[William Mcqueen]

Name: Craig Howard
Date: Aug 20, 2005 at 4:51:47 pm
Subject: Re: DV Date Plugin Users – Installation problems

>You have not made it clear exactly where/how the plug in is not working for your friend. ie. What does >”un-responsive “mean in this instance?

The DV Date plug was automatically extracted to the correct location in PP1.5 and the registration key he purchased and was sent to him was copied into the same folder. (I did this with my own key and had no problems. The plugin became active immediately.)

So, the filter was applied to the first clip in the timeline, and effect controls was opened for that clip showing the applied Video Effects and the presence of “DV Date”. I clicked on the setup icon to the right of the name and DV Date opened. HOWEVER, there is no video presence in the setup window of the first clip in the timeline to which I applied the filter, it is entirely grey, and there is no typed text line, nor visible time code.

Originally, when I installed my own copy with my own reg. key, I had no difficulties in seeing the video to which I was applying DV Date filter, and I could easily switch between time of day and running time code and to imput a text line, and size and resize until I got it the way I wanted it to look.

In my friend’s case, the video clip used was originally shot in miniDV and transferred to the HDD by using Premiere Pro 1.5 (Starsky 2004) screen detect.

BTW, when I tried the unregistered version from the dve.nm.ru website, originally on my own system, I could see the video footage in DV Date setup to which the plugin was applied with no difficulty, except the time code and text line were mixed up. Once I copied my reg. key into that directory where the plugin resided, I could adjust all the features as I desired to the first clip in the timeline. I then copied the attributes to other clips in the timeline Time Code visible, Textline visible.

>BTW: is it his own copy of the plug in with his own reg.key?

It is the public plugin from the website, and the key he was sent by email. The only difference I can see is that the copy of Premiere Pro 1.5 is registered to his project name, while the DV Date key is registered to him in his own name.

Thanks for your interest in solving this problem.

Bill in Toronto

[William Mcqueen]

The mechanics of NLE editing aside, another component of a professional video is “story structure.” The mechanics, in my view, serve the elaboration of the story structure. Weak story structure, weak video. The editor is in the envious (sometimes not so envious position) of either being provided a spunky story line, or a producer/director who still isn’t sure what the story is, and has dependent expectations of the editor pulling the chestnut out of the fire.

OTOH, even with poor footage – say in “reality cinema, e.g. verite” a strong story can still be told in a powerful way. McClear would sometimes use terrible footage, but had a very strong story. Agree or not with the techniques of Michael Moore, he often uses badly shot footage to put his story structure in place. (in F9/11, I’ve wondered if he sought out to make “bad” footage to begin with, or was stuck with whatever he could find).

So, the old questions: What is the story; What images are needed to tell the story; How coherent is the words-audio-video script; How much is polish and how much is substance. Is there cross-scripting, yata, yata, yata.

I was speaking with an old producer friend of mine, who I asked. “How much glitz do you want in this piece?” He said, “No glitz, thank you very much.”

Cheers,

Bill in Toronto

[William Mcqueen]

Thanks so much. Worked precisely.

Bill in Toronto

[William Mcqueen]

I want to apply a time code reference effect(using DV date plug-in) to each clip in the time line so I can produce a reference tape/dvd for a colleague who writes our scripts.

Bill in Toronto

[William Mcqueen]

I take your point about the cost. In the past when I have worked with my script-writing colleage, I burn open timecode over the shoot tape footage onto a VHS tape, so he can construct his script with timecode.

In the case of this product, after I’ve created the VHS of the shoot footage with visible timecode, I no longer need the open timecoded footage. How do I get rid of the timecode at the point of edit? And just to be certain, what I will get with vDTS is timecode, not time of day code?

Bill in Toronto

[William Mcqueen]

Is the downloadable programme fully functioning, but I do want to try it out before I buy. It’s not clear on the website exactly at https://dve.teletex.ru/index.shtml. Is it disabled in some way, or do you need to get a key before it works. Do you remember.
Bill in Toronto

Name: Aanarav Sareen
Date: Jun 17, 2005 at 2:04 pm
Subject: Re: Creating visible Time Code (burned in time code)

I can vouch for the plugin mentioned above. Works extremely well. But, if you are looking to generate a timecode, check out this page: https://stevengotz.com/timecode

[William Mcqueen]

Thanks for the information,Curtis. I’ll keep the list posted.

Bill in Toronto.

[William Mcqueen]

I guess I’ll answer what I found out in my investigation of this problem:
I found that the DV Playback Settings
under Project Settings, General weren’t set correctly. When I set to
Playback on DV Hardware and Desktop, the video came up.

NOW, the only thing missing are the multitude of “BINS” where all of
the original clips were specified. And the titles are incomplete and
use the wrong fonts.

Me Myself in Toronto

[William Mcqueen]

Finger pokeing problem: I meant to say that the levels fall between –
minus 6dB and minus 12db, Not between minus 12 and minus 16.
Sorry about that. Bill in Toronto

Folks!

I have a short 7 minute project which has a number of clips with varying levels and quality of audio. I’ve tried to “match” the clip audio levels of all the clips, but still feel a little inexperienced in raising the overall level of the entire timeline audio out and the voice levels seem to fall mostly between -12dB and 16dB. There are four tracks, with an unused submix and unused master track.

Unfortunately, I have excellent hearing, and noticed a bottom hum of about -30dB underneath the spoken audio. The camera operator didn’t hear it when he was taping, but of course you can see it the mixer display.

Without disturbing the current edit, I’d like to try in a “final mix down”, sweeting
the audio mix. I’ve tried the “dehummer,” but I don’t seem to be able to get it to work out very well. and I would like to find a combination of raising the spoken voice levels (since they are low) without raising the hum background. Not sure how to use the submix….

Any suggestions, templates, recipes or direction, appreciated.

Bill in Toronto

[William Mcqueen]

Do you think that this approach of putting video preview and audio preview files on a separate drive will speed up the editing processing time?

Bill in Toronto