DV-L Tue, 6 Feb 2001 Volume 1 : Number 758
In this issue:
News of the day
Re: RE:most movies don't use dissolves
RE:most movies don't use dissolves
Re: Dogme, Dog-me, Dog-you
Re: Editing
Re: Questions on GA-6vxd7 MB with w2k
RE: LCD monitor crash course anyone?
Re: Job costing for kids' stage play
Re: News of the day
Re: Dogme, Dog-me, Dog-you
Re: [OT] web hosting companies
Re: Dogme, Dog-me, Dog-you
Re: external firewire drive
Re: LCD monitor crash course anyone?
Re: Green Screen Problems
Re: "Skips" in Premiere 6/Mac DV export?
Re: LCD monitor crash course anyone?
Re: Editing Etiquette
RE: Praise the effects (Cuts are BORING!)
Re: Editing Etiquette
RE: Praise the Effects
Re: Green Screen Problems
Re: Job costing for kids' stage play
RE: Praise the effects (Cuts are BORING!)
Job costing for kids' stage play
aspect ratios of pixels
aspect ratios of pixels
Re: Praise the effects (Cuts are BORING!)
Re: Editing peeves
Re: [OT] web hosting companies
Re: Editing peeves
Re: aspect ratios of pixels
When is a Cut not a Cut?
Re: [OT] web hosting companies
Re: aspect ratios of pixels
Re: [OT] web hosting companies
Re: Editing Etiquette
Re: Job costing for kids' stage play
Re: Praise the effects (Cuts are BORING!)
Re: Job costing for kids' stage play
Re: Dogme, Dog-me, Dog-you
Self Correction on 19th Century Film
Dogme 95 and 10th Century film
Re: [OT] web hosting companies
RE: Job costing for kids' stage play
Re: Dogme 95 and 10th Century film
Re: What realtime can/can't do?
Re: Dogme, Dog-me, Dog-you
Re: Dogme 95 and 10th Century film
Re: Editing peeves
Microphone w/Pre-Amp (was Portable Microphone Preamp
Re: aspect ratios of pixels
NLE Software Roundup
Re: aspect ratios of pixels
Re: Green Screen Problems
RE: Praise the effects (Cuts are BORING!)
Re: aspect ratios of pixels
RE: Dogme, Dog-me, Dog-you
Re: aspect ratios of pixels
Streaming Lead-Ins
Re: DV-L V1 #757
Flat Panels
Re: [OT] web hosting companies
RE: Job costing for kids' stage play
Re: DV-L V1 #757
Re: Green Screen Problems
Re: Streaming Lead-Ins
Re: Streaming Lead-Ins
Re: OT (slightly): streaming QT
Re: Green Screen Problems
Re: OT (slightly): streaming QT
Re: Green Screen Problems
Second generation FireWire Drives
Re: Self Correction on 19th Century Film - Great Train Robbery
Re: Dogme 95 and 10th Century film
Re: Portable Microphone Preamp?
Re: Job costing for kids' stage play
Re: Job costing for kids' ...
OT: Highrez space images?
RE: Highrez space images?
Re: OT: Highrez space images?
Re: Apple : Please integrate iMovie and FCP
RE: Editing Etiquette
Re: OT: Highrez space images?
Re: Self Correction on 19th Century Film - Great Train Robbery
R: Dogme 95 and 10th Century film
Re: Portable Microphone Preamp?
Power & Cooling, revisited
Re: Power & Cooling, revisited
RE: Green Screen Problems
Re: Dogme, Dog-me, Dog-you
Re: Green Screen Problems
RE: Dogme, Dog-me, Dog-you
Re: Green Screen Problems
RE: Editing Etiquette, was DVStorm
Re: OT: Highrez space images?
Re: Green Screen Problems
Re: OT: Highrez space images?
Re: OT: Highrez space images?
be back soon
Re: OT: Highrez space images?
Re: Editing
hello there
Question for Storm Users
Re: Green Screen Problems
Low-cost NLE?
Conflicts with OS9.1, QT5, Premiere 5.1c, and a Sony PC100 on a
mac??
Re: hello there
Re: Editing Etiquette, was DVStorm (on Lucas and Kurosawa)
Re: external firewire drive
Re: Conflicts with OS9.1, QT5, Premiere 5.1c, and a Sony PC100 on
a mac??
Help: Cleaner Pro, windows media commpression problam
Re:OT Self Correction on 19th Century Film - Great Train Robbery
Re: OT: Highrez space images?
----------------------------------------------------------------------
Date: Mon, 05 Feb 2001 03:46:45 -0500
From: Bertel Schmitt
To: DV-L@dvcentral.org
Subject: News of the day
Message-ID: <5.0.2.1.2.20010205034324.03ee3870@popserver.panix.com>
There's only one piece of news worth reporting today:
According to a PR Newswire report, "Goofball.com, 'Your Portal to
Stupidity,' has reached 275,000 registered users and continues to grow,
adding 30,000 new users
each month."
BS, DV-L Newsdesk +++
------------------------------
Date: Mon, 5 Feb 2001 01:43:37 -0800
From: " Vizion Communication"
To:
Subject: Re: RE:most movies don't use dissolves
Message-ID: <009d01c08f58$bbc110a0$3946989e@VIZION2000>
Whilst I tend to agree with the general drift of your observations I am
hesitant to agree with the use of the word "should".
I feel there are no rules.. everything, in the end is subjective, and it is,
in my view, the combined effect of all the efforts and decisions that go to
make up a film that determine whether or not something works..the key
question is...
.........does something stands out like a sore thumb or does the film feels
like an integrated work?
So I would say keep your eye on the impact that each contribution makes to
the whole.
If a dissolve works in context then use it -- if an effects works in context
then fine also.
The danger in concentrating on technique is that you might lose sight of the
wood because of the trees!
To my mind its like driving a car -- if you have to look at the accelerator
pedal you are in danger of crashing!! The focus needs to be on the direction
not on the vehicle.
I see every action and reaction as purposive-- to provide the passengers
(the viewers) with a journey they will appreciate.
Once one becomes enamored with technique then there is a danger that one may
start showing technique rather than film...
- then you lose your cool -- that is how I see it.
DE
----- Original Message -----
From: "Cory White"
To:
Sent: Sunday, February 04, 2001 6:42 PM
Subject: RE:most movies don't use dissolves
> Upon re-reading my post, I realize it can be a confusing one. What I
> meant was that the pictures were pretty and it was well edited. I
> felt the story could have been told a little more concisely. End of
> opinion on the film.
>
> John, way to make a person feel guilty! I can only imagine the
> horrors of the true World War II. Upon talking to anyone involved in
> WWII, you can find both horror and hope in any story they tell. And
> everyone has several stories. This is made obvious by the amount of
> movies, documentaries, series' and one-off shows about WWII. Now
> that I've gone WAY off topic, I'll repeat my opinion.
>
> Dissolves, as well as most other effects should be used in
> commercials and corporate pieces primarily. Films, documentaries and
> other pieces of content should generally stick to cuts to keep people
> tuned into the story and not the "wow factor" that effects tend to
> introduce.
>
> -Cory
>
>
> >
> >
> >As a point of reference, The English Patient, that sappy, way too
> >long film was award the Oscar for best editing. There were only 3
> >dissolves in the whole film. Effects transitions should be used for
> >corporate pieces or in conjuntion with visual effects. That is my
> >opinion and I'll stick by it. So there.
> >
> >-Cory
> >
> >
> >****************
> >Ouch, OUCH, Cory,
> >The English Patient was, IMHO, a great work. Surely a big budget
> >film, but done exceptionally well in every sense.
> >
> >-Sappy- you say? How so? The protrayal of human emotions held
> >eminent domain, I think. those were trying times. The editing and
> >cinematography enhanced the content in every perceptual way....
> >Truly a great film.
> >
> >I know of a person, a poet friend of mine, who lived in France
> >during WWII and lived the resistance. They were trapped by Germans
> >in winter and in the end forced to eat the flesh of a dead
> >compatriot to survive. Do you know how that could effect your
> >psychology?
> >
> >The English Patient should open the attention of anyone who cares
> >about human beings.... who is right is not always clear. War is a
> >terrible thing... always.
> >
> >Best,
> >
> >John Hartney
> >Fox Valley DV
> >847.608.1357
> >
>
> --
> "I like to think the moon is there even if I am not looking at it."
>
> -Albert Einstein
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L Benefactors such as
http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
> ---------------------------------------------
>
------------------------------
Date: Sat, 3 Feb 2001 17:09:52 -0800
From: Cory White
To: DV-L@dvcentral.org
Subject: RE:most movies don't use dissolves
Message-ID:
As a point of reference, The English Patient, that sappy, way too
long film was award the Oscar for best editing. There were only 3
dissolves in the whole film. Effects transitions should be used for
corporate pieces or in conjuntion with visual effects. That is my
opinion and I'll stick by it. So there.
-Cory
>"it seems to me that the general trend had been
>toward simple cuts and rather quick dissolves."
>
>Actually, most movies don't use dissolves. They use a 1/2 to 1 second
>fade-to-black followed by a 1/8 to 1/2 second fade-up-from-black.
>Thus -- other than color correction and fades -- you can make a
>Hollywood film with NO RT FX! You should also be able to make any
>documentary.
>
>Titles CAN be over black -- but either rendered or RT graphics are the
>only other FX needed.
>
>Moreover -- most dissolves actually occur BETWEEN graphics. The
>RT2000/DV500 can't do this! Can the DVStorm?
>
>
>Best Regards,
>Steve Mullen
>Digital Video Consulting NYC
>www.mindspring.com/~d-v-c
>
>
>
>---(cut off when replying)-------------------
>This list is made possible by Lifetime DV-L Benefactors such as
>http://www.promax.com, http://www.videoguys.com,
>http://www.panasonic.com/broadcast and the contributions of its
>members.
>
>To contribute money: http://www.computervicestore.com/dvl.html
>All about DV-L, to subscribe & unsubscribe:
>http://www.DVCentral.org/thelist.html
>---------------------------------------------
--
"I like to think the moon is there even if I am not looking at it."
-Albert Einstein
---(cut off when replying)-------------------
This list is made possible by Lifetime DV-L Benefactors such as http://www.promax.com, http://www.videoguys.com, http://www.panasonic.com/broadcast and the contributions of its members.
To contribute money: http://www.computervicestore.com/dvl.html
All about DV-L, to subscribe & unsubscribe: http://www.DVCentral.org/thelist.html
---------------------------------------------
------------------------------
Date: Sun, 4 Feb 2001 00:31:57 -0800 (PST)
From: wes chow
To: DV-L@dvcentral.org
Subject: Re: Dogme, Dog-me, Dog-you
Message-ID: <20010204083157.6393.qmail@web1105.mail.yahoo.com>
I'm a little unclear as to what they mean that "the movie had been
cosmeticized to death" in the manefesto... anyone care to explain?
Wes
--- Wayne Folta wrote:
> I looked at the Dogme rules and at first thought they must be some
> kind of parody. Evidently they are serious.
>
> The bottom line is the story. How good is the story and how good are
> you as a visual storyteller? Rules about what props you can't use are
>
> as silly as rules that require cliched VFX to be used.
>
> I've only seen one LvT movie and I won't see any others. His
> jerky-cam technique got me so nauseated in 20 minutes that I had to
> sit with my eyes closed and just listen to the rest of the film. A
> tripod would've done wonders for the story: enhancing it instead of
> gimmicking it.
> --
>
> Wayne Folta
> wfolta@netmail.to
>
__________________________________________________
Get personalized email addresses from Yahoo! Mail - only $35
a year! http://personal.mail.yahoo.com/
---(cut off when replying)-------------------
This list is made possible by Lifetime DV-L Benefactors such as http://www.promax.com, http://www.videoguys.com, http://www.panasonic.com/broadcast and the contributions of its members.
To contribute money: http://www.computervicestore.com/dvl.html
All about DV-L, to subscribe & unsubscribe: http://www.DVCentral.org/thelist.html
---------------------------------------------
------------------------------
Date: Mon, 5 Feb 2001 04:34:17 -0800
From: "Richard Taylor"
To: DV-L@dvcentral.org
Subject: Re: Editing
Message-ID: <7745265EAB8.AAA2717@mail1.21stcentury.net>
-------Phoenix-Boundary-07081998-
Content-type: text/plain; charset=ISO-8859-1
Content-transfer-encoding: Quoted-printable
Hi Keith, you wrote on 2/4/2001 9:33:07 AM:
>On 2/4/01 12:14 PM, Bruce A. Johnson ORH 2-8503 got kicked off a skyscraper
>
> What are your pet peeves=3F=3F
>
>A camera out of focus; obvious voice-dubs; when someone's looking up and
>talking in a close-up, but after the sharp cut transition which shows a
>wider angle, the same character is looking down and quite relaxed.
Plain old sloppiness.
...Like when the camera gets dropped and no one picks it up.
{Tho' maybe that's a bit extreme.}
...Shakey zooms and pans, badly framed shots, etc.
--
http://www.freespeech.org/apophysis/
-------Phoenix-Boundary-07081998---
------------------------------
Date: Sat, 03 Feb 2001 22:09:42 -0500
From: Bertel Schmitt
To: DV-L@dvcentral.org
Subject: Re: Questions on GA-6vxd7 MB with w2k
Message-ID: <5.0.2.1.2.20010203215705.02809b80@popserver.panix.com>
At 04:10 PM 2/3/01 -0800, Dave wrote:
>Anyone using this board with w2k?
I don't know the board but maybe I can add some general observations to
solve the puzzle:
>Am trying to get the spdif output working on the audio portion but cant
>seem to get it to work
>and so far the web site for gigabyte is no help.
>
>I noticed that when I look at the IRQ's that I have lans, etc above 15
>at 16,17 and 18? I have never seen this. Is this right?
If the board supports more than the usual complement of IRQ 0-15, then they
should show up. This is how it's meant to be. I have a Supermicro/Serverset
mobo, it has twice the number of IRQs, and W2K happily takes them,
>The board uses the VIA chipset.
Make sure to download the latest "4-in-1" drivers from
http://www.via.com.tw/drivers/index.htm
>I have put the bios in Plug and Play. Issue?
That's how it's meant to be.
>I want to use Power DVD 3 to output AC3 to my external decoder. Says I
>should be able to do it
>but doesnt exactly say if w2k is okay or can it only be w98.
Sorry, can't help you with that. I would go in stages:
0.) (CYA section) Any sound at all ?
1.) Try to output spdif from your sound system. Make sure that the
listening equipment understands spdif
2.) Try to output AC3 coded material via, say, Mediaplayer and see whether
that works. Updating to DirectX8 might not be a bad idea either.
Only when 1 & 2 are a go, use Power DVD to output AC3 via spdif. If that
doesn't work,. start pointing fingers at Power DVD.
BS
---(cut off when replying)-------------------
This list is made possible by Lifetime DV-L Benefactors such as http://www.promax.com, http://www.videoguys.com, http://www.panasonic.com/broadcast and the contributions of its members.
To contribute money: http://www.computervicestore.com/dvl.html
All about DV-L, to subscribe & unsubscribe: http://www.DVCentral.org/thelist.html
---------------------------------------------
------------------------------
Date: Mon, 5 Feb 2001 10:52:42 -0000
From: "Perry"
To: "DV-L"
Subject: RE: LCD monitor crash course anyone?
Message-ID: <000501c08f61$c40f2360$0f2dc22b@compaq>
In my experience there is considerable differences with different
manufacturers on the sensitivity to viewing angle. I think it is one of
those things where you've just got to try them to see how you get on.
At their worst, LCD screens can give significant changes in color just due
to the differences in angle subtended by a viewer sitting too close. This
will obviously be made worse if the pixels are smaller.
The old adage of a >good big 'un will beat a good little 'un< is probably
true!
Perry Mitchell
Video Facilities
http://www.perrybits.co.uk/
------------------------------
Date: Mon, 05 Feb 2001 07:44:02 -0800
From: Ned Barber
To: DV-L@dvcentral.org
Subject: Re: Job costing for kids' stage play
Message-ID: <3A7ECA42.578CDBFF@bellatlantic.net>
I've been doing this for years here in New Jersey. My real income comes from commercial jobs. The school stuff is basically a hobby and the money I call "gadget money". I charge per tape
and ask for a minimum tape order. If I can deliver the tapes to one person and not have to distribute them I charge $25 per tape. I add $5 if they want them mailed. I shoot one camera, do
a creative lead-in and credits and almost no editing on the actual performances. If they buy 20 tapes at $25 you'd be at your $500 figure. I'd drop the three camera idea. If you want a
lock-down second camera for safety shots it's ok but don't cut it in too often. I've shot a lot of single camera shows for schools, and some were big enough to get me as much as $1500.
(private school at $35 per tape).
Mainly,have fun and learn your craft. That's what I do.
You can check my hobby web site at www.capturethemagic.com for examples of lead-ins and such.
Ned Barber
Performance Video
Joel Smit wrote:
> Hi Everyone,
>
> I've been lurking and learning as usual and have a few questions regarding
> shooting a stage production. The local parents are putting on an annual
> "one hour or so" children and young adults production and want me to cover
> it, do the post production editing, title creation,credit roll and then
> provide 20 copies on VHS. The organization is non-profit so they "have no
> money" but will pay something. We all live in a small mid-western town and
> not use to markets like Minneapolis or Des Moines for example.
>
> I am figuring for a three camera set-up with myself as the only operator
> about 60 hours of work (5 hours production and 55 hours
> capturing/editing/tweaking on a Matrox DTV) not including the 1 or 2
> at-a-time copying phase. I figure $30/hour is a realistic rate -- one I
> will certainly not get here. My guess is that I could charge $400 and get
> it but if I asked $500 they could not pay. At $400 I will about break even
> and gain a little good will and experience in the process.
>
> My questions are these: Does this sound like a reasonable estimate of
> time? What is the actual 'going rate' for a project like this? Am I
> figuring time and compensation realistically?
>
> Also as usual, I need answers quickly if y'all don't mind.
>
> Joel "thanks until you're better paid" Smit
> _________________________________________________________________
> Get your FREE download of MSN Explorer at http://explorer.msn.com
>
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L Benefactors such as http://www.promax.com, http://www.videoguys.com, http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe: http://www.DVCentral.org/thelist.html
> ---------------------------------------------
------------------------------
Date: Mon, 05 Feb 2001 07:47:16 -0800
From: Ned Barber
To: DV-L@dvcentral.org
Subject: Re: News of the day
Message-ID: <3A7ECB04.EAF02718@bellatlantic.net>
When did the Whitehouse rename it's web site??
Bertel Schmitt wrote:
> There's only one piece of news worth reporting today:
>
> According to a PR Newswire report, "Goofball.com, 'Your Portal to
> Stupidity,' has reached 275,000 registered users and continues to grow,
> adding 30,000 new users
> each month."
>
> BS, DV-L Newsdesk +++
>
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L Benefactors such as http://www.promax.com, http://www.videoguys.com, http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe: http://www.DVCentral.org/thelist.html
> ---------------------------------------------
------------------------------
Date: Mon, 5 Feb 2001 13:50:39 +0100
From: Robert Rouveroy
To: DV-L@dvcentral.org
Subject: Re: Dogme, Dog-me, Dog-you
Message-ID:
At 5:57 PM -0800 2/4/01, Bill wrote:
>These guys may shoot DV, but
>they've got world class cinematographers doing it with
>great actors and big (by my standards anyway) budgets.
>Why spend a a hundred thousand or more bucks on film
>and processing if you can buy all the tape you need
>for 50 bucks and spend the rest on talent and
>production.
================
Compared to 35mm film, DV still looks lousy. Those (video) films you
are quoting are made on HDTV 24p Sony's, costing well over $100.000 a
piece. Spirit transfer and editing and later laser writing to 25mm
film are also quite costly.Yes, there are good savings to be made on
a such a film, probably around 2 or 300.000 bucks but on a 20 million
dollar movie it is really disregarded. A bagel and a cup of latte for
the crew. Also, none of these DV or HDTV camera's can shoot at a
higher fps so the directors HAVE to fall back on 35mm to create true
slow motion.
And much of the difference lays in the dissimilar d.o.f. Even HDTV
camera's still have no target like 35mm cameras, therefore the
'normal' lens is quite divergent, therefore the focus variance is
immediately pronounced. There is also an undefined "look" to film
that todate has not been emulated.
If the story is good, audiences will forgive most aberrations and
artifacts in the movie. That was/is the strength in Lars von Triers'
oeuvre. Whatever we individuals think of him and his dogme95, it has
indeed shown the way, and acceptance, of a different approach to
story telling. Some of these rules are indeed tongue-in-cheek and it
is easy to see that Lars ignored them. Still, the power of his vision
is now, be it slowly, (in part) accepted by the 'Hollywood' crowd.
Lars' success at Sundande and many other venues are carefully plotted
and some of his "tricks' will be, as usual, copied by same.
Look forward to some weird products!
--
Robert Rouveroy csc
The Hague, Holland
------------------------------
Date: Mon, 5 Feb 2001 14:06:32 +0100
From: Robert Rouveroy
To: DV-L@dvcentral.org
Subject: Re: [OT] web hosting companies
Message-ID:
At 6:56 PM -0800 2/4/01, Janet Cunningham wrote:
>I'm interrested in a new hosting company that has archival space.
>===========
If you have a MAC, Apple.com is the answer
--
Robert Rouveroy csc
The Hague, Holland
------------------------------
Date: Mon, 05 Feb 2001 09:08:33 -0500
From: Carlos Caridad Montero
To: DV-L@dvcentral.org
Subject: Re: Dogme, Dog-me, Dog-you
Message-ID: <3A7EB3E1.D44739FD@cantv.net>
Correction:
The Celebration was made on MiniDV =97a PD5 Sony consumer camcorder=97, a=
nd Dancer in the Dark was shooting with the PC100 Sony camcorder (100 cam=
eras!) and the Sony DVCam.
Robert Rouveroy wrote:
> At 5:57 PM -0800 2/4/01, Bill wrote:
> >These guys may shoot DV, but
> >they've got world class cinematographers doing it with
> >great actors and big (by my standards anyway) budgets.
> >Why spend a a hundred thousand or more bucks on film
> >and processing if you can buy all the tape you need
> >for 50 bucks and spend the rest on talent and
> >production.
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
> Compared to 35mm film, DV still looks lousy. Those (video) films you
> are quoting are made on HDTV 24p Sony's, costing well over $100.000 a
> piece. Spirit transfer and editing and later laser writing to 25mm
> film are also quite costly.Yes, there are good savings to be made on
> a such a film, probably around 2 or 300.000 bucks but on a 20 million
> dollar movie it is really disregarded. A bagel and a cup of latte for
> the crew. Also, none of these DV or HDTV camera's can shoot at a
> higher fps so the directors HAVE to fall back on 35mm to create true
> slow motion.
>
> And much of the difference lays in the dissimilar d.o.f. Even HDTV
> camera's still have no target like 35mm cameras, therefore the
> 'normal' lens is quite divergent, therefore the focus variance is
> immediately pronounced. There is also an undefined "look" to film
> that todate has not been emulated.
>
> If the story is good, audiences will forgive most aberrations and
> artifacts in the movie. That was/is the strength in Lars von Triers'
> oeuvre. Whatever we individuals think of him and his dogme95, it has
> indeed shown the way, and acceptance, of a different approach to
> story telling. Some of these rules are indeed tongue-in-cheek and it
> is easy to see that Lars ignored them. Still, the power of his vision
> is now, be it slowly, (in part) accepted by the 'Hollywood' crowd.
> Lars' success at Sundande and many other venues are carefully plotted
> and some of his "tricks' will be, as usual, copied by same.
>
> Look forward to some weird products!
>
> --
> Robert Rouveroy csc
> The Hague, Holland
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L Benefactors such as http://=
www.promax.com, http://www.videoguys.com, http://www.panasonic.com/broadc=
ast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe: http://www.DVCentral.org/th=
elist.html
> ---------------------------------------------
------------------------------
Date: Mon, 05 Feb 2001 08:23:04 -0500
From: martin.dubose@srs.gov
To: DV-L@dvcentral.org
Subject: Re: external firewire drive
Message-ID:
This is a multipart message in MIME format.
--=_alternative 0049CD12852569EA_=
Content-Type: text/plain; charset="us-ascii"
My maxtor 80 gig 1394 drive works fine for me and I am using a Sony F480
and a GV-D900. All working just great together!
Martin DuBose
--=_alternative 0049CD12852569EA_=
Content-Type: text/html; charset="us-ascii"
My maxtor 80 gig 1394 drive works fine for me and I am using a Sony F480 and a GV-D900. All working just great together!
Martin DuBose
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------------------------------
Date: Mon, 5 Feb 2001 14:40:17 +0100
From: Robert Rouveroy
To: DV-L@dvcentral.org
Subject: Re: LCD monitor crash course anyone?
Message-ID:
At 8:29 AM +0100 2/5/01, Enrico Quaglia wrote:
>Can someone kindly give me a crash course on what I should be looking for
>when buying an LCD flat panel? I know there are digital an analogue ones,
>but are there major differences in quality? I know most models have a dot
>pitch of around 0,297, but a particular IBM (17") has 0,26, the does this
>make it a good buy even if it's analogue? Do I need special video cards for
>the digital ones?
==============
It all depends on what platform you use. These LCD's all seem to come
from Taiwan and I suppose the picture quality does not seem to be as
varied as with CRT.'s. What is important is if they will show various
resolutions so you have a choice. Most PC and Mac magazines have
written up tests so it is certainly not too hard to pick your choice.
I have an Apple LCD 15' on a G3. I'm extremely happy with it as it is
also an analog monitor so I have a VHS recorder connected to it to
watch TV and movies. The quality is very much better than my TV: no
lines, no grain, hair sharp.. The newer G4/LCD's cannot do that (go
analog) I'm told. I wish I had the wherewithal to buy the Apple
Cinema display, the sine qua non in the LCD world.
Another, highly acclaimed is the Silicon Graphics LCD. All 15 inches
(actually most are near 17 inch CRT size because there is no black
border around them) are affordable. more or less Some need cards,
others not. At 18 to 22 inch you'd better be the Sultan of Brunei.
One very good characteristic of LCD's: you can shoot film off them
without flicker. Don't even try to shoot from a CRT, be it TV or
computer, it always shows a black bar and a flicker.
--
Robert Rouveroy csc
The Hague, Holland
------------------------------
Date: Mon, 5 Feb 2001 08:44:06 -0500
From: John Luna
To: DV-L@dvcentral.org
Subject: Re: Green Screen Problems
Message-ID:
>Hello,
>
>I was just introduced to the list by Alexei Gerulaitis from Computer Vice.
>
>lexi
>helped me upload some of my frames, and you can download them at:
>
>
>http://groups.yahoo.com/group/DV-List/files/Support/
I think it would be more helpful to see the green screen footage.
It looks like you might have some green spill on the subject.
John
------------------------------
Date: Mon, 5 Feb 2001 09:02:45 -0500
From: "Phil Pratt"
To:
Subject: Re: "Skips" in Premiere 6/Mac DV export?
Message-ID: <007d01c08f7c$514580c0$23d91a42@triad.rr.com>
Have you tried just forgetting about export and recording your production
from a straight playback of the timeline?
> Hi everyone,
>
> Premiere 6/Mac has been working very well for me except for one problem.
>
> DV capture works fine, editing/rendering all work great. But when I export
> to DV tape the resulting video usually ends up with one or two "skips",
with
> either what appears to be one dropped frame or sometimes one frame of
audio
> that is missing on my final DV tape. I can't understand why, since
playback
> from the timeline is perfect. I'm exporting to a DSR30, from a G3/400
> Powerbook. I'm capturing to the powerbook's media bay drive, which was
able
> to capture all my DV clips without dropped frames, so the drive must be
fast
> enough.
>
> I have an optimized extension set, and when I export, I did deselect the
> "play to desktop" option in the playback settings. I'm running OS 9.04, QT
> 4.12, and have 99MB RAM allocated to Premiere 6.
>
> Has anyone seen this? Any fixes?
>
> thanks,
> Daniel
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L Benefactors such as
http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
> ---------------------------------------------
------------------------------
Date: Mon, 5 Feb 2001 15:27:04 +0100
From: "Enrico Quaglia"
To:
Subject: Re: LCD monitor crash course anyone?
Message-ID: <002a01c08f7f$b77b3ee0$2032d5d5@enricoquaglia>
A vendor made me a good price for both an IBM 18.1" (0,297 dp) and an IBM
17" (0,26 dp). The 18 inch is obviously more expensive, but not that much
really, so the price isn't what's causing my doubts. What confuses me is
that one is digital but has a wider dot pitch, while the other is better in
this sense but is analogue. What would be the better buy forgetting the
price matter? The analogue monitor doesn't require special video cards or am
I talking nonsense?
Thanks!
Enrico
Turin - Italy
------------------------------
Date: Mon, 05 Feb 2001 05:07:19 -1000
From: Jon Burkhart
To: DV-L@dvcentral.org
Subject: Re: Editing Etiquette
Message-ID: <3A7EC1A7.19164AF9@maui.net>
Loved your article on editing, John. It should be required reading before anyone gets to install their NLE board in a computer.
Aloha,
Jon Burkhart
John Jackman wrote:
> I have a DV Mag copyrighted article about this called "Using Transitions
> -- Professionally" at:
>
> http://www.greatdv.com/post/transitions.htm
>
> It's a few years old (the grabs are from Premiere 4.2) but the
> underlying principles of how to mentally define transition use is in
> there --
>
------------------------------
Date: Mon, 5 Feb 2001 10:03:47 -0500
From: "Stephen van Vuuren"
To:
Subject: RE: Praise the effects (Cuts are BORING!)
Message-ID: <000f01c08f84$d7907ec0$4423a8c0@dell420me>
This thread needs cut. (grin)
Those who create by doing what you're supposed to do - that's boring. If it
works for you helping you create your vision, use it. From Timecode (no
cuts, 4-way split screen) to The Limey - lots of audio visual cuts to
Requiem for A Dream (split screens, time lapse, speed adjustments and other
effects) to Crouching Tiger, Hidden Dragon (cuts and fades) - you follow the
vision of the work. All great movies, but not exactly using the same "rules"
about transition, effects, cuts...
Unless people try stuff that's "wrong, inappropriate, offensive, bad,
nonsensical" - how will we ever discover anything new?
stephen
www.xiveren.com
"It's only after you've lost everything
that you're free to do anything."
~Tyler~
------------------------------
Date: Mon, 05 Feb 2001 09:22:07 -0600
From: "Marc C. Hood, EdD"
To: DV-L@dvcentral.org
Subject: Re: Editing Etiquette
Message-ID: <3A7EC51F.BE283C22@adent.com>
I enjoyed your article too, John. I've included the URL in my list of "must reads" for the editing section of my NewMedia class. I imagine this is the kind of thing Bertel would be
interested in having on the new DV-L server (under the e.ducation section somewhere). Would you be interested?
Thanks,
mhood
Jon Burkhart wrote:
> Loved your article on editing, John. It should be required reading before anyone gets to install their NLE board in a computer.
>
> Aloha,
> Jon Burkhart
>
> John Jackman wrote:
>
> > I have a DV Mag copyrighted article about this called "Using Transitions
> > -- Professionally" at:
> >
> > http://www.greatdv.com/post/transitions.htm
> >
------------------------------
Date: Mon, 5 Feb 2001 10:25:48 -0500
From: "Paul Heinrich"
To: dv-l@dvcentral.org
Subject: RE: Praise the Effects
It seems to me that some of the ongoing discussion of effects is
comparing apples to oranges. The main anti-effects people are
arguing against "cheesy wipes" and other effects transitions while
many of the pro-effects crowd seem to be arguing the case for
using effects in general. But doesn't the choice to use or not use
effects (SFX, fancy transitions, whatever) depend upon personal
choice and the purpose of the production? Personally, I don't like to
see any transitions beyond simple cuts and dissolves, except
where specially motivated. Other effects should only be used if they
are needed to tell a story. The best effects are the ones that the
audience doesn't realize are effects.
I'm currently reading "Special Effects: The History and Technique"
by Richard Rickitt. The book has many nice interviews with great
effects people throughout film history (well the last 50 years or so).
One very interesting section is on the use of effects in "Citizen
Kane" which almost all film lovers agree is one of the greatest films
ever made. According to Linwood Dunn (RKO photographic
effects man during the production) "Telling Wells about the optical
printer was the kiss of death. He used it like a paint brush, which
was fine - except that he asked for things that I'd never done before.
However he had enough power at RKO to get the OK for the time
and money it would take." According to the article the entire film is
"littered with subtle optical effects by Dunn and fine matte paintings
by Mario Larrinaga" and that "only Dunn and the editor (Robert
Wise) could probably identify all the changes made". Hitchcock
also made considerable use of effects to make reality conform to
his vision. The effects in "Vertigo" or "The Birds" might seem
shabby by todays standards, but coupled with Hitchcock's direction
and vision they blew peoples minds in the 50's and 60's and still
work today. At one point in "Vertigo", Jimmy Stewart and Kim
Novak meet on a San Francisco street. I watched this film within
the last few weeks and never noticed that this scene was filmed on
a soundstage with a rear-projected street scene. I was so drawn
into the story that I never noticed the effect, which is quite obvious
when shown as a still in Rickitt's book.
A recent great film with loads of subtile effects is "Forest Gump".
When I saw it in the theater I was blown away by the look of the film.
So much of it (mainly the colors and saturation of wide shots)
seemed to be "pumped up" so that the world seems so much more
vivid and impressive. This is most noticeable in the scenes during
Forest's "big run" and some of the Vietnam stuff. Does anybody
know how that was done? Was it especially vivid film stock or
digital processing?
Anyway, I guess what I'm trying to say is that well executed and
motivated effects can greatly enhance a production, poorly
executed and/or ones without motivation look amateurish.
Paul
--
Paul Heinrich
RR1 Box 490
Iron Cave Lane
Lewisburg, PA 17837
(570) 524-5820
------------------------------
Date: Mon, 05 Feb 2001 05:35:52 -1000
From: Jon Burkhart
To: DV-L@dvcentral.org
Subject: Re: Green Screen Problems
Message-ID: <3A7EC858.4DCFA1D5@maui.net>
Hi Torjan. Welcome to the DV List.
A couple of things. You might try blue instead of green as your background color. I too, thought green would be the best color. I've done only a few experiments with my XL1 and a rather
new Canopus Storm card and for me blue may work better. I haven't had time to do further testing.
Also, you might want to look in on http://www.puffindesigns.com/
I saw this software demonstrated at DVExpo last year and was greatly impressed by it. It's rather expensive but it might be your best chance to get the quality you require.
Chroma key is difficult at best. I think our ability to do this kind of effect in the DV format maybe just a cruel joke by the video gods. They like to see us suffer, you know!
Aloha,
Jon Burkhart
CastanedaFilm@aol.com wrote:
> Hello,
>
> I was just introduced to the list by Alexei Gerulaitis from Computer Vice.
>
> I'm having a problem getting a good matte from some footage I shot for a
> documentary. The footage was shot with an XL1, captured with a DV300 and I'm
> using Ultimatte in Premiere for the transparency. I'm getting jagged edges
> on the body of my foreground subject. Granted, this is miniDV, but I'm
> hoping there's a better way to get a good matte from my footage. Alexi
> helped me upload some of my frames, and you can download them at:
>
>
> http://groups.yahoo.com/group/DV-List/files/Support/
>
> AE 4.1 has some good feathering for its color key feature, but even that
> isn't great. I'd appreciate any advice anyone can offer.
>
> thanks
> Torjan
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L Benefactors such as http://www.promax.com, http://www.videoguys.com, http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe: http://www.DVCentral.org/thelist.html
> ---------------------------------------------
------------------------------
Date: Mon, 05 Feb 2001 08:33:00 -0700
From: James Reidenbaugh
To: DV-L@dvcentral.org
Subject: Re: Job costing for kids' stage play
Message-ID: <3A7EC7AC.86741449@familydocumentaries.com>
I don't know what your main line of business is, but is there any way this group can help further your marketing efforts. I did a job this past year for one of the local hospital's Junior
Volunteers Group (about 120 Candy Stripers). Some of the volunteers had taken a video camera around the hospital for a few days and interview volunteers and staff about why they liked
volunteering. They wanted me to edit the footage to premiere at their annual awards and reccognition banquet where most all of the volunteers with parents would attend. The job I provided
would have billed out around $2,300. The hospital paid $200 and the volunteers families ended up buying an additional 18 copies of the tape from me (they agreed that all tape sales
proceeds were to go to me to help compensation).
In addition, I had a couple of my brochures at each banquet table, and I made sure that the MC gave me a good plug before and after showing the video. I picked up a few new customers from
this (I do a lot of family history videos and home movie editing for people).
Joel Smit wrote:
> Hi Everyone,
>
> I've been lurking and learning as usual and have a few questions regarding
> shooting a stage production. The local parents are putting on an annual
> "one hour or so" children and young adults production and want me to cover
> it, do the post production editing, title creation,credit roll and then
> provide 20 copies on VHS. The organization is non-profit so they "have no
> money" but will pay something. We all live in a small mid-western town and
> not use to markets like Minneapolis or Des Moines for example.
>
> I am figuring for a three camera set-up with myself as the only operator
> about 60 hours of work (5 hours production and 55 hours
> capturing/editing/tweaking on a Matrox DTV) not including the 1 or 2
> at-a-time copying phase. I figure $30/hour is a realistic rate -- one I
> will certainly not get here. My guess is that I could charge $400 and get
> it but if I asked $500 they could not pay. At $400 I will about break even
> and gain a little good will and experience in the process.
>
> My questions are these: Does this sound like a reasonable estimate of
> time? What is the actual 'going rate' for a project like this? Am I
> figuring time and compensation realistically?
>
> Also as usual, I need answers quickly if y'all don't mind.
>
> Joel "thanks until you're better paid" Smit
> _________________________________________________________________
> Get your FREE download of MSN Explorer at http://explorer.msn.com
>
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L Benefactors such as http://www.promax.com, http://www.videoguys.com, http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe: http://www.DVCentral.org/thelist.html
> ---------------------------------------------
------------------------------
Date: Mon, 5 Feb 2001 09:42:53 -0600
From: Rik Albury
To: "'DV-L@dvcentral.org'"
Subject: RE: Praise the effects (Cuts are BORING!)
Message-ID:
Stephen wrote, in part:
"Unless people try stuff that's "wrong, inappropriate, offensive, bad,
nonsensical" - how will we ever discover anything new?"
How about by trying stuff that's right on, pertinent, sensitive,
great, brilliant, and clever? You don't need a bad attitude to
innovate.
-Rik. CIC (I finally mailed the check!)
------------------------------
Date: Mon, 5 Feb 2001 10:33:29 -0500
From: "Jean Demers"
To:
Subject: Job costing for kids' stage play
Message-ID: <001501c08f8a$fbd87660$ac247bce@y0r2l3>
There are a lot of factors to consider when doing "free B" work for
organizations.
I feel it is always important for your client to know the real value of the
work. Too many times, people with very good intentions give away their work
to clients who will remember FOREVER that they got that job done for only x$
thus create a false value of our profession and production costs. Then we
have to fight our way in for decent budgets .
If it's a non-profit organization, invoice them with the REAL VALUE and
return most of it as a donation for which you will receive a receipt.
Everyboby will be happy :-)
Regards,
Jean Demers, Bromefilms
Quebec, Canada
------------------------------
Date: Mon, 5 Feb 2001 15:44:18 -0000
From: "simon"
To:
Subject: aspect ratios of pixels
Message-ID: <002c01c08f8a$da0085a0$12fea8c0@joe>
This is a multi-part message in MIME format.
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Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Hi All
This is my first posting and i am fairly new to this field, so forgive =
me if i am asking a stupid question.
is the pixel ratio between a desktop monitor and a normal tv screen the =
same and if not will that make a noticeable to and image played off both =
platforms
many thanx
simon
mailto:simon@mymovies.net
------=_NextPart_000_0015_01C08F8A.8033A160
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Hi All
This is my first posting and i am = fairly new to=20 this field, so forgive me if i am asking a stupid question.
is the pixel ratio between a desktop = monitor and a=20 normal tv screen the same and if not will that make a noticeable to and = image=20 played off both platforms
many thanx
simon
mailto:simon@mymovies.net
------=_NextPart_000_0015_01C08F8A.8033A160--
------------------------------
Date: Mon, 5 Feb 2001 15:46:49 -0000
From: "simon"
To:
Subject: aspect ratios of pixels
Message-ID: <002d01c08f8a$dc2a6a80$12fea8c0@joe>
This is a multi-part message in MIME format.
------=_NextPart_000_0029_01C08F8A.D9EFBCC0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Hi All
This is my first posting and i am fairly new to this field, so forgive =
me if i am asking a stupid question.
is the pixel ratio between a desktop monitor and a normal tv screen the =
same and if not will that make a noticeable to and image played off both =
platforms
many thanx
simon
mailto:simon@mymovies.net
------=_NextPart_000_0029_01C08F8A.D9EFBCC0
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Hi All
This is my first posting and i am = fairly new to=20 this field, so forgive me if i am asking a stupid question.
is the pixel ratio between a desktop = monitor and a=20 normal tv screen the same and if not will that make a noticeable to and = image=20 played off both platforms
many thanx
simon
mailto:simon@mymovies.net
------=_NextPart_000_0029_01C08F8A.D9EFBCC0--
------------------------------
Date: Mon, 05 Feb 2001 09:53:32 -0600
From: "Marc C. Hood, EdD"
To: DV-L@dvcentral.org
Subject: Re: Praise the effects (Cuts are BORING!)
Message-ID: <3A7ECC7B.88BBBEAB@adent.com>
See, buy your way into the CIC and you instantly become more profound :-)
Thanks Rik,
mhood, CIC-CFRO
Rik Albury wrote:
>
> How about by trying stuff that's right on, pertinent, sensitive,
> great, brilliant, and clever? You don't need a bad attitude to
> innovate.
>
> -Rik. CIC (I finally mailed the check!)
>
------------------------------
Date: Mon, 5 Feb 2001 10:02:50 CST
From: "Bruce A. Johnson ORH 2-8503"
To:
Subject: Re: Editing peeves
Message-ID: <44AFD842A07@vilas.uwex.edu>
OOOH! OOOH! OOOH! Mr. Kot-TERRRR!
Jenny and Jason just reminded me of one of my ALL-TIME big
peeves:
When something blows up, it blows up twice. Or three times. Or
six times. Enough times that it justifies the $100K they spent on
the shot, but truly interrups the flow of time. Arrrrgh.
Also, you ever notice that cars explode as if they have a jillion
gallons of gas in them, and airplanes that crash due to lack of fuel
explode like they are carrying nuclear weapons? The Simpsons
skewers this one regularly...I remember an episode where a milk
truck hits a tree and goes up like Dresden.
Bruce A. Johnson, CIC
Wisconsin Public Television Digital Innovations Unit
ICQ# 26415869
------------------------------
Date: Mon, 5 Feb 2001 08:05:45 -0800
From: "Janet Cunningham"
To:
Subject: Re: [OT] web hosting companies
Message-ID: <001501c08f8d$9c8386c0$325df9d8@hydra>
Re: hosting companies. I do not have a mac, I have a pc, but I have a web
show on daily and we need to archive it and have archives that new viewers
can "catch up" with the show or see back episodes. Also for a writers or
directors reference.
Janet
----- Original Message -----
From: "Robert Rouveroy"
To:
Sent: Monday, February 05, 2001 5:06 AM
Subject: Re: [OT] web hosting companies
> At 6:56 PM -0800 2/4/01, Janet Cunningham wrote:
> >I'm interrested in a new hosting company that has archival space.
> >===========
> If you have a MAC, Apple.com is the answer
> --
> Robert Rouveroy csc
> The Hague, Holland
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L Benefactors such as
http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
> ---------------------------------------------
>
------------------------------
Date: Mon, 05 Feb 2001 09:10:07 -0700
From: James Reidenbaugh
To: DV-L@dvcentral.org
Subject: Re: Editing peeves
Message-ID: <3A7ED05F.C3A3D314@familydocumentaries.com>
Well maybe not really an editing problem, but I REALLY hate it when they have a German Shepherd chasing a guy up a 100 foot ally, the guy keeps looking over his shoulder, and the dog never
catches him. I raise German Shepherds, and if one of em wants to get you, you will definitely become kibbels-n-bits within the first 15 feet.
"Bruce A. Johnson ORH 2-8503" wrote:
> OOOH! OOOH! OOOH! Mr. Kot-TERRRR! frantically>
>
> Jenny and Jason just reminded me of one of my ALL-TIME big
> peeves:
>
> When something blows up, it blows up twice. Or three times. Or
> six times. Enough times that it justifies the $100K they spent on
> the shot, but truly interrups the flow of time. Arrrrgh.
>
> Also, you ever notice that cars explode as if they have a jillion
> gallons of gas in them, and airplanes that crash due to lack of fuel
> explode like they are carrying nuclear weapons? The Simpsons
> skewers this one regularly...I remember an episode where a milk
> truck hits a tree and goes up like Dresden.
>
> Bruce A. Johnson, CIC
> Wisconsin Public Television Digital Innovations Unit
> ICQ# 26415869
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L Benefactors such as http://www.promax.com, http://www.videoguys.com, http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe: http://www.DVCentral.org/thelist.html
> ---------------------------------------------
------------------------------
Date: Mon, 05 Feb 2001 11:23:23 -0500
From: Joe Parker
To: DV-L@dvcentral.org
Subject: Re: aspect ratios of pixels
Message-ID: <5.0.0.25.2.20010205111945.01b6db58@mail.speakeasy.org>
>is the pixel ratio between a desktop monitor and a normal tv screen the
>same and if not will that make a noticeable to and image played off both
>platforms
>
No, they're different, but when editing movies you rarely need to worry
about it. If you're doing a lot of image scanning you may want to
compensate manually.
A PC's pixels are considered 1:1, and the video pixels depend on the format
you're working in, but again not usually necessary for you to do anything
but make sure your output settings are correct for the device you're using.
------------------------------
Date: Mon, 05 Feb 2001 10:29:23 -0600
From: "Marc C. Hood, EdD"
To: "DV-L@dvcentral.org"
Subject: When is a Cut not a Cut?
Message-ID: <3A7ED4E3.1E2A0312@adent.com>
With all this talk of transitions and EFX (they should be shots, not
transitions ;-) I thought about something we discovered back in school.
While dissecting a CLIO tape, we noticed that when a CA was shot on film
and edited on film, the cuts were actually one frame dissolves. I
suppose it had to do with 24fps to 30fps, but for one frame there was a
50-50 mix. We called them "soft cuts" and felt they helped contribute
to the "film look" folks were trying so hard to achieve. I'm able to
get the same kind of effect with a 1 frame dissolve in Premiere 6.
I do believe these "soft cuts" are easier on the eyes while falling in
the the visual syntax as a simple cut. Or maybe I'm just obsessing
again...
mhood
------------------------------
Date: Mon, 5 Feb 2001 16:54:15 -0000
From: "simon"
To:
Subject: Re: [OT] web hosting companies
Message-ID: <004f01c08f94$46bd0b60$12fea8c0@joe>
try www.kendra.org they are into web hosting and have set up a group called
the Kendra initive which is trying to get providers to host other peopls
content, I don't know how far they have got but they do have a lot of
support
simon
----- Original Message -----
From: Janet Cunningham
To:
Sent: Monday, February 05, 2001 4:05 PM
Subject: Re: [OT] web hosting companies
> Re: hosting companies. I do not have a mac, I have a pc, but I have a web
> show on daily and we need to archive it and have archives that new viewers
> can "catch up" with the show or see back episodes. Also for a writers or
> directors reference.
>
> Janet
> ----- Original Message -----
> From: "Robert Rouveroy"
> To:
> Sent: Monday, February 05, 2001 5:06 AM
> Subject: Re: [OT] web hosting companies
>
>
> > At 6:56 PM -0800 2/4/01, Janet Cunningham wrote:
> > >I'm interrested in a new hosting company that has archival space.
> > >===========
> > If you have a MAC, Apple.com is the answer
> > --
> > Robert Rouveroy csc
> > The Hague, Holland
> >
> > ---(cut off when replying)-------------------
> > This list is made possible by Lifetime DV-L Benefactors such as
> http://www.promax.com, http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the contributions of its members.
> >
> > To contribute money: http://www.computervicestore.com/dvl.html
> > All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> > ---------------------------------------------
> >
>
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L Benefactors such as
http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
> ---------------------------------------------
------------------------------
Date: Mon, 5 Feb 2001 10:57:38 -0600 (CST)
From: Vidiot
To: DV-L@dvcentral.org
Subject: Re: aspect ratios of pixels
Message-ID: <200102051657.KAA29019@mrvideo.vidiot.com>
>>is the pixel ratio between a desktop monitor and a normal tv screen the
>>same and if not will that make a noticeable to and image played off both
>>platforms
>
>No, they're different, but when editing movies you rarely need to worry
>about it. If you're doing a lot of image scanning you may want to
>compensate manually.
>
>A PC's pixels are considered 1:1, and the video pixels depend on the format
>you're working in, but again not usually necessary for you to do anything
>but make sure your output settings are correct for the device you're using.
I disagree. Both your computer monitor and TV screen are 4:3. If you are
using a computer resolution like 1024x768, you have 1:1 pixels. So, if
you play a video full screen, you'll get the same 4:3 image ratio. This
will only occur if you are using a MPEG card or the software will really
fill the screen.
But, I do agree that the the format of the video file more than likely will
not be square pixels. NTSC video is 720x480, which is non-square. You
can edit that without fear of any problems. If I create a MPEG-2 file from
it, I can play it at 4:3 by using full screen mode. If I leave it the
smaller size, I can just shrink the display box horizontally until I get
4:3, as the MPEG card will "fix" the display to fit the window. But it is
just easier to fill the screen :-)
If you are image scanning, you do need to scan as 1:1. When using Premiere,
I do not suggest letting it take the 640x480 image and expanding it. It
does not use a good method for horizontal expansion (or compression from
720 to 640 as it so happens). I discovered that the other day. Let
Photoshop resample the image from 640x480 to 720x480. It would be
better if you worked with the image at 1280x960 and then rescaled it
to 720x480. That way you'll keep the higher horizontal resolution.
MB
--
e-mail: vidiot@vidiot.com
Bart: Hey, why is it destroying other toys? Lisa: They must have
programmed it to eliminate the competition. Bart: You mean like
Microsoft? Lisa: Exactly. [The Simpsons - 12/18/99]
Visit - URL:http://www.vidiot.com/ (Your link to Star Trek and UPN)
------------------------------
Date: Mon, 05 Feb 2001 11:22:20 -0600
From: Danny Grizzle
To:
Subject: Re: [OT] web hosting companies
Message-ID:
on 2/5/01 10:05 AM, Janet Cunningham at janetcunningham@earthlink.net wrote:
> Re: hosting companies. I do not have a mac, I have a pc, but I have a web
> show on daily and we need to archive it and have archives that new viewers
> can "catch up" with the show or see back episodes. Also for a writers or
> directors reference.
Delivering streaming video content is a specialty. As you compare
end-hosting vendors, you also need to evaluate their infrastructure. Most
ISPs don't host streaming video directly, despite appearances. The typical
arrangement is to outsource this to an infrastucture specialist like Akamai.
I own servers, and will be streaming soon - researching details/costs. (I'll
host my own productions only, however.)
Danny Grizzle
------------------------------
Date: Mon, 05 Feb 2001 12:14:52 -0500
From: Bertel Schmitt
To: DV-L@dvcentral.org
Subject: Re: Editing Etiquette
Message-ID: <5.0.2.1.2.20010205121421.03e52b50@popserver.panix.com>
At 09:22 AM 2/5/01 -0600, you wrote:
>I enjoyed your article too, John. I've included the URL in my list of
>"must reads" for the editing section of my NewMedia class. I imagine this
>is the kind of thing Bertel would be
extremely
>interested in having on the new DV-L server (under the e.ducation section
>somewhere). Would you be interested?
BS
------------------------------
Date: Mon, 5 Feb 2001 09:31:37 -0800 (PST)
From: "Joel W. Smit"
To: DV-L@dvcentral.org
Subject: Re: Job costing for kids' stage play
Message-ID: <20010205173137.21561.qmail@web5303.mail.yahoo.com>
--- Jean Demers wrote:
> There are a lot of factors to consider when doing
> "free B" work for
> organizations.
>
> I feel it is always important for your client to
> know the real value of the
> work. Too many times, people with very good
> intentions give away their work
> to clients who will remember FOREVER that they got
> that job done for only x$
> thus create a false value of our profession and
> production costs. Then we
> have to fight our way in for decent budgets .
EXACTLY!
> If it's a non-profit organization, invoice them with
> the REAL VALUE and
> return most of it as a donation for which you will
> receive a receipt.
GREAT IDEA. But does this work if one does not
itemize on taxes? Or am I missing the obvious?
> Everyboby will be happy :-)
>
> Regards,
>
> Jean Demers, Bromefilms
> Quebec, Canada
__________________________________________________
Get personalized email addresses from Yahoo! Mail - only $35
a year! http://personal.mail.yahoo.com/
------------------------------
Date: Mon, 5 Feb 2001 11:31:53 -0500
From: "Mark Kelley"
To:
Subject: Re: Praise the effects (Cuts are BORING!)
Message-ID: <016001c08f91$25fd6fd0$a01a210a@statefarm.com>
"A dissolve is just a cut looking for a place to happen." - a quote from
an Austin City Limits crew person.
Mark Kelley
----- Original Message -----
From:
To:
Sent: Monday, February 05, 2001 10:03 AM
Subject: RE: Praise the effects (Cuts are BORING!)
This thread needs cut. (grin)
Those who create by doing what you're supposed to do - that's boring. If it
works for you helping you create your vision, use it. From Timecode (no
cuts, 4-way split screen) to The Limey - lots of audio visual cuts to
Requiem for A Dream (split screens, time lapse, speed adjustments and other
effects) to Crouching Tiger, Hidden Dragon (cuts and fades) - you follow the
vision of the work. All great movies, but not exactly using the same "rules"
about transition, effects, cuts...
Unless people try stuff that's "wrong, inappropriate, offensive, bad,
nonsensical" - how will we ever discover anything new?
stephen
www.xiveren.com
"It's only after you've lost everything
that you're free to do anything."
~Tyler~
---(cut off when replying)-------------------
This list is made possible by Lifetime DV-L Benefactors such as
http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
To contribute money: http://www.computervicestore.com/dvl.html
All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
---------------------------------------------
------------------------------
Date: Mon, 5 Feb 2001 09:50:05 -0800 (PST)
From: "Joel W. Smit"
To: DV-L@dvcentral.org
Subject: Re: Job costing for kids' stage play
Message-ID: <20010205175005.15388.qmail@web5301.mail.yahoo.com>
Hi bill
Well, that's me anal and nuts. My NLE is the single
best piece of equipment in my ars-anal. I don't want
to produce schlock and probably I try too hard to make
quality 'job one' no matter what the compensation.
My old old prosumer AVE5 mixer might work but it tends
to degrade the image from the start. Plus, the high
school auditorium sound system is not very good. No
line out so the best I can do with limited equipment
is put a wireless near a speaker and place number 3
cam near the stage for additional coverage and tweak
audio in post.
I can get vhs tape at Wal-Mart that is plenty good
enuf and run off copies with basic labels for a lot
less than outsourcing.
Pushing value added won't go either. They can't
afford what I should be charging for the basics. I
know this because the previous videographer is a
friend of mine and did the work mostly as community
service.
Your points are well taken, it's just a matter of the
locals wanting to pay for the tapes but not the work.
Sigh.
Cheers,
Joel W. Smit
--- William Domb wrote:
>
> ----- Original Message -----
> From: "Joel Smit"
>
> > I am figuring for a three camera set-up with
> myself as the only operator
> > about 60 hours of work (5 hours production and 55
> hours
> > capturing/editing/tweaking on a Matrox DTV) not
> including the 1 or 2
> > at-a-time copying phase.
>
> Get it in the can DURING the performance. Don't be
> so anal.
>
> Mix the signals realtime and be done with it.
>
> Even so, the 55 hrs sounds much too long.
>
> Secondarily, send out the tapes for duping. At
> three or four bucks a pop
> including labeling, case and shrink-wrap, you'd be
> nuts to waste your time
> doing this.
>
>
> >My guess is that I could charge $400 and get
> > it but if I asked $500 they could not pay.
>
> How did you come by this knowledge?
>
> Don't forget to sell up...value added features like
> cases, labeling,
> artwork, 'special long-lasting hi-fi' tape, etc.,
> etc....
>
> regards
> bill domb
> upland ca
>
>
__________________________________________________
Get personalized email addresses from Yahoo! Mail - only $35
a year! http://personal.mail.yahoo.com/
------------------------------
Date: Mon, 5 Feb 2001 19:07:20 +0100
From: Robert Rouveroy
To: DV-L@dvcentral.org
Subject: Re: Dogme, Dog-me, Dog-you
Message-ID:
At 9:08 AM -0500 2/5/01, Carlos Caridad Montero wrote:
>Correction:
>
>The Celebration was made on MiniDV =97a PD5 Sony consumer camcorder=97,
>and Dancer in the Dark was shooting with the PC100 Sony camcorder
>(100 cameras!) and the Sony DVCam.
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
If HDTV (Sony's 24p) camera is still not in the same league with
35mm, surely PD5 and PC100's are several generations worse. It did
not matter. The story and execution was foremost.
--
Robert Rouveroy csc
The Hague, Holland
------------------------------
Date: Mon, 5 Feb 2001 10:07:58 -0800
From: "Dale Launer"
To:
Subject: Self Correction on 19th Century Film
Message-ID: <000801c08f9e$9260dc40$5d280304@vz.dsl.genuity.net>
This is a multi-part message in MIME format.
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Though GREAT TRAIN ROBBERY is known as the first "narrative" film, there =
were dramas being made pre-20th Century. Melies did L'Affaire Dreyfus =
in 1898. I've always wondered why TRAIN ROBBERY was considered the =
first, when I think it just had more to do with filmmaking while =
previous film were just cameras shooting static staged scenes. =20
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Though GREAT TRAIN ROBBERY is known as the first "narrative" film, = there=20 were dramas being made pre-20th Century. Melies did L'Affaire = Dreyfus=20 in 1898. I've always wondered why TRAIN ROBBERY was = considered=20 the first, when I think it just had more to do with filmmaking while = previous=20 film were just cameras shooting static staged scenes.
------=_NextPart_000_0005_01C08F5B.83D145E0--
------------------------------
Date: Mon, 5 Feb 2001 10:08:58 -0800
From: "Dale Launer"
To:
Subject: Dogme 95 and 10th Century film
Message-ID: <001901c08f9e$b65b10c0$5d280304@vz.dsl.genuity.net>
This is a multi-part message in MIME format.
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First off...there was a post criticizing the new generation of =
fillmmakers not having much film history from "19th century" and on. =
It's a minor point, but there really is much in film before the 20th =
century. At least not narrative film - the first of which was THE =
GREAT TRAIN ROBBERY in 1903, and Melies' TRIP TO THE MOON was in 1902.=20
But the point is taken. I'm not sure if an early film history is =
needed. So much of what has been done, that which was original and =
fresh back then is old and stale now. And knowing when a cliche began =
isn't going to be helpful. I like the sentiment, and I understand it, =
but in practice I've found that people can be fresh without know the far =
past. Rock and rollers often don't know the first thing about music =
history, and the ones who trained at Julliard aren't any better than the =
ones who listened to the radio and banged away on their Strat in a =
garage. (tangent - did you know that Alan Greenspan went to Julliard? =
He wanted to be a jazz sax player?)
Off to Dogme 95. Someone mentioned how the rules seemed like a joke. =
But they're there to get filmmakers to get to the heart of movie- making =
- which is the story and performance. The rule about no naturally =
occuring props is in part to get rid of the prop man. Dogme is =
actually very liberating in it's constraints. One could make a movie =
without a large crew, or a crew at all. It forces the writer/director =
into the drama.
Boring? That's all a matter of taste. I remember watching THE =
CELEBRATION for the first time - and I'd been musing over the idea that =
a well written and well performed movie shot on a video camera should =
"work" and finally some did just that. The movie started and I hated =
the soft fuzzy look - but I asked my date whatshe thought of the look - =
and and she "liked it". MTV dirties up images so much that people are =
accepting of anything. Which is encouraging to my little theory. Then =
I watched the movie - the camera movements, the jitter - was annoying, =
but I persevered...I was little bored with the introduction of the three =
dysfunctional siblings who're going to celebrate their father's birthday =
at some resort somewhere. I've always loved good cinematography and =
good looking movies and I was getting distracted by the grain and =
softness of the DV to film image. And then, about 30 minutes into the =
movie - at the celebration - people are standing and toasting the father =
and giving little speeches. Then his youngest son gets up, toasts the =
father, and brings up a "fond" memory of the time his father marched all =
four children into his study, locked the door and sodomized all of them. =
=20
Suddenly the resolution of the medium just didn't matter. The movie =
didn't have any resolution - suddenly the dramatic engine was kicked to =
life and you wanted to see the father's reaction, you wanted to see =
everybody's reaction, and you wanted to know after the father's denial - =
was it true? And it certainly wasn't boring. But then again that's =
a matter of taste. And when it comes to taste there can be nor =
arguments. (There's a latin term for this but it escapes me). =20
To me Dogme 95 has been inspirational. But to follow the rules =
religiously? Nah. What's the point? =20
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First off...there was a post criticizing the new generation of = fillmmakers=20 not having much film history from "19th century" and = on. =20 It's a minor point, but there really is much in film before the 20th=20 century. At least not narrative film - the first of which = was THE=20 GREAT TRAIN ROBBERY in 1903, and Melies' TRIP TO THE MOON was = in 1902.=20
But the point is taken. I'm not sure if an early film history = is=20 needed. So much of what has been done, that which was original and = fresh=20 back then is old and stale now. And knowing when a cliche = began=20 isn't going to be helpful. I like the sentiment, and I = understand=20 it, but in practice I've found that people can be fresh without know the = far=20 past. Rock and rollers often don't know the first thing = about music=20 history, and the ones who trained at Julliard aren't any better than the = ones=20 who listened to the radio and banged away on their Strat in a=20 garage. (tangent - did you know that Alan Greenspan went to=20 Julliard? He wanted to be a jazz sax player?)
Off to Dogme 95. Someone mentioned how the rules seemed = like a=20 joke. But they're there to get filmmakers to get to the heart of = movie-=20 making - which is the story and performance. The rule = about no=20 naturally occuring props is in part to get rid of the prop = man. =20 Dogme is actually very liberating in it's constraints. One = could=20 make a movie without a large crew, or a crew at all. = It forces=20 the writer/director into the drama.
Boring? That's all a matter of taste. I remember = watching=20 THE CELEBRATION for the first time - and I'd been musing over the = idea=20 that a well written and well performed movie shot on a video camera = should=20 "work" and finally some did just that. The movie = started and I=20 hated the soft fuzzy look - but I asked my date whatshe thought of the = look -=20 and and she "liked it". MTV dirties up images so much that = people=20 are accepting of anything. Which is encouraging to my little=20 theory. Then I watched the movie - the camera movements, the = jitter=20 - was annoying, but I persevered...I was little bored with the = introduction of=20 the three dysfunctional siblings who're going to celebrate their = father's=20 birthday at some resort somewhere. I've always loved good=20 cinematography and good looking movies and I was getting distracted by = the grain=20 and softness of the DV to film image. And then, about 30 = minutes=20 into the movie - at the celebration - people are standing and toasting = the=20 father and giving little speeches. Then his youngest son gets up, = toasts=20 the father, and brings up a "fond" memory of the time his father marched = all=20 four children into his study, locked the door and sodomized all of = them. =20
Suddenly the resolution of the medium just didn't = matter. The=20 movie didn't have any resolution - suddenly the dramatic engine was = kicked to=20 life and you wanted to see the father's reaction, you wanted to see = everybody's=20 reaction, and you wanted to know after the father's denial - was it=20 true? And it certainly wasn't = boring. But=20 then again that's a matter of taste. And when it = comes=20 to taste there can be nor arguments. (There's a latin term for = this but it=20 escapes me).
To me Dogme 95 has been inspirational. But to follow = the rules=20 religiously? Nah. What's the point? =20
------=_NextPart_000_0016_01C08F5B.A7DC4340--
------------------------------
Date: Mon, 5 Feb 2001 19:18:14 +0100
From: Robert Rouveroy
To: DV-L@dvcentral.org
Subject: Re: [OT] web hosting companies
Message-ID:
At 8:05 AM -0800 2/5/01, Janet Cunningham wrote:
>Re: hosting companies. I do not have a mac, I have a pc, but I have a web
>show on daily and we need to archive it and have archives that new viewers
>can "catch up" with the show or see back episodes. Also for a writers or
>directors reference.
============
I think http://www.grrrls.com might just be what you are
looking for.
--
Robert Rouveroy csc
The Hague, Holland
------------------------------
Date: Mon, 5 Feb 2001 12:20:42 -0600
From: Rik Albury
To: "'DV-L@dvcentral.org'"
Subject: RE: Job costing for kids' stage play
Message-ID:
Joel W. Smit wrote, in part:
"...it's just a matter of the
locals wanting to pay for the tapes but not the work."
So give 'em the tapes but not the work.
-Rik. (CIC)
------------------------------
Date: Mon, 5 Feb 2001 19:21:37 +0100
From: Robert Rouveroy
To: DV-L@dvcentral.org
Subject: Re: Dogme 95 and 10th Century film
Message-ID:
>At 10:08 AM -0800 2/5/01, Dale Launer wrote:
>To me Dogme 95 has been inspirational. But to follow the rules
>religiously? Nah. What's the point?
===========
...dead on, bro! You summarized exactly what I needed 200 words for...thanks
--
Robert Rouveroy csc
The Hague, Holland
------------------------------
Date: Mon, 5 Feb 2001 10:24:20 -0800
From: Charles F. McConathy
To:
Subject: Re: What realtime can/can't do?
Message-ID: <1010205102425.12309311.3f774447.ASIP6.3.1.797574@mail.promax.com>
Thomas Giebink Wrote:
The Matrox RTMac is a real time preview card in my opinion since you must
render if you have used transitions or effects before you can print a
project back to FireWire. It is real time out (without rendering) via
S-Video or Composite and computer audio but what we have found that most
want to go back to FireWire not analog thus the statement of real time
preview is mostly correct.
Our RT-MAX card has a pair of DV-25 Cube processors on it thus will go
back to FireWire in real time (at least for what is real time) and will
offer color correction in real time.
FWIW
Charles F. McConathy
www.promax.com
>That is a flat out mistatement
>"the Matrox is realtime preview only"
>
>RT2000 and all Digisuite board provide realtime analog output off the
>timeline directly.. and a large array of 3D effects that require no
>rendering time ... as in zero rendering time.
>
>Does RT2000 do real time 1394 output from the timeline?... yes.. but cuts
>only (currently). Matrox effects that output in realtime via analog must
>be rendered first prior to output via 1394. Whether that is a major
>problem for you ... you must be the judge.
>
>Consider what I call REAL real time saving in your work flow though. The
>fact that complex 3D effects require no rendering means that you save
>literally hours of time setting up those effects... since 3D rendering of
>any complexity is hugely time consuming even on the fastest machine.... you
>can play around with timing, placement, parameters to your hearts content..
>in real time.... and output that in realtime to analog. Even if you are
>outputting via 1394 those effects render at incredible speed because they
>are hardware assisted by the RT2000 hardware.
>
>Its worth getting your facts straight before you make blanket
>(mis)statements.
>
>BTW... though I realize there are few DTV / LX owners here... the new MAX
>card we're looking at now...(realtime 3D for those Matrox cards) is great
>and WILL provide realtime I/O over 1394 as well....
>
>tom
>
>
>At 05:51 PM 2/2/01, you wrote:
>>Roberto
>>The realtime board that will do the most is the ProMax RT board the Matrox
>>is realtime preview only. As for a release date for FCP Realtime...maybe
>>at NAB(right now no one is talking) then
>>the RT cards will start delivering shortly thereafter. In the meantime I
>>would go for a new G4, they are fast.
>>
>>Cheers
>>Bob Fisher
>>FishPond Digital
>>
>>Roberto Tietzmann wrote:
>>
>> > Hello, all!
>> >
>> > Sorry if this is an old topic, but I am a newbie to the realtime hardware
>> > field.
>> >
>> > Recently, I got a client whose demands included a lot of titling and
>> > subtitling in various videos. My trusty blue G3 + FCP is VERY slow to
>> handle
>> > this, due to recompression times. So I ask you:
>> >
>> > -Are RT boards capable of overlaying titles in realtime?
>> >
>> > -Are the coming realtime boards for Mac OS (Matrox, Promax) able to do
>> this?
>> >
>> > -If so, when are they coming out? As well as FCP-RT too.
>> >
>> > Thanks for all,
>> >
>> > Roberto
>> >
>
------------------------------
Date: Mon, 05 Feb 2001 10:26:24 -0800
From: rdsanders@starway-pictures.com (Starway Pictures - rdsanders)
To:
Subject: Re: Dogme, Dog-me, Dog-you
Message-ID:
Give the frame rates and depth of field issues to resolve themselves within
the next few years. Like any new technology, it takes some time to mature.
Everyone in the Hollywood community is taking a wait-and-see attitude. Star
Wars Ep. 2 will probably open the floodgates.
> Also, none of these DV or HDTV camera's can shoot at a
> higher fps so the directors HAVE to fall back on 35mm to create true
> slow motion.
I don't have a problem mixing formats like 24P with 35mm. An experienced
D.P. Should have no problems shooting them both. Robbie Richardson and
Oliver Stone have been doing it for years. I don't know why there is this
attitude that you somehow can't mix digital with 35mm. They're just tools
to craft your film. If you need a really high frame rate, shoot 35mm and
have the negative scanned in on a 2x2 Spirit-Telecine and convert it to your
HD master and cut it into your show (unless you are absolutely intent on a
100% digital show ...which is silly really, because what you really want is
100% digital post-production, not acquisition).
> And much of the difference lays in the dissimilar d.o.f. Even HDTV
> camera's still have no target like 35mm cameras, therefore the
> 'normal' lens is quite divergent, therefore the focus variance is
> immediately pronounced. There is also an undefined "look" to film
> that todate has not been emulated.
Let's define "normal". Why must we compare 24P with 35mm spec for spec?
24P IS A COMPLETELY DIFFERENT FORMAT. It should never be compared and
contrasted with film. We shouldn't be "emulating" the look of film! We
should be creating a new visual dynamic with it's own "look" and it's own
set of benefits and caveats. 24P SHOULD NOT LOOK LIKE FILM. It should like
24P. The image capture area is different, the lenses are different, the
resolution is different, the depth of field is different, it's sharpness is
different...it's a digital analog format...IT'S NOT FILM, IT'S REALLY NOT
EVEN VIDEO and NEVER WILL BE!
I'm sure no one on this list, including myself, has ever seen projected 24P
footage that has been shot with Panavision's new Digital Primo Lenses.
Until we have, the depth of field, sharpness arguments are mute.
It's also probably just a matter of time before boutique shops in Hollywood
start offering "Filmlook" emulated processes for those producers who are so
worried that their movie won't look like "film" that they'll do anything
they can to hide the fact that they shot it on 24P rather than heralding it
like they would've in the 40's or 50's when they introduced new widescreen
formats.
Sorry for the rant. Film snobbery really gets under my skin.
Robert D. Sanders
www.starway-pictures.com/sandman
------------------------------
Date: Mon, 5 Feb 2001 12:24:41 -0600
From: Jeff Economy
To: DV-L@dvcentral.org
Subject: Re: Dogme 95 and 10th Century film
Message-ID:
>To me Dogme 95 has been inspirational. But to follow the rules
>religiously? Nah. What's the point?
Indeed-- even VanTrier has violated his own Chastity Pledge.
------------------------------
Date: Mon, 5 Feb 2001 13:36:25 -0500
From: Em
To: DV-L@dvcentral.org
Subject: Re: Editing peeves
Message-ID:
Hehe! Also... the episoide when Cheif Piggham is undercover
dressed as a"Duff" Beer Can, he is knocked over, rolls down
a hill, hits the "same tree" and Explodes.... Man!....that's funny....
Slightly OT...but I could'nt resist....
Em
>OOOH! OOOH! OOOH! Mr. Kot-TERRRR! frantically>
>
>Jenny and Jason just reminded me of one of my ALL-TIME big
>peeves:
>
>When something blows up, it blows up twice. Or three times. Or
>six times. Enough times that it justifies the $100K they spent on
>the shot, but truly interrups the flow of time. Arrrrgh.
>
>Also, you ever notice that cars explode as if they have a jillion
>gallons of gas in them, and airplanes that crash due to lack of fuel
>explode like they are carrying nuclear weapons? The Simpsons
>skewers this one regularly...I remember an episode where a milk
>truck hits a tree and goes up like Dresden.
------------------------------
Date: Mon, 5 Feb 2001 12:52:57 -0600
From: tim.haupt@philips.com
To:
Cc: ,
Subject: Microphone w/Pre-Amp (was Portable Microphone Preamp
Message-ID: <0056910010105118000002L182*@MHS>
For a very nice little microphone with integrated pre-amp, check Super =
Circuits (supercircuits.com). I've used the model PA3 for a couple of =
years for covert stuff (not related to my normal work), and it's very s=
ensitive. About the size of the end of=20
your pinkie, runs on 6-15 VDC which is connected on down the cable, whi=
ch also has an male RCA connector ready to plug directly into your deck=
or whatever. Nice line level out, runs for days on a standard 9 volt =
battery. And since it's at line level,=20
you can have a failly long cable run without worry of signal degradatio=
n or picking up hum. The accessroy 8 battery holder is overkill, but d=
oes include the connector for a 9V battery, which will run it fine.
Overall, this is a much better solution than extra pre-amps and such, f=
or convinence and portability.
Tim Haupt
tim.haupt@philips.com
Date: Sun, 4 Feb 2001 09:31:06 -0800
From: "William Domb"
To:
Subject: Re: Portable Microphone Preamp?
Message-ID: <013e01c08ed1$f7eda6b0$5e934b94@oemcomputer>
----- Original Message -----
From: "Aleksandr Milewski"
> So I'm looking for a way to connect a mic to the line-in on the
> GV-D200. This has to be a common problem, but I can't find a
> reasonably priced mic preamp that I can run from 12V (or less) DC,
> and the thought of adding a DC/DC converter (or worse yet an
> inverter) is thoroughly irritating.
>
You're not going for concert hall fidelity here. Check out the very
inexpensive mic pre-amps from Radio Shack.
regards
bill domb
upland ca
=
------------------------------
Date: Mon, 05 Feb 2001 13:58:56 -0500
From: Joe Parker
To: DV-L@dvcentral.org
Subject: Re: aspect ratios of pixels
Message-ID: <5.0.0.25.2.20010205134850.01b6e3d0@mail.speakeasy.org>
You may disagree with my use of the word 'considered', but you cannot
disagree with the *fact* that a pixel on a PC is the same width as height,
or 1:1. And in D1 formats like DV the pixels are .9:1.
You're confusing the *picture* or *medium* aspect ratio/resolution with
pixel aspect ratios.
I _think_ what I was thinking when I added the qualifier 'considered' is
that anyone can badly adjust their monitor and give the pixels any
appearance they want.
> >A PC's pixels are considered 1:1, and the video pixels depend on the format
> >you're working in, but again not usually necessary for you to do anything
> >but make sure your output settings are correct for the device you're using.
>
>I disagree. Both your computer monitor and TV screen are 4:3. If you are
>using a computer resolution like 1024x768, you have 1:1 pixels. So, if
>you play a video full screen, you'll get the same 4:3 image ratio. This
>will only occur if you are using a MPEG card or the software will really
>fill the screen.
------------------------------
Date: Mon, 05 Feb 2001 13:59:57 -0500
From: Bertel Schmitt
To: DV-L@dvcentral.org
Subject: NLE Software Roundup
Message-ID: <5.0.2.1.2.20010205134907.04a1ac40@popserver.panix.com>
A pretty good and balanced roundup of currently available NLE software
packages can be found at
http://www.digitalvideoediting.com/cgi-bin/getframeletter.cgi?/2001/01_jan/features/nle1.htm
... a site which prides itself of delivering "Professional Production
Resources"
The article delivers everything from the usual suspects, such as Premiere 6
("a standard in digital nonlinear editing software for the desktop
producer") and Final Cut ("a great software package that offers great
editing functionality"), to oddballers such as AIST Moviepack or Incite
Studio 2.6 ("a great system for those of us who still have lots of analog
tape machines lying around").
BS
------------------------------
Date: Mon, 5 Feb 2001 13:07:36 -0600 (CST)
From: Vidiot
To: DV-L@dvcentral.org
Subject: Re: aspect ratios of pixels
Message-ID: <200102051907.NAA32308@mrvideo.vidiot.com>
>You may disagree with my use of the word 'considered', but you cannot
>disagree with the *fact* that a pixel on a PC is the same width as height,
>or 1:1. And in D1 formats like DV the pixels are .9:1.
>
>You're confusing the *picture* or *medium* aspect ratio/resolution with
>pixel aspect ratios.
No, you're confusing what the original poster was asking with digital video.
He asked if viewing the video on a TV screen is different from viewing
the video on a computer screen. He wasn't asking what the video's pixel
ratio was. I answered the question as it was asked.
I was able to answer it because I do it all the time on my setup.
MB
--
e-mail: vidiot@vidiot.com
Bart: Hey, why is it destroying other toys? Lisa: They must have
programmed it to eliminate the competition. Bart: You mean like
Microsoft? Lisa: Exactly. [The Simpsons - 12/18/99]
Visit - URL:http://www.vidiot.com/ (Your link to Star Trek and UPN)
------------------------------
Date: Mon, 5 Feb 2001 19:09:32 -0000
From: "simon"
To:
Subject: Re: Green Screen Problems
Message-ID: <003301c08fa7$2bdd2ec0$12fea8c0@joe>
if useing premier, we have found that using a blue screen works well using
non red transparancy filter with the settings around, BLEND 50 TRANSPARANCY
18 and CUT OFF 9. we also find that a Guassian blurr in the special
prossecing helps
hope it helps
simon
----- Original Message -----
From: Jon Burkhart
To:
Sent: Monday, February 05, 2001 3:35 PM
Subject: Re: Green Screen Problems
> Hi Torjan. Welcome to the DV List.
>
> A couple of things. You might try blue instead of green as your
background color. I too, thought green would be the best color. I've done
only a few experiments with my XL1 and a rather
> new Canopus Storm card and for me blue may work better. I haven't had
time to do further testing.
>
> Also, you might want to look in on http://www.puffindesigns.com/
>
> I saw this software demonstrated at DVExpo last year and was greatly
impressed by it. It's rather expensive but it might be your best chance to
get the quality you require.
>
> Chroma key is difficult at best. I think our ability to do this kind of
effect in the DV format maybe just a cruel joke by the video gods. They
like to see us suffer, you know!
>
> Aloha,
> Jon Burkhart
>
> CastanedaFilm@aol.com wrote:
>
> > Hello,
> >
> > I was just introduced to the list by Alexei Gerulaitis from Computer
Vice.
> >
> > I'm having a problem getting a good matte from some footage I shot for a
> > documentary. The footage was shot with an XL1, captured with a DV300
and I'm
> > using Ultimatte in Premiere for the transparency. I'm getting jagged
edges
> > on the body of my foreground subject. Granted, this is miniDV, but I'm
> > hoping there's a better way to get a good matte from my footage. Alexi
> > helped me upload some of my frames, and you can download them at:
> >
> >
> > http://groups.yahoo.com/group/DV-List/files/Support/
> >
> > AE 4.1 has some good feathering for its color key feature, but even that
> > isn't great. I'd appreciate any advice anyone can offer.
> >
> > thanks
> > Torjan
> >
> > ---(cut off when replying)-------------------
> > This list is made possible by Lifetime DV-L Benefactors such as
http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
> >
> > To contribute money: http://www.computervicestore.com/dvl.html
> > All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
> > ---------------------------------------------
>
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L Benefactors such as
http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
> ---------------------------------------------
------------------------------
Date: Mon, 5 Feb 2001 14:15:15 -0500
From: "Stephen van Vuuren"
To:
Subject: RE: Praise the effects (Cuts are BORING!)
Message-ID: <002001c08fa7$fa340f00$4423a8c0@dell420me>
>>"Unless people try stuff that's "wrong, inappropriate, offensive, bad,
>>nonsensical" - how will we ever discover anything new?"
>How about by trying stuff that's right on, pertinent, sensitive,
>great, brilliant, and clever? You don't need a bad attitude to
>innovate.
Thanks for proving my point. I put my adjectives in quotes to indicate that
people will never agree on what's "right on, pertinent, sensitive, brilliant
and clever". Creation is always to be experienced not judged.
I said nothing about bad attitude to innovate - that says more about you
that it does me.
stephen
www.xiveren.com
"It's only after you've lost everything
that you're free to do anything."
~Tyler~
------------------------------
Date: Mon, 05 Feb 2001 14:18:55 -0500
From: Joe Parker
To: DV-L@dvcentral.org
Subject: Re: aspect ratios of pixels
Message-ID: <5.0.0.25.2.20010205141418.01b7d6a8@mail.speakeasy.org>
>No, you're confusing what the original poster was asking with digital video.
>He asked if viewing the video on a TV screen is different from viewing
>the video on a computer screen. He wasn't asking what the video's pixel
>ratio was. I answered the question as it was asked.
To quote the original question:
>is the pixel ratio between a desktop monitor and a normal tv screen the same
He *is* asking what the pixel's aspect ratio is. I realize the many other
branches of the question and I also attempted to intuit what he may have
been _trying_ to ask. But I didn't confuse apples and oranges.
------------------------------
Date: Mon, 5 Feb 2001 14:23:08 -0500
From: "Stephen van Vuuren"
To:
Subject: RE: Dogme, Dog-me, Dog-you
Message-ID: <002101c08fa9$12ef6de0$4423a8c0@dell420me>
>Sorry for the rant. Film snobbery really gets under my skin.
Never be sorry - your points were excellent. It reminded me of the current
issue of MovieMaker has a guy from Super 8 Sound (I dropped some money there
in the late 80's) claiming DV is bogus format - you learn nothing about
filmmaking unless you shoot on Pro Super 8 stock (repacked Kodak 35mm
negative stock) because the "big boys across town" shoot 35mm and video is
flat & lifeless (since it capture in image in wires and circuits rather than
emulsions) only suited for TV and reality shows (I'm gratuitously
paraphrasing here).
But the idea that never occurred to this hopeless film snob is that maybe
some us shoot DV because we don't aspire to 35 mm filmmaking. Our future is
24P and other digital formats to come. The article was just dripping with
snobbery. Read it and be inspired to rant on.
stephen
www.xiveren.com
"It's only after you've lost everything
that you're free to do anything."
~Tyler~
------------------------------
Date: Mon, 5 Feb 2001 13:27:22 -0600 (CST)
From: Vidiot
To: DV-L@dvcentral.org
Subject: Re: aspect ratios of pixels
Message-ID: <200102051927.NAA32678@mrvideo.vidiot.com>
>>No, you're confusing what the original poster was asking with digital video.
>>He asked if viewing the video on a TV screen is different from viewing
>>the video on a computer screen. He wasn't asking what the video's pixel
>>ratio was. I answered the question as it was asked.
>
>
>To quote the original question:
>
>>is the pixel ratio between a desktop monitor and a normal tv screen the same
>
>
>He *is* asking what the pixel's aspect ratio is. I realize the many other
>branches of the question and I also attempted to intuit what he may have
>been _trying_ to ask. But I didn't confuse apples and oranges.
Gee, that's funny, but 640x480 has the same aspect ratio as 1024x768.
One can capture NTSC video at 640x480. No one says that it has to be 720x480.
The original poster continued on to ask about viewing the video on both the
TV and computer monitor. In reality, because NTSC television is analog,
it really doesn't have "pixels."
The answer I gave stands. It accurately describes viewing video on both
your TV set/monitor as well as viewing it on your computer.
I suspect that the original poster needs to jump back in here and let us
know if his question has been answered.
MB
--
e-mail: vidiot@vidiot.com
Bart: Hey, why is it destroying other toys? Lisa: They must have
programmed it to eliminate the competition. Bart: You mean like
Microsoft? Lisa: Exactly. [The Simpsons - 12/18/99]
Visit - URL:http://www.vidiot.com/ (Your link to Star Trek and UPN)
------------------------------
Date: Mon, 05 Feb 2001 14:31:02 -0800
From: Ned Barber
To: DVL
Subject: Streaming Lead-Ins
Message-ID: <3A7F29A5.3C68C7C0@bellatlantic.net>
Any of you who tried to view the theater video lead-ins on my site and
failed - they are now loaded properly. Sorry!
Ned Barber
Performance Video
www.capturethemagic.com
------------------------------
Date: Mon, 05 Feb 2001 11:29:14 -0800
From: Adam Levine
To: DV-L@DVCentral.org
Subject: Re: DV-L V1 #757
Message-ID:
Just got the 80G Maxtor for my Macs. Real small and portable, so far
no problems with DV/Final Cut. It was only $320 US.
>Date: Sun, 4 Feb 2001 02:31:58 -0800 (PST)
>From: mheffels@newsguy.com
>To: dv-l@dvcentral.org
>Subject: Maxtor external storage unit
>Message-ID: <200102041031.f14AVwx88420@newsguy.com>
>
>Hi
>
>While on the road to Australia, I'm shopping in Hong Kong. I saw a Maxtor
>External Storage Unit, with firewire port. Seems like a nice solution to use
>with my Sony VAIO notebook. Anyone use such a combination? Is it possible to
>connect the camera to the backplane and capture directly to the harddisk?
>
>I can test it in the shop, but then I have to buy it first, then test it, and
>if it's not working, return it. So, if anyone can help me, it would save me a
>lot of hassle. Btw, the best price which I found for this in Mong Kok is
>HK$3500, which is more expensive then in the USA.
>
>TIA, cheers
>
>-martin-
>
>
--
Adam Levine
schecky@pacbell.net
------------------------------
Date: Mon, 5 Feb 2001 13:48:16 -0600
From: tim.haupt@philips.com
To: ,
Subject: Flat Panels
Message-ID: <0056910010107505000002L152*@MHS>
Hello from Seattle, USA.
Had the opportunity to tour Italy for two weeks last year with my wife =
(and even my mother for one week). I will be returning to Saronno agai=
n for work this year. I work in the display industry, and our main sup=
plier is in that area.
Yes, the digital models require a compatible video card. There are onl=
y a few on the market, but then you only need one (!). Matrox is one v=
endor, and the cards are about $150 U.S or so. They do provide somewha=
t better results in regards to more=20
stable image with less potential for artifacts (garbage, shimmer, etc.)=
. If you are spending the money for the flat panel, the digital video =
card will allow it to be it's best.
Most flat panels now are analog, with more hybird (analog & digital) co=
ming on the market. The digital only panels can potentially cost less,=
as they save the cost of the analog circuitry. However for now the pr=
ices are pretty even for digital / analog=20
/ hybrid. If the panel has digital, there is no disadvantage from havi=
ng the analog capability also. In a year or two, new computers will be=
coming out with digital video out as standard, so certainly consider t=
hat if getting an analog only panel. =20
Also there are several "flavors" of digital signal (which is why the sl=
ow addoption). The most prevalant is DVI (Digital Visual Interface). =
Be aware there are different connector types to match these different f=
lavors, so getting the connecton correct=20
is part of the challenge.
The dot pitch is a pretty big factor, but more important in my opinion =
is the contrast ratio, handling of grey levels, and viewing angle, espe=
cially if more than one person would be viewing it at the same time. T=
he vendors do a poor job of conveying=20
this information or providing any way of making comparisons. I work fo=
r a company that makes diagnositic medical ultrasound equipment, and we=
have spent US$100,000 to install an optical test bench for characteris=
ation of displays. So image quality is=20
critical to us as you can see, and being able to quantify the testing i=
s very important to us.
For the more normal application, I strongly suggest you _see_ what you =
are buying. There is no way to assume how it will look based on the ve=
ndors information, web site or whatever. You must see it yourself, bes=
t with the same type of material you will=20
be using with it. For example, if you are a graphics artist or do vide=
o work, take some images of typical work, including dark scenes and lot=
s of low-level gray material. Put that on the display you are consider=
ing, and be satisfied with how that will=20
look. Once you have selected a model, I would suggest purchasing it lo=
cally at a shop with good return policy. Many displays have one or mor=
e defective pixels: they may not light up, or be "stuck" on. This may =
be acceptable to you, but if not, it=20
would be perhaps difficult to return it to a mail order vendor, especia=
lly when the manufacturer will claim that some bad pixels are inevitabl=
e. Perhaps 10-20% of all panels have one or more defective pixels. Be=
st idea is to unpack it in the store and=20
fire it up while there.
The January or February issue of (I think) PC Magazine has a comparison=
of several LCD panels. I'll see if I can locate the article and provi=
de you the main points.=20
Date: Mon, 5 Feb 2001 08:29:50 +0100
From: "Enrico Quaglia"
To:
Subject: LCD monitor crash course anyone?
Message-ID: <000701c08f45$6dcc6100$95a2d9d5@enricoquaglia>
Hello,
Can someone kindly give me a crash course on what I should be looking f=
or
when buying an LCD flat panel? I know there are digital an analogue one=
s,
but are there major differences in quality? I know most models have a d=
ot
pitch of around 0,297, but a particular IBM (17") has 0,26, the does th=
is
make it a good buy even if it's analogue? Do I need special video cards=
for
the digital ones?
Questions questions questions.
Thanks anyone!
Enrico
Turin - Italy=
------------------------------
Date: Mon, 05 Feb 2001 15:13:58 +0000
From: Chip Carpenter
To:
Subject: Re: [OT] web hosting companies
Message-ID:
Don't assume that outsourcing stream to Akamai is a bad thing. Akamai has
done some amazing things by having huge bandwidth and a distributed
architecture . . . If you host in California and want me to watch a 75 meg
stream in Virginia, we're going to have to pull that across a huge length of
backbone, but if you're akamaized then I get your stream from somewhere much
closer. Not only does this greatly reduce the likelihood of me being slowed
by congestion, but if relieves a large strain from the backbone. . .
FWIW
Chip
on 2/5/01 5:22 PM, Danny Grizzle at danny@mogulhost.com wrote:
> on 2/5/01 10:05 AM, Janet Cunningham at janetcunningham@earthlink.net wrote:
>
>> Re: hosting companies. I do not have a mac, I have a pc, but I have a web
>> show on daily and we need to archive it and have archives that new viewers
>> can "catch up" with the show or see back episodes. Also for a writers or
>> directors reference.
>
> Delivering streaming video content is a specialty. As you compare
> end-hosting vendors, you also need to evaluate their infrastructure. Most
> ISPs don't host streaming video directly, despite appearances. The typical
> arrangement is to outsource this to an infrastucture specialist like Akamai.
>
> I own servers, and will be streaming soon - researching details/costs. (I'll
> host my own productions only, however.)
>
> Danny Grizzle
------------------------------
Date: Mon, 5 Feb 2001 12:51:51 -0800 (PST)
From: "Joel W. Smit"
To: DV-L@dvcentral.org
Subject: RE: Job costing for kids' stage play
Message-ID: <20010205205151.15124.qmail@web5302.mail.yahoo.com>
Point taken!
--- Rik Albury wrote:
> Joel W. Smit wrote, in part:
>
> "...it's just a matter of the
> locals wanting to pay for the tapes but not the
> work."
>
> So give 'em the tapes but not the work.
>
> -Rik. (CIC)
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L
> Benefactors such as http://www.promax.com,
> http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the
> contributions of its members.
>
> To contribute money:
> http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> ---------------------------------------------
__________________________________________________
Get personalized email addresses from Yahoo! Mail - only $35
a year! http://personal.mail.yahoo.com/
------------------------------
Date: Mon, 5 Feb 2001 15:51:57 -0500
From: "Walt"
To:
Subject: Re: DV-L V1 #757
Message-ID: <00ea01c08fb5$7f2ecd00$6401a8c0@design1>
So Adam where did you buy your Firewire drive?
Walt
----- Original Message -----
From: "Adam Levine"
To:
Sent: Monday, February 05, 2001 2:29 PM
Subject: Re: DV-L V1 #757
> Just got the 80G Maxtor for my Macs. Real small and portable, so far
> no problems with DV/Final Cut. It was only $320 US.
>
------------------------------
Date: Mon, 5 Feb 2001 16:04:20 EST
From: CastanedaFilm@aol.com
To: DV-L@dvcentral.org
Subject: Re: Green Screen Problems
Message-ID: <2b.10ab5645.27b06f54@aol.com>
Thanks. I'll give it a try.
Has anyone tried Cinelook or FilmFX? Decent?
------------------------------
Date: Mon, 5 Feb 2001 13:15:41 -0800 (PST)
From: "Joel W. Smit"
To: DV-L@dvcentral.org
Subject: Re: Streaming Lead-Ins
Message-ID: <20010205211541.21140.qmail@web5303.mail.yahoo.com>
Yes, very nice job. Even works pretty well over my
33.6 modem.
Joel W. Smit
--- Ned Barber wrote:
> Any of you who tried to view the theater video
> lead-ins on my site and
> failed - they are now loaded properly. Sorry!
>
> Ned Barber
> Performance Video
> www.capturethemagic.com
>
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L
> Benefactors such as http://www.promax.com,
> http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the
> contributions of its members.
>
> To contribute money:
> http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> ---------------------------------------------
__________________________________________________
Get personalized email addresses from Yahoo! Mail - only $35
a year! http://personal.mail.yahoo.com/
------------------------------
Date: Mon, 05 Feb 2001 16:25:34 -0800
From: Ned Barber
To: DV-L@dvcentral.org
Subject: Re: Streaming Lead-Ins
Message-ID: <3A7F447E.2A64E2A@bellatlantic.net>
Well, because nobody at Dell can get the Realserver working, the files are streaming in HTTP at a max of 34kbs. When I have time I will move all my streaming to another hosting service I
use that does have the full multibandwidth streaming installed. Then it will still be at 34 for you but much larger and smoother for people on higher bandwidth pipes.
"Joel W. Smit" wrote:
> Yes, very nice job. Even works pretty well over my
> 33.6 modem.
>
>
------------------------------
Date: Mon, 5 Feb 2001 13:38:52 -0800
From: Kevin Marks
To: DV-L@dvcentral.org
Subject: Re: OT (slightly): streaming QT
Message-ID:
At 10:55 am -0800 3/2/01, Jim Anderson wrote:
>Okay, I'm missing something. What is it?
You need to make a web page to embed the movies. Otherwise IE Mac
will download them itself and play them before handing them to QT.
The 2 you mention do fast-start if I do open URL in QTPlayer.
iTools is an easy way to do this, or else look at:
http://www.apple.com/quicktime/authoring/embed.html
------------------------------
Date: Mon, 5 Feb 2001 13:49:34 -0800
From: Cory White
To: DV-L@dvcentral.org
Subject: Re: Green Screen Problems
Message-ID:
I've used Cinelook extensively. Having done music videos, corporate
pieces and short independent films, I can tell you the possibilities
are endless. I used it to make a 20 minute doc shot on MiniDV look
like it was shot on 16. The producer was very happy. I have also
used it to interweave video and film in the same project. Again,
happy producer. Of course, it does take for ever and a day to
render. The way I got around that was to schedule the client
interactive part of the job on Friday and render over the weekend.
Monday the piece was ready to import into the Avid or lay back to
tape.
-Cory
>Thanks. I'll give it a try.
>
>Has anyone tried Cinelook or FilmFX? Decent?
>
>
--
"I like to think the moon is there even if I am not looking at it."
-Albert Einstein
------------------------------
Date: Mon, 05 Feb 2001 16:01:55 -0600
From: Danny Grizzle
To:
Subject: Re: OT (slightly): streaming QT
Message-ID:
Another thing to consider is the possibility of running your own server.
For streaming video, you would need a very large pipe. I don't think DSL,
Cable Modem or even a T1 would do it on the server end. Since most
organizations can't consider a T3 or OC3 datapipe, the remaining option is
co-location. This is where you put (under a lease agreement) a server which
you own, configure, and operate into the facility of a major ISP, where it
is directly connected to the Internet backbone via 100 Base-T ethernet or
even gigabit ethernet.
This solution might be best for someone like me where the Akamai-type
solution is not critical. After all, I'm not launching a Tom Cruise or Star
Wars trailer which might be subject to hundreds of thousands of downloads
per day.
The streaming server to watch is Apple, running on OS X Server. Before you
knee-jerk badmouth Macintosh, look at the facts: this is a new, very high
performance Unix-based operating system (*not* classic Mac OS), and Apple is
giving away the brand-new QuickTime Streaming Server software!
I haven't read the latest; it will be interesting to see how/if this
integrates QuickTime delivery and RealPlayer content now that Apple and Real
have signed a strategic agreement to support each other's products.
For more info, see:
Danny Grizzle
------------------------------
Date: Mon, 5 Feb 2001 17:19:56 EST
From: CastanedaFilm@aol.com
To: DV-L@dvcentral.org
Subject: Re: Green Screen Problems
Message-ID: <25.10ebc5db.27b0810c@aol.com>
What settings do you recommend to make miniDV look the most like film?
------------------------------
Date: Mon, 05 Feb 2001 17:46:47 -0500
From: Rick Kiesel
To: "DV-L@dvcentral.org"
Subject: Second generation FireWire Drives
Message-ID:
Oxford Semiconductor is making a second generation 1394 to ATA bridge chip.
It boasts a sustained data transfer rate of up to 45MB/s.
Does anyone know who will be packaging them in a FireWire drive case? (they
are only sold in 10,000 quantity, I think).
Thanks,
http://www.oxsemi.com/press/nov00/index.html
--
Rick Kiesel
NYC
------------------------------
Date: Mon, 5 Feb 2001 17:48:12 EST
From: Triglyph@aol.com
To: DV-L@dvcentral.org
Subject: Re: Self Correction on 19th Century Film - Great Train Robbery
Message-ID: <54.fa04fdd.27b087ac@aol.com>
In a message dated 2/5/01 10:08:47 AM, dale.launer@gte.net writes:
<< Though GREAT TRAIN ROBBERY is known as the first "narrative" film, there
were dramas being made pre-20th Century. Melies did L'Affaire Dreyfus in
1898. I've always wondered why TRAIN ROBBERY was considered the first, when
I think it just had more to do with filmmaking while previous film were just
cameras shooting static staged scenes. >>
I think most film historians now recognize this and refer to The Great Train
Robbery as the first American narrative film. It also made some significant
advances in the use of continuity cutting. In relation to the debate about
the use of special effects, it is also interesting to note that in the
opening scene , there is a window in the station masters office. During the
course of the robbery, a train pulls in, stops, and a man is seen leaning out
the window and looking around: all an in camera double exposure.
Also, during the actual robbery on the train, the door is open and we see the
landscape rushing by - another double exposure. They are not transitions, or
even what we would now consider "special" effects - more like "ordinary"
effects but still interesting that they appear right at the beginning of film
history.
One "special" effect that is used is that when the little girl comes into the
station to find her daddy tied up on the floor, here dress is hand colored
red. Exact same device used by Spielberg in Shindler's List.
Also, the influence on D.W. Griffith's technique by some European
(specifically Italian) "epics" is now more widely acknolwedged by film
writers.
blain
------------------------------
Date: Mon, 05 Feb 2001 19:16:12 +0400
From: "david e. kahn"
To: DV-L@dvcentral.org
Subject: Re: Dogme 95 and 10th Century film
Message-ID:
> This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.
--Boundary_(ID_SXPmm6hzc+mIy+sK505JWw)
Content-type: text/plain; charset=US-ASCII
Content-transfer-encoding: 7bit
Hello: Have you look at the Australian work from the 1800's. Tughollow
From: Dale Launer
Reply-To: DV-L@dvcentral.org
Date: Mon, 05 Feb 2001 10:08:58 -0800
To: DV-L@DVCentral.org
Subject: Dogme 95 and 10th Century film
First off...there was a post criticizing the new generation of fillmmakers
not having much film history from "19th century" and on. It's a minor
point, but there really is much in film before the 20th century. At least
not narrative film - the first of which was THE GREAT TRAIN ROBBERY in 1903,
and Melies' TRIP TO THE MOON was in 1902.
But the point is taken. I'm not sure if an early film history is needed.
So much of what has been done, that which was original and fresh back then
is old and stale now. And knowing when a cliche began isn't going to be
helpful. I like the sentiment, and I understand it, but in practice I've
found that people can be fresh without know the far past. Rock and rollers
often don't know the first thing about music history, and the ones who
trained at Julliard aren't any better than the ones who listened to the
radio and banged away on their Strat in a garage. (tangent - did you know
that Alan Greenspan went to Julliard? He wanted to be a jazz sax player?)
Off to Dogme 95. Someone mentioned how the rules seemed like a joke. But
they're there to get filmmakers to get to the heart of movie- making - which
is the story and performance. The rule about no naturally occuring props
is in part to get rid of the prop man. Dogme is actually very liberating
in it's constraints. One could make a movie without a large crew, or a
crew at all. It forces the writer/director into the drama.
Boring? That's all a matter of taste. I remember watching THE CELEBRATION
for the first time - and I'd been musing over the idea that a well written
and well performed movie shot on a video camera should "work" and finally
some did just that. The movie started and I hated the soft fuzzy look -
but I asked my date whatshe thought of the look - and and she "liked it".
MTV dirties up images so much that people are accepting of anything. Which
is encouraging to my little theory. Then I watched the movie - the camera
movements, the jitter - was annoying, but I persevered...I was little bored
with the introduction of the three dysfunctional siblings who're going to
celebrate their father's birthday at some resort somewhere. I've always
loved good cinematography and good looking movies and I was getting
distracted by the grain and softness of the DV to film image. And then,
about 30 minutes into the movie - at the celebration - people are standing
and toasting the father and giving little speeches. Then his youngest son
gets up, toasts the father, and brings up a "fond" memory of the time his
father marched all four children into his study, locked the door and
sodomized all of them.
Suddenly the resolution of the medium just didn't matter. The movie didn't
have any resolution - suddenly the dramatic engine was kicked to life and
you wanted to see the father's reaction, you wanted to see everybody's
reaction, and you wanted to know after the father's denial - was it true?
And it certainly wasn't boring. But then again that's a matter of taste.
And when it comes to taste there can be nor arguments. (There's a latin
term for this but it escapes me).
To me Dogme 95 has been inspirational. But to follow the rules
religiously? Nah. What's the point?
--Boundary_(ID_SXPmm6hzc+mIy+sK505JWw)
Content-type: text/html; charset=US-ASCII
Content-transfer-encoding: quoted-printable
Hello: Have you look at the Australian work from the 1800's. Tu= ghollow
From: Dale Launer
Reply-To: DV-L@dvcentral.org
Date: Mon, 05 Feb 2001 10:08:58 -0800
To: DV-L@DVCentral.org
Subject: Dogme 95 and 10th Century film
First off...there was a post criticizing the new generation of = fillmmakers not having much film history from "19th century" and o= n. It's a minor point, but there really is much in film be= fore the 20th century. At least not narrative film - the first o= f which was THE GREAT TRAIN ROBBERY in 1903, and Melies' TRIP TO THE MOON wa= s in 1902.
But the point is taken. I'm not sure if an early film history is need= ed. So much of what has been done, that which was original and fresh b= ack then is old and stale now. And knowing when a cliche began i= sn't going to be helpful. I like the sentiment, and I understand= it, but in practice I've found that people can be fresh without know the fa= r past. Rock and rollers often don't know the first thing about = music history, and the ones who trained at Julliard aren't any better than t= he ones who listened to the radio and banged away on their Strat in a garage= . (tangent - did you know that Alan Greenspan went to Julliard? = He wanted to be a jazz sax player?)
Off to Dogme 95. Someone mentioned how the rules seemed like a = joke. But they're there to get filmmakers to get to the heart of movie= - making - which is the story and performance. The rule ab= out no naturally occuring props is in part to get rid of the prop man. = ; Dogme is actually very liberating in it's constraints. On= e could make a movie without a large crew, or a crew at all. &nb= sp;It forces the writer/director into the drama.
Boring? That's all a matter of taste. I remember watching= THE CELEBRATION for the first time - and I'd been musing over the ide= a that a well written and well performed movie shot on a video camera should= "work" and finally some did just that. The movi= e started and I hated the soft fuzzy look - but I asked my date whatshe thou= ght of the look - and and she "liked it". MTV dirties = up images so much that people are accepting of anything. Which is enco= uraging to my little theory. Then I watched the movie - the came= ra movements, the jitter - was annoying, but I persevered...I was little bor= ed with the introduction of the three dysfunctional siblings who're going to= celebrate their father's birthday at some resort somewhere. I'v= e always loved good cinematography and good looking movies and I was getting= distracted by the grain and softness of the DV to film image. A= nd then, about 30 minutes into the movie - at the celebration - people are s= tanding and toasting the father and giving little speeches. Then his y= oungest son gets up, toasts the father, and brings up a "fond" mem= ory of the time his father marched all four children into his study, locked = the door and sodomized all of them.
Suddenly the resolution of the medium just didn't matter. The m= ovie didn't have any resolution - suddenly the dramatic engine was kicked to= life and you wanted to see the father's reaction, you wanted to see everybo= dy's reaction, and you wanted to know after the father's denial - was it tru= e? And it certainly wasn't boring. But t= hen again that's a matter of taste. And when it come= s to taste there can be nor arguments. (There's a latin term for this = but it escapes me).
To me Dogme 95 has been inspirational. But to follow the rules = religiously? Nah. What's the point?
--Boundary_(ID_SXPmm6hzc+mIy+sK505JWw)--
------------------------------
Date: Mon, 05 Feb 2001 18:10:19 -0500
From: DPalomaki
To: DV-L@dvcentral.org
Subject: Re: Portable Microphone Preamp?
Message-ID: <3A7F32DB.ACDB4077@cox.rr.com>
> Actually, you can buy an inverter for less than a hundred bucks.
Be alert about low cost power inverters around audio. They tend
to have lots of spatter and dirty waveform at the output. One can
easily pickup that noise in low level audio cables, especially if
unbalanced and/or high impedance circuits are involved. Like
anything else, if you are going to use them, be sure to test the
configuration well before the shoot so you have time to solve any
problems the try to bite you.
------------------------------
Date: Tue, 6 Feb 2001 09:28:08 +1000
From: "Eric S."
To: DV-L@dvcentral.org
Subject: Re: Job costing for kids' stage play
Message-ID:
>We all live in a small mid-western town and=20
>not use to markets like Minneapolis or Des Moines for example.
>
>I am figuring for a three camera set-up with myself as the only operator=20
>about 60 hours of work (5 hours production and 55 hours=20
>capturing/editing/tweaking on a Matrox DTV) not including the 1 or 2=20
>at-a-time copying phase. I figure $30/hour is a realistic rate -- one I=
=20
>will certainly not get here. My guess is that I could charge $400 and get=
=20
>it but if I asked $500 they could not pay. At $400 I will about break even=
=20
>and gain a little good will and experience in the process.
>
>My questions are these: Does this sound like a reasonable estimate of=20
>time? What is the actual 'going rate' for a project like this? Am I=20
>figuring time and compensation realistically?
>
Joel G'day,
There's been a lot of good advice come back already from quite different=
directions; all valid depending on your viewpoint.
I have done a lot of this 'work' so here's my take on it:
I look upon it partly as a social contribution (you did say:=20
" >We all live in a small mid-western town", right ? )
It's also surprisingly fun, as the kids are cute and funny and the parents=
mostly appreciative (unlike many _real_ customers).=20
I cover costs by insisting on a minimum number of tapes at $25-00 each=
(although I dropped even this request last Xmas for a local 'disadvantaged'=
school )
I minimise time by doing a 2-camera live mix; easy and rewarding when you=
get the hang of it.
(NO way I'm going to spend 55 hours time matching in NLE afterwards.=
Although I DO add in titles and credits, and prepare a jacket from stills.)
Like James and Ned, I have also picked up weddings and other jobs this way,=
and spotted actors, technicians and sites for other film shoots.
I also enjoy doing it, learn something everytime and make a lot of friends.=
=20
If you're still getting going in this game then go for it, work that camera=
to get the very best shots out of it and have fun while you're doing it.
eric from oz
ps There ARE a few tricks and hazards involved however, and this is where=
you get another bonus by learning to overcome them. For example sticking a=
mike near a speaker may work depending on the mix, but often only the music=
will be wired and not all the kids voices. Etc.
------------------------------
Date: Mon, 05 Feb 2001 18:39:26 -0500
From: DPalomaki
To: DV-L@dvcentral.org
Subject: Re: Job costing for kids' ...
Message-ID: <3A7F39AE.FD68850@cox.rr.com>
> The local parents are putting on an annual "one hour or so"
> children and young adults production and want me to cover it,
> do the post production editing, title creation,credit roll
> and then provide 20 copies on VHS.
Depends on where you are located, but in my area $20 appears to
be the threshold of pain for sales of VHS copies of school
performances. I typically see around 70% participation at that
price point. That is high school age. Young children often have
higher participation. The rest of the expense is chalked up to
good will and community service. Include your business card with
every copy. Eventually they might get married and seek video
services ...
If the production is 1 hour, three cameras, with only one camera
manned, the other fixed, you should be able to get it edited in
substantially less than 55 hours - perhaps 2 days max. Unless
this is intended for some form of local broadcast, the end users
are not likely to know know a quick edit from a painstaking job,
as long as they can see their child's face clearly, hear his/her
line, and the name is spelled correctly in the credits. In fact,
the names for the credits may be the hardest part to get right!
------------------------------
Date: Mon, 5 Feb 2001 18:01:37 -0600
From: "Scott Sanders"
To:
Subject: OT: Highrez space images?
Message-ID:
Anyone know where I can find some Highrez images of the Earth and outerspace
images? The resolution I'm trying to render/edit/composite to is about
5670X1440 so they need to be fairly high. Thanks a bunch in advance.
Scott
------------------------------
Date: Mon, 5 Feb 2001 16:12:32 -0800
From: "Mitch Rubman"
To:
Subject: RE: Highrez space images?
Message-ID: <003e01c08fd1$80a30cc0$1c00a8c0@mitch>
How about nasa.org?
Mitch
-----Original Message-----
From: Scott Sanders [mailto:deltic@mediaone.net]
Sent: Monday, February 05, 2001 4:02 PM
To: DV-L@dvcentral.org
Subject: OT: Highrez space images?
Anyone know where I can find some Highrez images of the Earth and outerspace
images? The resolution I'm trying to render/edit/composite to is about
5670X1440 so they need to be fairly high. Thanks a bunch in advance.
Scott
---(cut off when replying)-------------------
This list is made possible by Lifetime DV-L Benefactors such as
http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
To contribute money: http://www.computervicestore.com/dvl.html
All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
---------------------------------------------
------------------------------
Date: Mon, 5 Feb 2001 16:14:44 -0800
From: Kevin Marks
To: DV-L@dvcentral.org
Subject: Re: OT: Highrez space images?
Message-ID:
At 6:01 pm -0600 5/2/01, Scott Sanders wrote:
>Anyone know where I can find some Highrez images of the Earth and outerspace
>images? The resolution I'm trying to render/edit/composite to is about
>5670X1440 so they need to be fairly high. Thanks a bunch in advance.
Try http://www.planetaryvisions.com/
They have lots of experience in this stuff, and can render out as big
as you like.
------------------------------
Date: Mon, 5 Feb 2001 20:20:47 +0100
From: Rolf Howarth
To:
Subject: Re: Apple : Please integrate iMovie and FCP
Message-ID:
At 0:30 -0800 5/2/01, Nissan wrote:
>
>Most software companys integrate their software .
>
>Why not Apple enable users to Start a work in iMovie
>And finish them on Final Cut Pro ???
>
>Currently two things are missing :
>1. No timecode on the dvstream files iMovie uses for the media.
>2. No way to export TimeLine/EDL/BatchList from iMovie to FCP and back.
>
>With Apple software you expect FCP to be able to import iMovie projects ,
>but no can do.
That's not a scenario we specifically address but CatDV
(http://www.catdv.com) might be able to help. Certainly it can
generate an FCP batch list from a bunch of DV files, even if they're
missing a timecode track. Being able to import an iMovie project
isn't something we currently do but I guess wouldn't be too difficult
to add in a future release, if there was sufficient demand.
Regards,
-Rolf
--
Rolf Howarth, Square Box Systems Ltd, Stratford-upon-Avon UK.
CatDV 1.5 - Power tools for logging and cataloguing digital video
The essential tool for video editors, available at http://www.catdv.com
------------------------------
Date: Mon, 5 Feb 2001 20:15:08 +0100
From: Rolf Howarth
To:
Subject: RE: Editing Etiquette
Message-ID:
At 0:30 -0800 5/2/01, Bertel Schmitt L wrote:
>
>>Tuning in late to this conversation. Currently, video editing is at the
>>same stage desktop publishing was in the mid-80s: lots of untrained
>>amateurs without a clue handed loads of tools and fonts and neat toys.
>>The result was very often dreck, with twenty mismatched fonts on a page.
>
>
>Good point. (Actually, it was the late 80's & I was right in the
>middle of it).
>I remember that even in the first half of the 90's, DTP was looked-upon as
>amateurish by the "real pros."
We're splitting hairs here but I remember encountering my first Mac
at the company I worked in 1985, and thinking then that I preferred
the look of troff output to all those fonts! By the end of 1986 I was
using Macs extensively (and hacking raw PostScript to include MacDraw
diagrams in my troff documents :-)
>... But you still use 2 fonts max on a page.
Definitely!
-Rolf
--
Rolf Howarth, Square Box Systems Ltd, Stratford-upon-Avon UK.
CatDV 1.5 - Power tools for logging and cataloguing digital video
The essential tool for video editors, available at http://www.catdv.com
------------------------------
Date: Mon, 5 Feb 2001 19:34:46 -0500
From: "Don Mitchell"
To:
Subject: Re: OT: Highrez space images?
Message-ID: <002b01c08fd4$9be48f60$0164640a@zeus>
----- Original Message -----
From: "Kevin Marks"
To:
Sent: Monday, February 05, 2001 7:14 PM
Subject: Re: OT: Highrez space images?
> At 6:01 pm -0600 5/2/01, Scott Sanders wrote:
> >Anyone know where I can find some Highrez images of the Earth and
outerspace
> >images? The resolution I'm trying to render/edit/composite to is about
> >5670X1440 so they need to be fairly high. Thanks a bunch in advance.
>
Also try
http://hubble/stsci.edu/
No earth images, but lots of spectacular outer space ones.
Don Mitchell
runtime@wzrd.com
------------------------------
Date: Mon, 05 Feb 2001 20:52:44 +0400
From: "david e. kahn"
To: DV-L@dvcentral.org
Subject: Re: Self Correction on 19th Century Film - Great Train Robbery
Message-ID:
Hello: The film as most people know was shot in what is called the South
Mountain Reservation which runs into Milburn, N.J. which is extremely near
the Edison Laboratories in West Orange, N.J. When you are near that town it
is interesting to go to Edison's studios and see is film studio a
recreation. They show this film their. Tughollow
> From: Triglyph@aol.com
> Reply-To: DV-L@dvcentral.org
> Date: Mon, 05 Feb 2001 17:48:12 -0500 (EST)
> To: DV-L@dvcentral.org
> Subject: Re: Self Correction on 19th Century Film - Great Train Robbery
>
>
> In a message dated 2/5/01 10:08:47 AM, dale.launer@gte.net writes:
>
> << Though GREAT TRAIN ROBBERY is known as the first "narrative" film, there
> were dramas being made pre-20th Century. Melies did L'Affaire Dreyfus in
> 1898. I've always wondered why TRAIN ROBBERY was considered the first, when
> I think it just had more to do with filmmaking while previous film were just
> cameras shooting static staged scenes. >>
>
> I think most film historians now recognize this and refer to The Great Train
> Robbery as the first American narrative film. It also made some significant
> advances in the use of continuity cutting. In relation to the debate about
> the use of special effects, it is also interesting to note that in the
> opening scene , there is a window in the station masters office. During the
> course of the robbery, a train pulls in, stops, and a man is seen leaning out
> the window and looking around: all an in camera double exposure.
>
> Also, during the actual robbery on the train, the door is open and we see the
> landscape rushing by - another double exposure. They are not transitions, or
> even what we would now consider "special" effects - more like "ordinary"
> effects but still interesting that they appear right at the beginning of film
> history.
>
> One "special" effect that is used is that when the little girl comes into the
> station to find her daddy tied up on the floor, here dress is hand colored
> red. Exact same device used by Spielberg in Shindler's List.
>
> Also, the influence on D.W. Griffith's technique by some European
> (specifically Italian) "epics" is now more widely acknolwedged by film
> writers.
>
> blain
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L Benefactors such as
> http://www.promax.com, http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> ---------------------------------------------
>
------------------------------
Date: Mon, 5 Feb 2001 21:19:39 +0100
From: "Enrico Quaglia"
To:
Subject: R: Dogme 95 and 10th Century film
Message-ID: <000201c08fd5$f5caf9a0$e11effd5@enricoquaglia>
>And when it comes to taste there can be nor arguments. (There's a latin
term for this but it escapes me).
"Degustibus non est disputandum" -----> Tastes are not to be discussed.
Cheers
Enrico (the latin professor)
Turin - Italy
------------------------------
Date: Mon, 5 Feb 2001 15:54:07 -0800
From: Aleksandr Milewski
To: DV-L@dvcentral.org
Subject: Re: Portable Microphone Preamp?
Message-ID:
At 6:10 PM -0500 on 2/5/01, you commanded the electrons to create a
missive titled "Re: Portable Microphone Preamp?":
|> Actually, you can buy an inverter for less than a hundred bucks.
|
|Be alert about low cost power inverters around audio. They tend
|to have lots of spatter and dirty waveform at the output. One can
|easily pickup that noise in low level audio cables, especially if
|unbalanced and/or high impedance circuits are involved. Like
|anything else, if you are going to use them, be sure to test the
|configuration well before the shoot so you have time to solve any
|problems the try to bite you.
My thoughts exactly. I cringed when I thought of using an inverter to
solve the problem. I'll look into supercircuits, especially since I
think an armored security camera might be exactly the right
"bumpercam". ;)
Thanks to all for the suggestions, and I'll be sure to write this one
up when I get something working.
-Z
--
---------------------------------------------------------------------
Aleksandr Milewski N6MOD
n6mod@milewski.org http://www.milewski.org/
------------------------------
Date: Mon, 05 Feb 2001 20:28:38 -0500
From: Bertel Schmitt
To: DV-L@dvcentral.org
Subject: Power & Cooling, revisited
Message-ID: <5.0.2.1.2.20010205202628.04b22d50@popserver.panix.com>
Interesting article about the future and challenges of the rising power of
micro processor technology can be found at:
http://www.eetimes.com/story/OEG20010205S0083
(Not recommended reading for Californian residents.)
BS
------------------------------
Date: Mon, 05 Feb 2001 20:36:31 -0500
From: Bertel Schmitt
To: DV-L@dvcentral.org
Subject: Re: Power & Cooling, revisited
Message-ID: <5.0.2.1.2.20010205203541.04b22db0@popserver.panix.com>
And in a related story, http://www.eetimes.com/story/OEG20010205S0064 says
.....
At 08:28 PM 2/5/01 -0500, you wrote:
>Interesting article about the future and challenges of the rising power of
>micro processor technology can be found at:
>
>http://www.eetimes.com/story/OEG20010205S0083
>
>(Not recommended reading for Californian residents.)
------------------------------
Date: Mon, 05 Feb 2001 17:35:28 -0800
From: Alexei Gerulaitis
To: DV-L@dvcentral.org
Subject: RE: Green Screen Problems
Message-ID: <032b01c08fdd$1b054b10$6901a8c0@sherlock>
John et al,
I just uploaded the green screen images that Torjan sent to me:
http://groups.yahoo.com/group/DV-List/files/Support/Keying_Problem
Would appreciate any ideas.
Best,
Alexei
: From: John Luna [mailto:jlcinc@home.com]
:
: I think it would be more helpful to see the green screen footage.
:
: It looks like you might have some green spill on the subject.
------------------------------
Date: Mon, 5 Feb 2001 18:14:12 -0800 (PST)
From: Bill
To: DV-L@dvcentral.org
Subject: Re: Dogme, Dog-me, Dog-you
Message-ID: <20010206021412.3306.qmail@web4006.mail.yahoo.com>
Actually, none of those movies I mentioned was shot
with Sony's HDTV 24p cameras. "Chuck & Buck" was shot
with a PAL VX1000, "Breaking the Waves" was shot 35mm,
"Time Code" was DVCAM (dockable DSR130's), "The
Celebration" was a 1/4" single chip camera, and
"Dancer in the Dark" was shot with 100 VX1000's and
some hand-held Digital Betacams (I think that was
Digibeta, anyway--either that or DSR130WS's).
But you're quite right, nothing yet looks as good as
35mm film. I wouldn't know about stuff shot with
CineAlta, since nothing that I know of has been
released yet, at least not in the U.S.
However, there are times when things can look too good
for the subject matter. Look at "Pi," for
example...black and white 4X. If that had been
beautiful 35mm, it would have destroyed it.
As for Dogme 95...those guys violate their own rules
all the time. That's the point. I like their quirky
sense of humor.
But, as to your point, which had nothing to do with my
previous point, of course DV looks crappy compared to
35mm film. But, these days, why compare? If a
filmmaker can get the budget, he ought to shoot 35, if
he wants to. If he can't, and he's got a good story,
he can shoot it with whatever he can afford and see if
somebody will buy it. It beats not doing it...although
I've got to admit that a lot of stuff that gets done
shouldn't.
--- Robert Rouveroy wrote:
> At 5:57 PM -0800 2/4/01, Bill wrote:
> >These guys may shoot DV, but
> >they've got world class cinematographers doing it
> with
> >great actors and big (by my standards anyway)
> budgets.
> >Why spend a a hundred thousand or more bucks on
> film
> >and processing if you can buy all the tape you need
> >for 50 bucks and spend the rest on talent and
> >production.
> ================
> Compared to 35mm film, DV still looks lousy. Those
> (video) films you
> are quoting are made on HDTV 24p Sony's, costing
> well over $100.000 a
> piece. Spirit transfer and editing and later laser
> writing to 25mm
> film are also quite costly.Yes, there are good
> savings to be made on
> a such a film, probably around 2 or 300.000 bucks
> but on a 20 million
> dollar movie it is really disregarded. A bagel and a
> cup of latte for
> the crew. Also, none of these DV or HDTV camera's
> can shoot at a
> higher fps so the directors HAVE to fall back on
> 35mm to create true
> slow motion.
>
> And much of the difference lays in the dissimilar
> d.o.f. Even HDTV
> camera's still have no target like 35mm cameras,
> therefore the
> 'normal' lens is quite divergent, therefore the
> focus variance is
> immediately pronounced. There is also an undefined
> "look" to film
> that todate has not been emulated.
>
> If the story is good, audiences will forgive most
> aberrations and
> artifacts in the movie. That was/is the strength in
> Lars von Triers'
> oeuvre. Whatever we individuals think of him and his
> dogme95, it has
> indeed shown the way, and acceptance, of a different
> approach to
> story telling. Some of these rules are indeed
> tongue-in-cheek and it
> is easy to see that Lars ignored them. Still, the
> power of his vision
> is now, be it slowly, (in part) accepted by the
> 'Hollywood' crowd.
> Lars' success at Sundande and many other venues are
> carefully plotted
> and some of his "tricks' will be, as usual, copied
> by same.
>
> Look forward to some weird products!
>
>
>
> --
> Robert Rouveroy csc
> The Hague, Holland
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L
> Benefactors such as http://www.promax.com,
> http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the
> contributions of its members.
>
> To contribute money:
> http://www.computervicestore.com/dvl.html
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------------------------------
Date: Mon, 5 Feb 2001 18:20:41 -0800 (PST)
From: Bill
To: DV-L@dvcentral.org
Subject: Re: Green Screen Problems
Message-ID: <20010206022041.3871.qmail@web4006.mail.yahoo.com>
I haven't done any chroma keying with XL-1 footage,
but I have done so with footage from a DSR250, a
DSR500 and a JVC DV500, all with no problems, using
Ultimatte.
I'm wondering if the problem could be the resolution
of the editing system? Assuming, of course, that the
lighting was right in the first place.
All the above was green screen. Blue actually works
better, but everytime I set up for blue screen, people
show up wearing too much blue, so I seem to have to do
green most of the time.
--- Jon Burkhart wrote:
> Hi Torjan. Welcome to the DV List.
>
> A couple of things. You might try blue instead of
> green as your background color. I too, thought green
> would be the best color. I've done only a few
> experiments with my XL1 and a rather
> new Canopus Storm card and for me blue may work
> better. I haven't had time to do further testing.
>
> Also, you might want to look in on
> http://www.puffindesigns.com/
>
> I saw this software demonstrated at DVExpo last year
> and was greatly impressed by it. It's rather
> expensive but it might be your best chance to get
> the quality you require.
>
> Chroma key is difficult at best. I think our
> ability to do this kind of effect in the DV format
> maybe just a cruel joke by the video gods. They
> like to see us suffer, you know!
>
> Aloha,
> Jon Burkhart
>
> CastanedaFilm@aol.com wrote:
>
> > Hello,
> >
> > I was just introduced to the list by Alexei
> Gerulaitis from Computer Vice.
> >
> > I'm having a problem getting a good matte from
> some footage I shot for a
> > documentary. The footage was shot with an XL1,
> captured with a DV300 and I'm
> > using Ultimatte in Premiere for the transparency.
> I'm getting jagged edges
> > on the body of my foreground subject. Granted,
> this is miniDV, but I'm
> > hoping there's a better way to get a good matte
> from my footage. Alexi
> > helped me upload some of my frames, and you can
> download them at:
> >
> >
HREF="http://groups.yahoo.com/group/DV-List/files/Support/">
> >
>
http://groups.yahoo.com/group/DV-List/files/Support/
> >
> > AE 4.1 has some good feathering for its color key
> feature, but even that
> > isn't great. I'd appreciate any advice anyone can
> offer.
> >
> > thanks
> > Torjan
> >
> > ---(cut off when replying)-------------------
> > This list is made possible by Lifetime DV-L
> Benefactors such as http://www.promax.com,
> http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the
> contributions of its members.
> >
> > To contribute money:
> http://www.computervicestore.com/dvl.html
> > All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> > ---------------------------------------------
>
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L
> Benefactors such as http://www.promax.com,
> http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the
> contributions of its members.
>
> To contribute money:
> http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
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> ---------------------------------------------
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http://auctions.yahoo.com/
------------------------------
Date: Mon, 5 Feb 2001 18:30:44 -0800 (PST)
From: Bill
To: DV-L@dvcentral.org
Subject: RE: Dogme, Dog-me, Dog-you
Message-ID: <20010206023044.2952.qmail@web4005.mail.yahoo.com>
Very good point about film snobbery, and also about
non-film transfer aspirations. Digital video
projection is just around the corner, and the prices
of the technology will soon drop. Hollywood studios
have already figured out that they could stick a video
projector in every theater in the country and save
millions on print costs. (Of course, that would
violate antitrust law, but what the heck, it'll happen
eventually.)
Digital projection, of course, doesn't mean that big
movies will suddenly start originating on video. It
might, however, mean that more video-originated stuff
will begin to be distributed when the cost of going
through a $40,000 film transfer becomes non-existent.
About two or three years ago I started thinking about
the old student union theaters we had when I was in
college...they all had 16mm projectors, and many
foreign films and even some Hollywood films were
distributed in 16mm for that circuit...and I started
wondering if somebody could make some money by setting
up video projection theaters in places friendly to
such things, like college towns...and whaddyaknow,
serious people are talking about such things now.
And that reminds me, I wonder if anybody else saw Hal
Hartley's "Book of Life" when it was shown on Sundance
last year. It was shot with a VX1000, using that blur
motion effect for the camera moves. It was
spectacular. It was written and produced for French
television, with no intention of theatrical release.
Of course, you've got to be a Hal Hartley fan to like
such things, I guess.
--- Stephen van Vuuren wrote:
> >Sorry for the rant. Film snobbery really gets
> under my skin.
>
> Never be sorry - your points were excellent. It
> reminded me of the current
> issue of MovieMaker has a guy from Super 8 Sound (I
> dropped some money there
> in the late 80's) claiming DV is bogus format - you
> learn nothing about
> filmmaking unless you shoot on Pro Super 8 stock
> (repacked Kodak 35mm
> negative stock) because the "big boys across town"
> shoot 35mm and video is
> flat & lifeless (since it capture in image in wires
> and circuits rather than
> emulsions) only suited for TV and reality shows (I'm
> gratuitously
> paraphrasing here).
>
> But the idea that never occurred to this hopeless
> film snob is that maybe
> some us shoot DV because we don't aspire to 35 mm
> filmmaking. Our future is
> 24P and other digital formats to come. The article
> was just dripping with
> snobbery. Read it and be inspired to rant on.
>
> stephen
>
> www.xiveren.com
>
> "It's only after you've lost everything
> that you're free to do anything."
> ~Tyler~
>
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L
> Benefactors such as http://www.promax.com,
> http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the
> contributions of its members.
>
> To contribute money:
> http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> ---------------------------------------------
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------------------------------
Date: Mon, 5 Feb 2001 18:32:46 -0800 (PST)
From: Bill
To: DV-L@dvcentral.org
Subject: Re: Green Screen Problems
Message-ID: <20010206023246.1029.qmail@web4003.mail.yahoo.com>
I've got Cinelook. Depending on your original footage,
it can look really nice...but it's a monster when it
comes to rendering time.
--- CastanedaFilm@aol.com wrote:
> Thanks. I'll give it a try.
>
> Has anyone tried Cinelook or FilmFX? Decent?
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L
> Benefactors such as http://www.promax.com,
> http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the
> contributions of its members.
>
> To contribute money:
> http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> ---------------------------------------------
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------------------------------
Date: Tue, 6 Feb 2001 11:34:32 +0900
From: "Robert Reilly"
To: "DV-L"
Subject: RE: Editing Etiquette, was DVStorm
Message-ID: <008301c08fe5$a8b52360$d421d8cb@rreilly.gol.com>
>The wipes in Lucas' Star Wars work aren't all that bad... they signify
>more than just a straight cut. Usually, I think, there's some sort of
>a time lapse during the wipe, or a location change. Straight cuts
>aren't quite as effective in this situation. Generally, a cut would
>require an additional shot to establish location or context.
Indeed. George Lucas' considerable use of the wipe was chosen, in part, to emphasize the
story book motif intended for his "space opera". This method of transition, arguably
lending itself to the overly melodramatic, was similarly employed by Akira Kurosawa in his
epic period films. It is no coincidence that Lucas was an avid admirer of the late
Japanese director's work.
FWIW.
Robert
_________________________________________________
"I try not to imitate anybody. Including myself."
-Otto Preminger
------------------------------
Date: Mon, 5 Feb 2001 20:34:32 -0600 (CST)
From: Vidiot
To: DV-L@dvcentral.org
Subject: Re: OT: Highrez space images?
Message-ID: <200102060234.UAA05345@mrvideo.vidiot.com>
>Also try
>
>http://hubble/stsci.edu/
>
>No earth images, but lots of spectacular outer space ones.
>
>Don Mitchell
That is an illegal URL, but this isn't:
http://hubble.stsci.edu/
Obviously a slip of the finger :-)
MB
--
e-mail: vidiot@vidiot.com
Bart: Hey, why is it destroying other toys? Lisa: They must have
programmed it to eliminate the competition. Bart: You mean like
Microsoft? Lisa: Exactly. [The Simpsons - 12/18/99]
Visit - URL:http://www.vidiot.com/ (Your link to Star Trek and UPN)
------------------------------
Date: Mon, 5 Feb 2001 18:35:51 -0800 (PST)
From: Bill
To: DV-L@dvcentral.org
Subject: Re: Green Screen Problems
Message-ID: <20010206023551.858.qmail@web4001.mail.yahoo.com>
What I do is pick one of the 35mm negative film stocks
from the menu, then tweak that a bit (usually I take
the softness down from the default just a little, and
also the grain). I drop that effect on a test piece,
and then add the 3:2 pulldown effect and let it render
and see what it looks like, then sometimes go back and
adjust...ie., do a test first on a very short piece
before you commit to the godawful rendering time.
--- CastanedaFilm@aol.com wrote:
> What settings do you recommend to make miniDV look
> the most like film?
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L
> Benefactors such as http://www.promax.com,
> http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the
> contributions of its members.
>
> To contribute money:
> http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> ---------------------------------------------
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------------------------------
Date: Mon, 5 Feb 2001 18:37:39 -0800 (PST)
From: Bill
To: DV-L@dvcentral.org
Subject: Re: OT: Highrez space images?
Message-ID: <20010206023739.4894.qmail@web4005.mail.yahoo.com>
Check the NASA websites. I've found some pretty nice
stuff there, and it's public property.
--- Don Mitchell wrote:
>
> ----- Original Message -----
> From: "Kevin Marks"
> To:
> Sent: Monday, February 05, 2001 7:14 PM
> Subject: Re: OT: Highrez space images?
>
>
> > At 6:01 pm -0600 5/2/01, Scott Sanders wrote:
> > >Anyone know where I can find some Highrez images
> of the Earth and
> outerspace
> > >images? The resolution I'm trying to
> render/edit/composite to is about
> > >5670X1440 so they need to be fairly high. Thanks
> a bunch in advance.
> >
> Also try
>
> http://hubble/stsci.edu/
>
> No earth images, but lots of spectacular outer space
> ones.
>
> Don Mitchell
> runtime@wzrd.com
>
>
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L
> Benefactors such as http://www.promax.com,
> http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the
> contributions of its members.
>
> To contribute money:
> http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> ---------------------------------------------
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------------------------------
Date: Mon, 5 Feb 2001 19:00:30 -0800
From: "Janet Cunningham"
To:
Subject: Re: OT: Highrez space images?
Message-ID: <004d01c08fe8$face90c0$325df9d8@hydra>
Are you sure NASA is public domain? I treid to get the pic of the earth for
an environmental show and they wanted a lot per second.
Janet
----- Original Message -----
From: "Bill"
To:
Sent: Monday, February 05, 2001 6:37 PM
Subject: Re: OT: Highrez space images?
> Check the NASA websites. I've found some pretty nice
> stuff there, and it's public property.
>
>
>
>
> --- Don Mitchell wrote:
> >
> > ----- Original Message -----
> > From: "Kevin Marks"
> > To:
> > Sent: Monday, February 05, 2001 7:14 PM
> > Subject: Re: OT: Highrez space images?
> >
> >
> > > At 6:01 pm -0600 5/2/01, Scott Sanders wrote:
> > > >Anyone know where I can find some Highrez images
> > of the Earth and
> > outerspace
> > > >images? The resolution I'm trying to
> > render/edit/composite to is about
> > > >5670X1440 so they need to be fairly high. Thanks
> > a bunch in advance.
> > >
> > Also try
> >
> > http://hubble/stsci.edu/
> >
> > No earth images, but lots of spectacular outer space
> > ones.
> >
> > Don Mitchell
> > runtime@wzrd.com
> >
> >
> >
> > ---(cut off when replying)-------------------
> > This list is made possible by Lifetime DV-L
> > Benefactors such as http://www.promax.com,
> > http://www.videoguys.com,
> > http://www.panasonic.com/broadcast and the
> > contributions of its members.
> >
> > To contribute money:
> > http://www.computervicestore.com/dvl.html
> > All about DV-L, to subscribe & unsubscribe:
> > http://www.DVCentral.org/thelist.html
> > ---------------------------------------------
>
>
> __________________________________________________
> Do You Yahoo!?
> Yahoo! Auctions - Buy the things you want at great prices.
> http://auctions.yahoo.com/
>
> ---(cut off when replying)-------------------
> This list is made possible by Lifetime DV-L Benefactors such as
http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
> ---------------------------------------------
>
------------------------------
Date: Mon, 05 Feb 2001 22:32:47 -0500
From: Gary Bettan
To: DV-L@dvcentral.org
Subject: be back soon
Message-ID: <4.3.2.7.2.20010205222749.00c7ef00@pop3.cris.com>
I'm taking the family to Orlando to party with Mickey and the gang.
(assuming our flight actually leaves tomorrow).
Be back on Valentines day. We'll be a little short handed in tech support
and sales, but we'll do our best to keep up.
I'll look forward to reading the posts from anyone who attends the big
Adobe Premiere 6 launch broadcast:
Adobe Presents DV Essentials: Your Solution for Digital Video Editing a
FREE, information-packed Adobe Broadcast Satellite Seminar coming soon to a
city near you. Explore the language and technology of DV, and learn how to
use new Adobe Premiere 6.0 and industry-standard Adobe After Effects
and Adobe Photoshop software to edit DV and create cool,
professional-looking special effects, do streaming media, and put your
video on the Web.
http://www1.asmcorp.com/adobefield/Site/events.asp
I'm told that the RT2000 and DV500 will be part of the demonstration.
Gary
The Electronic Mailbox 800 323-2325
We Are The Desk Top Video Editing & Production Experts
http://www.videoguys.com Home of the Desk Top Video Handbook On Line
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assurance program and FREE Tech Support (516) 759-1615
------------------------------
Date: Mon, 5 Feb 2001 19:52:56 -0800
From: Kevin Marks
To: DV-L@dvcentral.org
Subject: Re: OT: Highrez space images?
Message-ID:
At 7:00 pm -0800 5/2/01, Janet Cunningham wrote:
>Are you sure NASA is public domain? I treid to get the pic of the earth for
>an environmental show and they wanted a lot per second.
NASA's data is public domain; derived images can be owned by those
who create them - Satellite imaging is similar - you pay LandSat for
the raw data, but if you process it to make it look lifelike you own
the result.
You can obtain imagery from NASA, but when I last did it we got lots
of it and the work in sorting through the huge number of images to
find the good ones was more expensive than going to a specialist
stock place who had already done the work.
if you are doing 3D rendering, you need a very good texturemap to start with.
Planetary Visions have a wonderful set of high resolution texturemaps
and height data that they have compiled over several years, and over
10 years of experience in rendering them well. Their earth texturemap
is 43,200 by 21,600 pixels.
http://www.planetaryvisions.com/satmap/satmap.htm
------------------------------
Date: Tue, 6 Feb 2001 13:16:07 +0900
From: "Robert Reilly"
To: "DV-L"
Subject: Re: Editing
Message-ID: <008f01c08ff3$9ea963a0$d421d8cb@rreilly.gol.com>
"Bruce A. Johnson ORH 2-8503" wrote:
>Reverse shots in a conversation where the speaker has his back to
>the camera and is OBVIOUSLY out-of-sync with the audio track.
>(One I see in "The X-Files" a lot.
>What are your pet peeves??
On the subject of transitions, and pet peeves, here's one (or two):
Bladerunner, a film hailed, justifiably, for its visual mastery, includes among its
marvels several clear (or not so clear) editing incongruities. (For example, the
conversation between Decker and Abdul Ben-Hassan seen through the merchant's storefront
glass window in a medium two-shot is not only out-of-sync, but clearly unmatched to both
actor's lip movements. Another, is the dissolve in Tyrell's office suite where Decker
interviews Rachel at the long table. Dissolves, as most would agree, generally denote a
passage of time, and indeed, is the case in this scene (of over 100 questions remarked
about, only 3 or 4 are shown). However, the dissolve connects two halves of the SAME
sentence which DO NOT span a noteworthy passage of time. Both of these "mistakes" go
largely unnoticed by the viewing public, perhaps due to the overall high level of quality
and originality in the visuals, or perhaps for the same reasons that were made by
Speilberg in his justifying of cutting some corners during the production of Raiders of
the Lost Ark, "I figured no one but Stanley Kubrick and the graduating class at USC would
ever notice the difference."
Robert
_________________________________________________
"I try not to imitate anybody. Including myself."
-Otto Preminger
------------------------------
Date: Tue, 6 Feb 2001 02:36:12 -0200
From: "Metello"
To:
Subject: hello there
Message-ID: <011101c08ff6$6c0b98c0$1fb8eac8@y4l5i5>
Hi folks
my messages dont seem to be arriving at the list. If you read this please
let me know.
regards
andr=E9 metello
metello@microlink.com.br
------------------------------
Date: Mon, 5 Feb 2001 23:12:40 -0600
From: rbern@pop.mindspring.com (RB)
To:
Subject: Question for Storm Users
Message-ID:
I'm considering buying a DV Storm, but need to know a few things.
Can you import the captured footage into 3rd party applications like After
Effects or Digital Fusion?
Can you render movies in these applications and save them using the Canopus
codec?
Is DV Storm Quicktime based? In other words, does the Canopus codec show
up in the list with the standard Quicktime codecs? If so, I would assume
that any Quicktime savvy application would be able to import and export DV
Storm movies.
Thanks.
RB
------------------------------
Date: Tue, 6 Feb 2001 00:09:57 EST
From: CastanedaFilm@aol.com
To: DV-L@dvcentral.org
Subject: Re: Green Screen Problems
Message-ID: <7b.fe486af.27b0e125@aol.com>
The lighting wasn't perfect, but since you've used Ultimatte, you know that
Screen Correction pretty much eliminates those shortcomings. Editing system
resolution sounds like it could be the problem. If I got a DVStorm, am I
correct in assuming it would be best to recapture my footage?
------------------------------
Date: Mon, 05 Feb 2001 21:20:42 -0800
From: Michael Bender
To: DV-L@dvcentral.org
Subject: Low-cost NLE?
Message-ID: <3A7F89AA.EEEFFE05@eng.sun.com>
I've got a friend at work that would like to try his hand at video
editing on a PC. He has asked me for a recommentation for a low-cost
analog capture card and s/w. Anyone got any recommendations?
thanks,
mike
--
----------------------------------------------------------------------------
Michael Bender E-Mail: Michael.Bender@eng.sun.com
Sun Microsystems, Inc. Tel: 650-614-6941
901 San Antonio Road Tel Pager: 888-423-9066
Palo Alto, CA 94303-4900 URL Pager: http://www.skytel.com/Paging/
Mailstop: MPK06-201 Pager PIN: 4239066
----------------------------------------------------------------------------
------------------------------
Date: Mon, 05 Feb 2001 23:27:04 -0600
From: Matthew Groves
To: ""
Subject: Conflicts with OS9.1, QT5, Premiere 5.1c, and a Sony PC100 on a
mac??
Message-ID:
Hello All,
I've been happily capturing, editing, and playing back to my Sony PC100 on
my Macintosh using QT5, OS9.1, and Prem 5.1c, using an orangelink firewire
card.
All of the sudden, weird things happen. Can't recognize camera (yes I'm
using device control 1.3), thinks its PAL all the sudden, wont let me select
DVaudio for audio source, etc. Freezes a lot, too.
Any conflicts I'm not aware of? I've tried completely reinstalling, and
trashing prefs, but nothin doin.
Any hints?
Thanks,
MG
------------------------------
Date: Tue, 06 Feb 2001 00:36:06 -0500
From: Bertel Schmitt
To: metello@Microlink.com.br
Cc: DV-L@dvcentral.org
Subject: Re: hello there
Message-ID: <5.0.2.1.2.20010206003410.046d8e70@popserver.panix.com>
You are coming in loud & clear. Must be something wrong with your incoming=
=20
mailserver. In which case you won't see this message.
BS
At 02:36 AM 2/6/01 -0200, you wrote:
>Hi folks
>
>my messages dont seem to be arriving at the list. If you read this please
>let me know.
>
>regards
>andr=E9 metello
>metello@microlink.com.br
>
>
>---(cut off when replying)-------------------
>This list is made possible by Lifetime DV-L Benefactors such as=20
>http://www.promax.com, http://www.videoguys.com,=20
>http://www.panasonic.com/broadcast and the contributions of its members.
>
>To contribute money: http://www.computervicestore.com/dvl.html
>All about DV-L, to subscribe & unsubscribe:=20
>http://www.DVCentral.org/thelist.html
>---------------------------------------------
------------------------------
Date: Tue, 6 Feb 2001 13:49:54 +0800
From: "Randy Quimpo"
To:
Subject: Re: Editing Etiquette, was DVStorm (on Lucas and Kurosawa)
Message-ID: <004801c09000$a4f519e0$c81410ac@rquimpo>
Some would think you're being too kind, Robert. Some people think that Lucas
wasn't just an avid admirer of Kurosawa, but was more of a blatant
plagiarist who never credited his source of inspiration. Then again, those
people might be being too unkind to Lucas.
regards
Randy Quimpo
----- Original Message -----
From: "Robert Reilly"
To: "DV-L"
Sent: Tuesday, February 06, 2001 10:34 AM
Subject: RE: Editing Etiquette, was DVStorm
>It is no coincidence that Lucas was an avid admirer of the late
> Japanese director's work.
> FWIW.
>
> Robert
------------------------------
Date: Tue, 6 Feb 2001 14:20:20 +0800
From: "Randy Quimpo"
To:
Subject: Re: external firewire drive
Message-ID: <014801c09004$edb7f9a0$c81410ac@rquimpo>
This is a multi-part message in MIME format.
------=_NextPart_000_0145_01C09047.EFF0FE40
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Hi Martin
Have you tried editing from your VAIOs built-in drive? Do you experience =
some mild stuttering? What devices did you disabled to make your edits =
work? Also, did the VAIO work better with the external drive or just the =
same? Finally, did you simply daisy-chain the GVD900 with the Maxtor =
drive?
Hope to hear from you soon - if this works, I will be the next in line =
for a Maxtor!!!
regards
Randy "Stuttering VAIO but still editing" Quimpo
----- Original Message -----=20
From: martin.dubose@srs.gov=20
To: DV-L@dvcentral.org=20
Sent: Monday, February 05, 2001 9:23 PM
Subject: Re: external firewire drive
My maxtor 80 gig 1394 drive works fine for me and I am using a Sony =
F480 and a GV-D900. All working just great together!=20
Martin DuBose
------=_NextPart_000_0145_01C09047.EFF0FE40
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Hi Martin
Have you tried editing from your VAIOs = built-in=20 drive? Do you experience some mild stuttering? What devices did you = disabled to=20 make your edits work? Also, did the VAIO work better with the external = drive or=20 just the same? Finally, did you simply daisy-chain the GVD900 with the = Maxtor=20 drive?
Hope to hear from you soon - if this = works, I will=20 be the next in line for a Maxtor!!!
regards
Randy "Stuttering VAIO but still = editing"=20 Quimpo
----- Original Message -----
From:=20 martin.dubose@srs.gov
To: DV-L@dvcentral.org
Sent: Monday, February 05, 2001 = 9:23=20 PM
Subject: Re: external firewire=20 drive
My maxtor 80 = gig 1394 drive=20 works fine for me and I am using a Sony F480 and a GV-D900. All = working just=20 great together!
Martin=20 DuBose
------=_NextPart_000_0145_01C09047.EFF0FE40--
------------------------------
Date: Mon, 5 Feb 2001 22:25:26 -0800
From: Cory White
To: DV-L@dvcentral.org
Subject: Re: Conflicts with OS9.1, QT5, Premiere 5.1c, and a Sony PC100 on
a mac??
Message-ID:
Do you also have Cleaner 5 installed? I had similar problems with
FCP, G4, OS9.1 and QT 4.1.2. Once I disabled the Rad extensions
Cleaner 5 had put in my extensions folder, all was well again.
This was a toughy to track down, but I was able to find the answer on 2-pop.
-Cory
>Hello All,
>
>I've been happily capturing, editing, and playing back to my Sony PC100 on
>my Macintosh using QT5, OS9.1, and Prem 5.1c, using an orangelink firewire
>card.
>
>All of the sudden, weird things happen. Can't recognize camera (yes I'm
>using device control 1.3), thinks its PAL all the sudden, wont let me select
>DVaudio for audio source, etc. Freezes a lot, too.
>
>Any conflicts I'm not aware of? I've tried completely reinstalling, and
>trashing prefs, but nothin doin.
>
>Any hints?
>
>Thanks,
>
>MG
>
>
>
--
"I like to think the moon is there even if I am not looking at it."
-Albert Einstein
------------------------------
Date: Tue, 06 Feb 2001 09:01:32 +0200
From: Gil
To:
Subject: Help: Cleaner Pro, windows media commpression problam
Message-ID:
Hi all you video experts!
I have a problem with media cleaner pro 4.0.3 on a G4.
When we commpressed ideo data (commponnent- 280*210,
captured throhgh firewire port)
The sound stopped in the last 2 seconds. You here bip and
than mute.
I installed system softwrae, qt 4, qt 5 and media cleaner
few times and it still happenes.
We are doing daily news broadcast and we cant use our
compression unit.
Pls.help
Thanks
Gil
------------------------------
Date: Mon, 05 Feb 2001 23:29:04 -0800
From: Donna@iguanalove.com
To:
Subject: Re:OT Self Correction on 19th Century Film - Great Train Robbery
Message-ID:
>
> In a message dated 2/5/01 10:08:47 AM, dale.launer@gte.net writes:
>
> << Though GREAT TRAIN ROBBERY is known as the first "narrative" film, there
> were dramas being made pre-20th Century. Melies did L'Affaire Dreyfus in
> 1898. I've always wondered why TRAIN ROBBERY was considered the first, when
> I think it just had more to do with filmmaking while previous film were just
> cameras shooting static staged scenes. >>
> I think most film historians now recognize this and refer to The Great Train
> Robbery as the first American narrative film.
Yes, they've taken back many of their earlier claims of "firsts" for
Porter's "Great Train Robbery." It is the longest story film of its time
and the most famous and profitiable film until Griffith's "Birth of a
Nation."
------------------------------
Date: Tue, 06 Feb 2001 03:25:58 -0500
From: Keith
To:
Subject: Re: OT: Highrez space images?
Message-ID:
On 2/5/01 7:34 PM, Don Mitchell got kicked off a skyscraper and screamed:
> No earth images, but lots of spectacular outer space ones.
But are these public domain or do they require rights to be bought?
Keith
------------------------------
End of DV-L V1 #758
*******************
---(cut off when replying)-------------------
This list is made possible by Lifetime DV-L Benefactors such as http://www.promax.com, http://www.videoguys.com, http://www.panasonic.com/broadcast and the contributions of its members.
To contribute money: http://www.computervicestore.com/dvl.html
All about DV-L, to subscribe & unsubscribe: http://www.DVCentral.org/thelist.html
---------------------------------------------