor signal, though all the ones I know about require some hardware. Basically you need a Digital to Analog converter to go from Firewire to an NTSC or PAL signal for the monitor. You can do that externally with a dedicated box (Canopus, Laird, many others) or even a DV camera if budgets are tight. Or you can look for a display card that provides an analog signal out. I’m using a Matrox Parhelia card for that at the moment. It uses a plug-in for Premiere, AE, and Lightwave, so you get the right display when you want it.
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Basically it depends on the project. Both features are doing the same thing, and, in general, I’d choose doing it in post, *if* you have time. It’s free, time wise, to do it in camera, but you don’t have the same level of control. If you have time to experiment, try a handful of different combinations and see what you like best. It’s another tool for the box.
Ralph
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With the danger of hi-jacking this thread, can someone explain NTSC anamorphic widescreen? I understand it for film (I think). You use special lenses when you shoot that squeeze a wider view onto the film than normal, then matching special lenses when you project to return the wider view to the screen. If you were to look at the film shot with these anamorphic lenses, things in the image would be too tall and skinny. So, how does this work with NTSC given that there is no special lens to return the image to “normal”?
Thanks!