Steve Wargo
20
COW Coins
4
Premiere Pro Coins
Forum Replies Created
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Tell your boss that CSI is fictional and so is the button they push to make audio perfect. It’s right next to the button that zooms in on the picture from the misterious video that they download from the bank’s video system (over the Net) and then they zoom in to examine the pockmarks in the bank robber’s face that are concealed under a mask.
What ever you do, DO NOT let your boss see the movie DejaVu or he will want you to go back in time and get that shot that somebody missed.
Just kidding! What you actually need is the “People in the Background” filter from Imagine That sound tools. They are running a promo right now and you can get “Background People”, “Sirens”, Airplanes”, and “Barking Dog” for only $29.95 US.
Next month, they’re running a special on video filters. They’ll be offering “The Missing Actor”, “Daylight at 3AM”, “What Drop Out?”, and “Oops, I forgot to Bring Tape”.
I hope you got at least a little chuckle, Laura. I’ve had clients ask for some very strange things.
DRW, you need to jump on these deals before your credit card expires.
Steve Wargo
Tempe, Arizona
It’s a dry heat!Sony HDCAM F-900 & HDW-2000/1 deck
5 Final Cut Pro systems
Sony HVR-M25 HDV deck -
This should be a very interresting unit. They’ve had a few years to see how the HVX-200 played out and then tried to improve on it’s shortcomings.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Yeah. Be careful or the chicks will get pissed.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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The hangers were done on a green screen.
The actors threw hangers out of the shot and the director overlaid his green screen effect at the same time.
Go back in time using the equipment in the movie DejaVu and walk through the shot frame by frame. If you happened to record it live, go through that frame by frame.
Happy compositing
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Wireless the groom. Spend some money right now or you’ll only have to do it later anyway. A good Sennheiser will last 10 years. Plan on around $500. You’ll probably need a better mic than the one that comes with the unit. Get some advice in the Audio Professionals forum.
here ‘s a decent unit: https://www.pssl.com/bitemdetail.tpl~waGroup1datarq~%5BwaGroup1datarq%5D~eqint_KeyIDdata~41070~itemNumber~22-G2-C%20%20%20%20%20%20%20%20%20%20~UID~2007052702184960~disp_IMG~Y~catgroup~%5BcatGroup%5D
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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the idea is to find a common starting point for all camera to align to the same spot.
I’ll explain the editing part a little further.
Digitize the tapes from all cameras. Figure out which one is the main camera or the one with the best audio. When shooting a wedding, the bride’s audio is what it’s all about.
Pull the footage from the main camera and put this on track 1 of your timeline. Put the sound on tracks 1 & 2. Find the flash. Cut the video and audio right there. Delete the footage before the flash, keeping the flash. Now, take the camera footage from cam 2 and put that on video track 2 and the sound on 3 & 4. Find the flash, cut the video andd audio for that camera, again keeping the flash but losing everything before it. Proceed with the other camera tapes.
All of the cameras should now be in sync and you can start selecting which shots you want.
Now, if you have a multicam function, you can play the tracks and select the shots as the timeline plays.If you had cameras with the ability to connect the time code together, you could align the shots by time code. Your cameras do not have this function.
If you were using a clapboard, you would aim all cameras at it and clap the board. You could then align by either seeing the clapper hit or by using an audio waveform or your ear. of course.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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If you are using several cameras, you’ll need the sound from the shot that each camera has.
As a shot in the dark, you might want to have a monitor available for a boom operator so he can follow your action. That would go on ch1. Second, use the PZMs suggested by someone else. Put that on ch2. Repeat per camera.
this sounds like a complete crap shoot that could go either way. But, with a bit of planning, it should go well. The problem I see is people talking over one another.
Good luck
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Turn your deck upside down and re-import.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Why not shoot the interviews at 59.94 (60i)? There won’t be a noticable difference between that and 29.97. With motion, you might be able to tell because of progressive instead of interlaced but interviews won’t give it away. If you want them to look different, use filters or a gamma setting.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Start all of the cameras rolling and have the photographer walk up front where all of the cameras can see him and have him take a photo of the audience before the families are seated. In post, lay all of the tracks onto the same timeline or sequence and line up the flash. It will be one frame from each camera.
If you need more help on this, let me know.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!