DV-L Tue, 31 Jul 2001 Volume 1 : Number 933
In this issue:
RE: StormEdit
Super OT: Photoshop problem
Re: > OT: Good SVHS Tapes
Re: Super OT: Photoshop problem
Re: Super OT: Photoshop problem
Re: Premiere 6.0 Split Edit question
RE: Meeting you at IBC 2001?
Re: Super OT: Photoshop problem
Re: Dual monitor editing problem
Clicks at the endpoint of every piece of sound!
RE: Premiere 6.0 Split Edit question
XL1/XL1S questions
Quicktime - midi files to audio files (wav/aif)
Re: Meeting you at IBC 2001?
re: seeking quick favor from fellow digest subscriber
URGENT: XL1 Auto Focus Problem Needs Immediate Solution
Re: > OT: Good SVHS Tapes
RE: URGENT: XL1 Auto Focus Problem Needs Immediate Solution
Re: Dual monitor editing problem
Re: Avid Xpress 2.0
Re: Totally OT Just amusing
Re: XL1/XL1S questions
Re: URGENT: XL1 Auto Focus Problem Needs Immediate Solution
RE: Avid Xpress 2.0
Re: StormEdit
Broadcast
Sound for DV Short Film
RE: Avid Xpress 2.0
RE: StormEdit
RE: Sound for DV Short Film
RE: Sound for DV Short Film
RE: Avid Xpress 2.0
RE: StormEdit
RE: New Tyan Athlon MP Revealed
Re: StormEdit
RE: Sound for DV Short Film
RE: Sound for DV Short Film
RE: Avid Xpress 2.0
RE: Sound for DV Short Film
Re: Sound for DV Short Film
RE: Sound for DV Short Film
RE: Sound for DV Short Film
Re: Quicktime - midi files to audio files (wav/aif)
RE: Broadcast
Re: Sound for DV Short Film
RE: Sound for DV Short Film
RE: Sound for DV Short Film
Re: Sound for DV Short Film
Re: Super OT: Photoshop problem
Re: XL1/XL1S questions
JVC JY-VS200??
Re: Clicks at the endpoint of every piece of sound!
Re: URGENT: XL1 Auto Focus Problem Needs Immediate Solution
Re: URGENT: XL1 Auto Focus Problem Needs Immediate Solution
Re: Avid Xpress 2.0
Re: JVC JY-VS200??
Quicktime conundrum
Re: Broadcast
Re: StormEdit
Re: Avid Xpress 2.0
Re: Sound for DV Short Film
Re: Broadcast
Re: StormEdit
Re: Sound for DV Short Film
SV: Broadcast
Re: StormEdit
Re: Broadcast
Re: StormEdit
Premiere Camera Blur looks blocky
Re: Sound for DV Short Film
----------------------------------------------------------------------
Date: Mon, 30 Jul 2001 04:30:06 -0400
From: "Steve Mullen"
To:
Subject: RE: StormEdit
Message-ID: <000001c118d1$d6365140$ff646c42@nyc.rr.com>
"One of the many reasons I use StormEdit for 95% of my NLE work. I
still prefer the titler in Storm over what I can do in Premiere 6 with
titles."
I never hear anyone mention StormEdit. So glad to know someone else
thinks it's great. Combining it with AE is a perfect combination.
Best Regards,
Steve Mullen
Digital Video Consulting NYC
www.mindspring.com/~d-v-c
------------------------------
Date: Mon, 30 Jul 2001 04:45:20 -0400
From: dv hobbyist
To: DV Mailing List
Subject: Super OT: Photoshop problem
Message-ID:
Sorry folks, not sure where else to go with this except for Adobe, and I
don't know when I'll have the time to call them and go through their typical
corporate labrynth that will be their automated phone menu system.
I can not get Photoshop 6.0.1 (Mac version) to boot up. Keep getting a VERY
annoying "Can not be found" error message, followed by a "-36".
If you think you can save me a call to Adobe, please e-mail me privately so
as not to take up the list's time with this non-DV subject.
Thanx!
Keith
------------------------------
Date: Sun, 29 Jul 2001 21:45:01 -0400
From: DPalomaki
To: DV-L@DVCentral.org
Subject: Re: > OT: Good SVHS Tapes
Message-ID: <3B64BC1D.21865156@cox.rr.com>
All brandname S-VHS tape is good, but FUJI H471S is among the
best!
------------------------------
Date: Mon, 30 Jul 2001 05:30:03 -0600
From: "Nancy L. Spoolman"
To: DV-L@dvcentral.org
Subject: Re: Super OT: Photoshop problem
Message-ID:
More detailed explanation:
Excerpted from Black & Bleu=81/PRO v3.0
Copyright =A9 2000, 2001 by Bleu Rose Ltd.
Permission to distribute TO INDIVIDUALS ONLY
is hereby granted provided this copyright
notice remain part of the text below.
Permission to reproduce this material in
public forums or public media (either printed
or electronic) or any other public conveyence
is strictly FORBIDDEN without prior written
consent of the author.
ioErr (-36)
Summary
A storage device failed to record or retrieve data successfully.
Details
When you bought your brand new shiny 1 Gigabyte disk drive and
installed it in your Mac, you were quite shocked to discover that
once you initialized it, the disk didn't actually hold 1 GB of stuff.
Instead, it's capacity was maybe 970 Megabytes. Was the manufacturer
of the disk drive making claims that were false? Well, no. But then,
where did the 30 Megs go? They were eaten up by the formatting
process.
Each block of a disk drive consists of a data area, a block header
and a checksum block. They are organized on the disk as follows:
[header|data|checksum]
[header|data|checksum]
[header|data|checksum]
etc.
As you store information on the media, the device writes the data and
then automatically records the header and checksum information for
you. The data you originally provided is all you ever see when you
ask for it back. But behind the scenes, the stuff in the header and
checksum are being used by the device on your behalf. The checksum is
used for data integrity.
A mathematical calculation is made on the data and the result is
stored in the checksum area. When the data is retrieved, the
calculation is made again and compared to the checksum. If the value
of the checksum and the result of the calculation are the same, the
operation succeeds. If not, error -36 is displayed by the Mac OS.
This error is probably the most devastating error that you can get.
You've almost certainly lost data. Unless you have a backup, you will
NOT be able to recover the loss.
What to do
Take an immediate backup of the data on the device that was in use
when the error occurred. Then do a low-level format of the device's
media. After doing that, restore the contents of the media from your
backup copy.
REPLACE the media as soon as you can. The problem is likely to occur
again if you don't.
=46eedback
"In the following situation, I got -36 errors but the disk drive in
question was just fine.
Situation:
- Retrospect v3.0a running on Mac A
- Mac B being backed up by Retrospect
- a PC on the net running Windows 95
- the PC has a product on it called PC MacLan (allows PC disks to be
mounted on a Mac)
- Mac B has a disk from the PC mounted on its desktop
- Mac A is backing up the PC disk mounted on Mac B's desktop
- Certain files on the PC fail to backup with a failure code of -36
The PC is working fine. The Macs are also working fine. Yet the error
persists. And backups are done routinely (daily) with the same files
listed with the error -36 each time."
-----------
"I am working on a 7100 powermac with system 7.5.3. 500 MB hardrive
with 96 MBs of RAM. System-wise it works fine, but anytime I try to
install a program or a longer file, I get a message that says a disk
error occurred while reading... (BAD DISK).
I did a clean system install and was able to install a couple of
programs (ones that had failed before), but then it started acting up
again and not allowing me to install anything. (I tried installing
from CD, floppies, ZIP, even off of the hard drive itself)."
"As detailed at http://til.info.apple.com/techinfo.nsf/artnum/n9805
this error code indicates an I/O error.
Does the error occur from *all* drives? (I am assuming since you say
"I tried installing from CD, floppies, ZIP, even off of the hard
drive itself" that it does.) If this is the case, I would expect an
extension conflict or some other nonsense.
7.5.3 was moderately buggy in several places (most having to do with
Open Transport), so be sure to download the 7.5.5 updater from
=46or_System_7.5.2_and_7.5.3/ .
Does the problem persist when you boot without extensions by holding
the shift key down at startup? Only the floppy is available this way,
and since the floppy is the flakiest of these drives, due to dust, if
it works the others probably will. If so, try the Extensions Manager
control panel and work from Apple-only system stuff upward until
you're back to normal. If it is not just 7.5.3 flakiness or an
extension conflict of some sort, I would expect something in the
hardware, since very few other things I can think of would cause such
a general I/O error."
----------
"A problematic SCSI chain and/or Hard Drive usually (but not always)
causes this error.
1) Make sure that the Driver on all Hard Drives is compatible with
the version of OS you are running. If the driver is to old (or new)
you can get a -36 error (I/O error).
2) If your HD has a bad/corrupted Boot Block, or filing system, this
will also produce this error. Check your HDs formatting via the
program you used to format said drive, or any up to date program
which tests HD Tracks, Blocks, and File systems.
3) Make sure that no 2 SCSI devices have the same ID number.
4) Make sure that the last SCSI device is terminated. Make sure that
ONLY the last Drive in an external SCSI chain is terminated. Some
external SCSI devices with an electronic termination switch. If any
do, make sure that they are all OFF, and that you use a Hardware
Termination Bar to terminate the last device.
5) The maximum length of a SCSI bus is 18 feet. If you have more than
one device on the chain, the maximum length between devices should
not be longer than 12 feet. Shorter is better. Also: Add about 6
inches more for every SCSI device on the chain, due to the length of
the internal SCSI cabling in each device.
6) Make sure that ALL SCSI cables are clean and fastened securely.
7) A corrupted OS, Finder, and/or Extensions, can also cause this
error. Also a conflict between extensions can also cause this error."
--
Nanc
"Sorrow looks back. Worry looks around. Faith looks UP!"
------------------------------
Date: Mon, 30 Jul 2001 05:32:42 -0600
From: "Nancy L. Spoolman"
To: DV-L@dvcentral.org
Subject: Re: Super OT: Photoshop problem
Message-ID:
OOOPS! That explanation of -36 error was supposed to go to Keith,
only. Please disregard!
--
Nanc
"Sorrow looks back. Worry looks around. Faith looks UP!"
------------------------------
Date: Mon, 30 Jul 2001 12:50:46 +0100
From: Roy Esmonde
To: DV-L@dvcentral.org
Subject: Re: Premiere 6.0 Split Edit question
Message-ID:
Thanks to all who replied to my query.
It seems that Premiere can only handle Split Edits from the source
window for Video precedes Audio. Audio precedes Video involves
inserting or dragging to the timeline and physically dragging the
Video to the cut point.
I've noted all the recommendations about working the Timeline more and
will give it a try.
BTW another puzzle to me is the Copy or Cut and Paste option.
Intuitively I presumed it would be similar to using a wordprocessor -
select the audio and video clips, Copy them, then select the new
location and Paste them in. Doesn't work. For some reason when I
follow that procedure, Premiere just removes the Audio track from the
selected clips. The only option seems to be the Range Select Tool
and physically dragging the selected clips to a new empty location.
Strange...
Roy Esmonde
------------------------------
Date: Mon, 30 Jul 2001 13:55:51 +0200
From: "Jan De Wever"
To: "DV-list"
Subject: RE: Meeting you at IBC 2001?
Message-ID:
Hi Jan,
I will be going to the IBC too, and possibly more than one day too. So I
really hope I can attend such a meeting. Count me in!
And normally Chris Hurd (from the XL1 Watchdog) and Darrell from New Magic
(Australian Canopus distributor) will be attending the IBC too!
--
Jan De Wever - Leuven, Belgium
Anyvision Media Services
webmaster www.abcdv.com
-----Original Message-----
From: Jan van der Meer [mailto:info@global-dvc.org]
Sent: zaterdag 28 juli 2001 17:04
To: DV-L@dvcentral.org
Subject: Meeting you at IBC 2001?
Are you or your company visiting IBC 2001 (www.IBC.Org) at Amsterdam RAI
September 14 2001 - September 18 2001.
We'll be happy to meet DV-L members at the IBC English Pub (ground floor
main hall) on
Saterday 15th at 17.00
------------------------------
Date: Mon, 30 Jul 2001 08:07:46 -0400
From: dv hobbyist
To:
Subject: Re: Super OT: Photoshop problem
Message-ID:
On 7/30/01 7:30 AM, Nancy L. Spoolman passionately wrote:
> More detailed explanation:...
Wow Nancy. Thanx for that detailed explanation. Umm... but the thing is,
I've had this problem before, and I think it's specific to Photoshop 6.
But I'muh-savin' all that info! Thanx again.
Keith
------------------------------
Date: Mon, 30 Jul 2001 08:43:20 -0700
From: rich@internetproductions.com (Rich Rosen)
To:
Subject: Re: Dual monitor editing problem
Message-ID: <002a01c1190e$5c106760$12d8b918@DanaBrette>
This is a multi-part message in MIME format.
------=_NextPart_000_0027_01C118D3.AF7F34C0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Can anyone tell me exactly what settings in W2K need to be changed to =
get all dialog boxes popping up on one monitor. Thanks.
------=_NextPart_000_0027_01C118D3.AF7F34C0
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Can anyone tell me exactly what = settings in W2K=20 need to be changed to get all dialog boxes popping up on one monitor.=20 Thanks.
------=_NextPart_000_0027_01C118D3.AF7F34C0--
------------------------------
Date: Mon, 30 Jul 2001 21:44:24 +0800
From: deusirae
To: cinestreamsupport@media100.com
Cc: DV-L@DVCentral.org
Subject: Clicks at the endpoint of every piece of sound!
Message-ID: <5.1.0.14.1.20010730213445.009f33a0@pop.info.com.ph>
I'm running EditDV QT4 and WIndows 98. Rendering creates a little click
appears at the end of EVERY piece of sound in the timeline! This happens
even when I use a synthesized sine wave that loops flawlessly in SOundforge
(meaning that it starts and ends on a zero crossing) and even if I put a
sound fade in and fadeout at the beginning and end of the piece of sound.
Rendering a quicktime file and then extracting the wave produces
incontrovertible and graphical proof: a visible spike at the end of the
fadeout. Is there any way to get rid of this?
Unbelievable!!
------------------------------
Date: Mon, 30 Jul 2001 08:03:56 -0600
From: "Richard H. Heeren"
To:
Subject: RE: Premiere 6.0 Split Edit question
Message-ID:
Premiere's Copy and Paste operation works like this: Select the clip you
want to copy and paste and choose Copy. Select an empty area in a track
on the timeline and Paste. The clip will show up at the beginning of the
empty space selected. Drag and move it within the empty space if needed.
I think only the video or audio of linked clip is copied and pasted this
way, whichever one you had selected when you did the copy operation. If
both are needed, I think you have to copy and paste both separately and
relink them after pasting. I too would think that it would be more
intuitive to copy and paste a clip at the current curser location on the
timeline and to include both the audio and video of a linked clip.
Richard H. Heeren, Consultant
Shoestring Studios--Video on a Wing and a Prayer!
-----Original Message-----
From: Roy Esmonde [mailto:roy.esmonde@medianua.com]
.....BTW another puzzle to me is the Copy or Cut and Paste option.
Intuitively I presumed it would be similar to using a wordprocessor -
select the audio and video clips, Copy them, then select the new
location and Paste them in. Doesn't work. For some reason when I
follow that procedure, Premiere just removes the Audio track from the
selected clips. The only option seems to be the Range Select Tool and
physically dragging the selected clips to a new empty location.....
------------------------------
Date: Mon, 30 Jul 2001 10:35:03 -0400
From: Kat Dalton
To: DV-L@dvcentral.org
Subject: XL1/XL1S questions
Message-ID: <3B65708E.66D7@clarityconnect.com>
Anyone using the b&w viewfinder with their XL1? How much does this cut
into how long battery will last (the larger battery, for example)?
Also. . . 3x lens users: Is there a noticeable improvement in
front-heaviness problem when you use this lens? From specs I see it's
not that much lighter.
I didn't buy XL1 because of viewfinder and ergonomics, but am
considering XL1S (love frame mode. . . and, yes, I know you can do
something similar in post, but I prefer the in-camera look).
Kat Dalton
------------------------------
Date: Mon, 30 Jul 2001 10:32:26 -0400
From: Sean Adair
To:
Subject: Quicktime - midi files to audio files (wav/aif)
Message-ID:
I wondered if anyone could let me in on an easy way to get midi files
(classical keyboard transcriptions) into wav or aif files for use in a lo/no
budget dance therapy video for a non-profit I work with.
Mac G4/400, quicktime pro, FinalCut Pro 2,
I could of course play midi in quicktime out to speakers, record to tape,
then recapture the audio from tape as a wav (yucch).
... use digital performer 2.7 to drive my GR-1 guitar synth through my USB
Tascam US-428, and somehow loop it back into the inputs and record the
audio. (even more of a pain)
Quicktime pro doesn't export the midi file as any sound file, I couldn't
configure any of the recorders I have to receive QT's playing of the file,
and couldn't find any shareware solutions after a decent search, including
some dedicated Mac midi link lists.
I have a bunch of music utilities like free midi, OMS, peak, soundedit 16,
Roland VSC-88, plus. I expected this to be a snap - a pc with a duplex sound
card can set the input to internal sounds - the new soundblaster live for
the Mac would probably do it, but that wasn't in my purchase plan.
Any help appreciated.
--
Sean Adair
Adair Productions
http://www.adairproductions.com
212 677-0518 fax: 212 677-3276
Mobile: 917 701-3595
430 E. 20th St. #11G
New York, NY, 10009
Specializing in Digital Video, Photography and New Media.
------------------------------
Date: Mon, 30 Jul 2001 09:56:28 -0500
From: Chris Hurd
To: "Jan van der Meer"
Cc:
Subject: Re: Meeting you at IBC 2001?
Message-ID: <4.3.2.7.0.20010730095441.02822910@dvinfo.net>
Howdy Jan,
Happy to say that I will be meeting you at IBC.
My friend David Locke (whom you met at NAB)
and I will be running the VariZoom booth. I am
looking forward to drinking beer with many friends!
See you then,
Chris
------------------------------
Date: Mon, 30 Jul 2001 09:59:23 -0500
From: Chris Hurd
To:
Subject: re: seeking quick favor from fellow digest subscriber
Message-ID: <4.3.2.7.0.20010730095700.0278c478@dvinfo.net>
Howdy from Texas,
Just wanted to say thanks in public to Rik Albury
for giving me a hand last week, and also to Rich
Terlaje and others who also offered to help out.
Much obliged,
Chris Hurd
San Marcos, TX
------------------------------
Date: Mon, 30 Jul 2001 11:20:33 -0400
From: "Christopher Van Nest"
To: "DV-L"
Subject: URGENT: XL1 Auto Focus Problem Needs Immediate Solution
Message-ID:
We recently purchased an XL1 for a national show we're currently producing
and we're regularly having MAJOR focus problems with it in auto focus mode.
Basically, it seems to momentarily lose focus at the strangest (and often
most critical) times without any known changes to the controls. This happens
inside, outside, with and without our UV protector in place, and with two
different shooters. Here's our camera specs for reference:
Manufactured April 2000
Canon Video Lens 16x IS (standard lens)
Tiffen 72mm UV Protector
We've had our unit and an example tape to the Canon XL1 repair facility in
NJ-- they checked it out and sent it back to us with a clean bill of health.
But we're STILL experiencing the same seemingly random focus problems and
the repair facility doesn't have any immediate solutions.
Any suggestions on whom to speak with at Canon, what adjustments on the unit
to make, or how to otherwise solve this problem? We're perplexed because
Canon Repair seems to think the unit is OK, but we're still experiencing
problems in the field. I'm a decent camera operator, but I'm very willing to
consider "operator error" if anyone has advice on shooting techniques to
avoid this problem.
Thanks,
Christopher
____________________________
Host/Producer FREESPORT-TV
http://www.freesport-tv.com/
------------------------------
Date: Mon, 30 Jul 2001 08:55:50 +0100
From: Andy Stevens
To: DV-L@dvcentral.org
Subject: Re: > OT: Good SVHS Tapes
Message-ID: <5.1.0.14.0.20010730085323.03588c60@mail.ulti-media.com>
At 09:45 PM 7/29/01 -0400, you wrote:
>All brandname S-VHS tape is good, but FUJI H471S is among the
>best!
I would also give these tapes a very high recommendation and are the only
ones I order. I've used many hundreds of these tapes and I have not had
more than two problematic tapes out of these.
Andy Stevens
Ulti-Media Productions
http://www.ulti-media.com
DV Master Pro & Speed Razor Users Forum
http://www.ulti-media.com/dvmaster_pro.htm
"Ghostrider" Vulcan Nomad 1500 VROC 2651
http://www.ulti-media.com/2651.htm
------------------------------
Date: Mon, 30 Jul 2001 08:40:14 -0700
From: "Lone Orchard Productions"
To:
Subject: RE: URGENT: XL1 Auto Focus Problem Needs Immediate Solution
Message-ID:
I have noticed that my XL1 hunts a little bit in relatively low light, even
though the camera's viewfinder looks OK. It seems whatever mechanism inside
for the auto focus has to work harder when there is less light.
I solve this by either using an on-cam soft light, or using manual focus.
I normally don't use any filters.
I guess make sure that the camera is clean as well.
Derek
------------------------------
Date: Mon, 30 Jul 2001 09:02:16 +0100
From: Andy Stevens
To: DV-L@dvcentral.org
Subject: Re: Dual monitor editing problem
Message-ID: <5.1.0.14.0.20010730085920.0358dc80@mail.ulti-media.com>
At 08:43 AM 7/30/01 -0700, you wrote:
Can anyone tell me exactly what settings in W2K need to be changed to get all dialog boxes popping up on one monitor. Thanks.
Depends on your graphics card. If it's Matrox, go the Matrox display properties menu and the PowerDesk tab will furnish options for this. Check "Center dialog boxes" and choose where. I use "In mouse pointer display".
Hope this helps,
Andy
Ulti-Media Productions
http://www.ulti-media.com
DV Master Pro & Speed Razor Users Forum
http://www.ulti-media.com/dvmaster_pro.htm
"Ghostrider" Vulcan Nomad 1500 VROC 2651
http://www.ulti-media.com/2651.htm
------------------------------
Date: Mon, 30 Jul 2001 06:17:43 -1000
From: Jon Burkhart
To: DV-L@dvcentral.org
Subject: Re: Avid Xpress 2.0
Message-ID: <3B6588A7.4ADE076E@maui.net>
"Kenneth S. Bell" wrote:
> George,
>
> It is important to understand that currently the software is not tweaked for
> dual CPUs. In fact duals will add to instability with the Avid system at
> present. That is why you are seeing most turnkey guys offer it as a single
> system. We have chatted with them about duals and since the Xpress DV
> software uses the multi-threaded Canopus codec, it makes a lot of sense for
> them to get that done. If they get that done, an enormous amount of speed
> will immediately accrue.
>
Sure, it would be nice to have the Avid editing interface, but doesn't the DV Express software ALONE cost as much as a Canopus DVStorm card with StormEdit? I would still take the DVStorm
card.
Just my $.02.
Aloha,
Jon Burkhart
------------------------------
Date: Mon, 30 Jul 2001 06:23:55 -1000
From: Jon Burkhart
To: DV-L@dvcentral.org
Subject: Re: Totally OT Just amusing
Message-ID: <3B658A1B.AF8BF6CE@maui.net>
John Jackman wrote:
> I was searching for an education-related listserv today and stumbled across
> the listing for this one:
>
> Surly Character Listserv
>
> surly-l@listserve.camerican.edu
>
> The list has only 9 members. ;^)
>
I know a couple of people I would like to subscribe to that list.
John, I hope you find work SOON.
Aloha,
Jon Burkhart
------------------------------
Date: Mon, 30 Jul 2001 12:14:47 -0400
From: jmerser
To: DV-L@dvcentral.org
Subject: Re: XL1/XL1S questions
Message-ID:
>Anyone using the b&w viewfinder with their XL1? How much does this cut
>into how long battery will last (the larger battery, for example)?
I don't own one, but the pro canon viewfinder is an ikegami pro
viewfinder and it does suck
a lot of power like all "real" VFs. That said, it is a HUGE
improvement in the focus dept.
I wouldn't try to use the "regular" canon batteries, as they
don't last all that long anyway. That's one thing I love about the
VX2000 . . . 15 hour battery!
>
>Also. . . 3x lens users: Is there a noticeable improvement in
>front-heaviness problem when you use this lens? From specs I see it's
>not that much lighter.
No, it isn't much lighter and it doesn't improve the ergonomics much
at all IMO.
Okay, here's the plug . . . go to www.marztech.com and check out the
MARzPAK camera support system. I developed the MARzPAK, because I AM and
XL1 owner, and the camera is painful to shoot with.
>
>I didn't buy XL1 because of viewfinder and ergonomics,
Right on. Too bad Canon didn't come up with a higher res. "stock"
viewfinder for the XL1S.
>but am
>considering XL1S (love frame mode. . . and, yes, I know you can do
>something similar in post, but I prefer the in-camera look).
I'd like to check out a new XL1S too :)
jmerser
http://www.marztech.com
------------------------------
Date: Mon, 30 Jul 2001 12:21:56 -0400
From: jmerser
To: DV-L@dvcentral.org
Subject: Re: URGENT: XL1 Auto Focus Problem Needs Immediate Solution
Message-ID:
>We recently purchased an XL1 for a national show we're currently producing
>and we're regularly having MAJOR focus problems with it in auto focus mode.
Sure, I almost never use auto focus. As soon as subject moves, it hunts by
going out and back.
>Basically, it seems to momentarily lose focus at the strangest (and often
>most critical) times without any known changes to the controls.
Notice that did you? ;)
Really annoying how the camera seems to 'know' when to wreck the
best shots. I wish that someone would make a controller that had
an auto focus button on it so you could bump auto focus to on ONLY
when needed. Varizoom is able to focus via remote control, but auto
on button would rule.
jmerser
------------------------------
Date: Mon, 30 Jul 2001 10:21:46 -0600
From: "Kenneth S. Bell"
To:
Subject: RE: Avid Xpress 2.0
Message-ID:
Indeed,
Which is why we sell about 10 to 1 in favor of the DVStorm. It would be
pretty interesting if Avid would work with Canopus to put the interface on
the Storm hardware. Kinda pricey, but that would be a smokin configuration.
Of course, a lot of higher end Avid purchasers would wonder what they paid
for...
I'm glad to hear good things about StormEdit from users. It kind of gets
ignored with Premiere 6 out there, but it is very clean, simple and usable.
Ken Bell
---
DVLine - DV/MPEG2 Video Production Solutions
http://www.dvline.com | Sales (800) 826-0556
Fax (847) 556-0887 | Support (970) 622-8088
Microsoft Certified Professionals
> -----Original Message-----
> From: Jon Burkhart [mailto:burkhart@maui.net]
> Sent: Monday, July 30, 2001 10:18 AM
> To: DV-L@dvcentral.org
> Subject: Re: Avid Xpress 2.0
>
>
> "Kenneth S. Bell" wrote:
>
> > George,
> >
> > It is important to understand that currently the software is
> not tweaked for
> > dual CPUs. In fact duals will add to instability with the Avid system at
> > present. That is why you are seeing most turnkey guys offer it
> as a single
> > system. We have chatted with them about duals and since the Xpress DV
> > software uses the multi-threaded Canopus codec, it makes a lot
> of sense for
> > them to get that done. If they get that done, an enormous
> amount of speed
> > will immediately accrue.
> >
>
> Sure, it would be nice to have the Avid editing interface, but
> doesn't the DV Express software ALONE cost as much as a Canopus
> DVStorm card with StormEdit? I would still take the DVStorm
> card.
>
> Just my $.02.
>
> Aloha,
> Jon Burkhart
------------------------------
Date: Mon, 30 Jul 2001 06:42:50 -1000
From: Jon Burkhart
To: DV-L@dvcentral.org
Subject: Re: StormEdit
Message-ID: <3B658E8A.4ED92258@maui.net>
Steve Mullen wrote:
> "One of the many reasons I use StormEdit for 95% of my NLE work. I
> still prefer the titler in Storm over what I can do in Premiere 6 with
> titles."
>
> I never hear anyone mention StormEdit. So glad to know someone else
> thinks it's great. Combining it with AE is a perfect combination.
>
Exactly. StormEdit is lightening fast. I can do all the basic editing in a fifth the time I could do it in Premiere thus leaving lots of time to do the multi-layer, "splash & trash" in
After Effects.
Now, about DVStorm's RT color correction (which I could not be without). Have you figured out you can put in one color correction filter and make spline adjustments on the gamma, for
instance, then add a second color correction filter in the same scene to use other types of correction? All on the same video clip? And, I'll run in real time on my dual PIII 500mhz
machine.
I guess it's you and me against the world, Steve ;^)
Aloha,
Jon Burkhart
------------------------------
Date: Mon, 30 Jul 2001 12:43:53 -0400
From: Jennie Horn
To: dv-l@dvcentral.org
Subject: Broadcast
Message-ID:
Sorry, I know this has been rehashed a few times but i was wondering
if someone could point me to a good archived discussion or article
about broadcast quality. I'm curious to understand what the general
opinion is, as well as the "original definition."
Thanks
Jennie
------------------------------
Date: Mon, 30 Jul 2001 12:53:33 -0400
From: Jennie Horn
To: dv-l@dvcentral.org
Subject: Sound for DV Short Film
Message-ID:
I'm shooting my first short film. I posted an ad on mandy.com so
I've gotten a few responses for sound people. Since I believe that
people are way more forgiving on image than on sound, I want the
sound to be SUPERB. My only problem is, I don't really know what to
look for in a sound person or team. I ordered the book on it by Jay
Rose, and it should be here tomorrow. What other tips can you guys
give me? I won't be doing the sound, but I'd like to able to tell
these guys what I need, and be able to determine if they "get it."
Gist of the project: Almost the entire thing takes place in an
elevator. I will have 2-4 people in a scene at once, speaking. I'll
also need subtle foley stuff like keys jingling, buttons being
pressed, and the elevator doors opening and closing (it will probably
be an old manually operated elevator). Then of course it needs to
be mixed in post and the soundtrack music added. No voiceovers.
Thanks in advance for your suggestions!
Jennie
------------------------------
Date: Mon, 30 Jul 2001 12:58:53 -0400
From: jmerser
To: DV-L@dvcentral.org
Subject: RE: Avid Xpress 2.0
Message-ID:
> > > It is important to understand that currently the software is
>> not tweaked for
>> > dual CPUs. In fact duals will add to instability with the Avid system at
> > > present.
And in the foreseeable future as well. Avid software hasn't been
written with multiprocessing, and that software is SO BIG and
complex that it would take a complete rewrite to enable MP.
That WON'T be happening anytime soon IMO.
jmerser
------------------------------
Date: Mon, 30 Jul 2001 10:07:10 -0700
From: "Justus J. Schlichting"
To:
Subject: RE: StormEdit
Message-ID: <200107301710.NAA11996@mcfeely.concentric.net>
Steve,
You don't hear from other StormEdit users because they are busy
finishing projects rather than asking for help on DV-L.
On Mon, 30 Jul 2001 04:30:06 -0400, Steve wrote:
>"One of the many reasons I use StormEdit for 95% of my NLE work.=
I
>still prefer the titler in Storm over what I can do in Premiere=
6
>with
>titles."
>
>I never hear anyone mention StormEdit. So glad to know someone=
else
>thinks it's great. Combining it with AE is a perfect=
combination.
-- Justus J. Schlichting, justus-j@deltanet.com on 07/30/2001
------------------------------
Date: Mon, 30 Jul 2001 13:33:40 -0400
From: "Stephen van Vuuren"
To:
Subject: RE: Sound for DV Short Film
Message-ID: <000101c1191d$c6a03a60$4423a8c0@dell420>
You're right on track about getting superb sound and Jay Rose's book is
excellent so I won't repeat his advice.
Avoid making the mistakes we made on my first short film:
1. Always record with camera mike if possible even if you're using other
mikes as primary source (like idiots we took it off for scenes we which were
MOS in the script or on DAT or Minidisk. oops!). You'll be amazing what
sound FX, Foley and dialog patches you can make off camera mikes at times.
2. Don't hire any sound crew with a cocaine habit (not funny, it happened to
us). I have sympathy for those struggling with drug problems, but it sucks
when they miss recording tracks and we have to try ADR in your living room
(not recommended).
|:(
3. Run several test shoots on all types of audio (and video) you plan on
recording. Run tests ALL THE WAY through the end of your post-process.
You'll be amazed all the things that you did NOT plan for (e.g. your file
naming convention doesn't sort right on your computer, you're losing sync on
long takes off DAT, you don't know anyone with a DAT deck hooked to a PC for
easy transfer, your filmlook plan won't work etc...)
4. Buy Sound Forge full version if you are PC based. If Mac-based, find
equivalent excellent audio program (we had Sound Forge XP which did not do
24-bit sound - wouldn't open our DAT files. Ouch.). Also, some wonderful
Direct X plugins available - many free - that work wonders on audio.
Ironically that's exactly what I'm doing right now on my first short. Audio
post.
5. Don't try dolly, hand-held or steadicam shots recording sound to camera.
Cables or wireless stuff gets in the way, it's heavier and a bitch to
re-balance your steaditracker on set when changing audio config.
6. We got a minidisk recorder late in our shoot to replace the DAT we had
borrowed and it made life much easier. Sound quality much better than
expected (and we're fairly picky about audio) and beats the hassle and
expense of DAT. We only paid $250 for our Sony - more expensive models with
XLR etc are out there, but we opted for a $400 mike for FX recording which
we thought made more sense for getting quality audio.
7. I will repeat one Jay Rose tip - take the extra minutes on the set to
make sure the sound is good. Because it's going to take at least 10 times
the amount of time in post to fix it.
Congratulations on taking the plunge and keep us posted on how it goes.
stephen
www.xiveren.com
"But you know something? Sometimes you have to break the rules to free your
heart."
-Homer Simpson
------------------------------
Date: Mon, 30 Jul 2001 10:39:06 -0700
From: "Mark Franklin - Media Magic"
To:
Subject: RE: Sound for DV Short Film
Message-ID:
My 2 cents worth... don't believe what people say, look/listen at what
they've done in the past, and make sure that they've done it, i.e.. you want
to listen to original tapes, not finished product where others have
processed their work. I have had a long career trying to fix(read disguise)
people's audio problems in post (as much as that can be done)and just 'cos
the finals sound good doesn't always mean that the guy knew what mic to use
and where ;-)
Most important... you get what you pay for. I've had many people go
elsewhere because I charge more than anyone else in this part of the world,
only to have them come back having spent more than it would have cost with
me, half of which was spent trying to fix bad work, and they still don't
have anything usable.
PS. "We'll fix it in the mix" is audio's biggest lie. IMHO GIGO rules.
Good luck.
Mark Franklin
Media Magic Inc.
Victoria, B.C.
Canada
-----Original Message-----
From: Jennie Horn [mailto:jenhorn@jenhorn.com]
Sent: Monday, July 30, 2001 9:54 AM
To: dv-l@dvcentral.org
Subject: Sound for DV Short Film
I'm shooting my first short film. I posted an ad on mandy.com so
I've gotten a few responses for sound people. Since I believe that
people are way more forgiving on image than on sound, I want the
sound to be SUPERB. My only problem is, I don't really know what to
look for in a sound person or team. I ordered the book on it by Jay
Rose, and it should be here tomorrow. What other tips can you guys
give me? I won't be doing the sound, but I'd like to able to tell
these guys what I need, and be able to determine if they "get it."
Gist of the project: Almost the entire thing takes place in an
elevator. I will have 2-4 people in a scene at once, speaking. I'll
also need subtle foley stuff like keys jingling, buttons being
pressed, and the elevator doors opening and closing (it will probably
be an old manually operated elevator). Then of course it needs to
be mixed in post and the soundtrack music added. No voiceovers.
Thanks in advance for your suggestions!
Jennie
------------------------------
Date: Mon, 30 Jul 2001 13:44:59 -0400
From: "Gary Bettan, The Electronic Mailbox"
To: DV-L@dvcentral.org
Subject: RE: Avid Xpress 2.0
Message-ID: <5.1.0.14.2.20010730134252.03a59de0@pop3.concentric.net>
At 12:58 PM 7/30/01 -0400, you wrote:
>And in the foreseeable future as well. Avid software hasn't been
>written with multiprocessing, and that software is SO BIG and
>complex that it would take a complete rewrite to enable MP.
>That WON'T be happening anytime soon IMO.
This is not accurate for XDV. Currently the program is having problems
running on dual CPU systems. This is a known bug and it is being fixed by
Avid.
XDV is software only, and it is totally CPU dependent. In the near future i
expect to not only see dual processor support, but some real-time features
as a result of all that horsepower!!
Gary
>The Electronic Mailbox 800 323-2325
The Desk Top Video Handbook On Line http://www.videoguys.com
All DTV purchases come with our exclusive 30 day customer
assurance program and FREE Tech Support (516) 759-1615
------------------------------
Date: Mon, 30 Jul 2001 10:48:18 -0700 (PDT)
From: wes chow
To: DV-L@dvcentral.org
Subject: RE: StormEdit
Message-ID: <20010730174818.12195.qmail@web12307.mail.yahoo.com>
StormEdit is fantastically fast and stable. The biggest problem for me
is that split edits are so inconvenient. And it's not like a split
edit is an uncommon thing either... I use it on just about every single
cut. You're also limited in the number of audio tracks, which is a
bummer.
Wes
--- "Justus J. Schlichting" wrote:
> Steve,
> You don't hear from other StormEdit users because they are busy
> finishing projects rather than asking for help on DV-L.
>
> On Mon, 30 Jul 2001 04:30:06 -0400, Steve wrote:
> >"One of the many reasons I use StormEdit for 95% of my NLE work. I
> >still prefer the titler in Storm over what I can do in Premiere 6
> >with
> >titles."
> >
> >I never hear anyone mention StormEdit. So glad to know someone else
> >thinks it's great. Combining it with AE is a perfect combination.
>
>
> -- Justus J. Schlichting, justus-j@deltanet.com on 07/30/2001
>
__________________________________________________
Do You Yahoo!?
Make international calls for as low as $.04/minute with Yahoo! Messenger
http://phonecard.yahoo.com/
------------------------------
Date: Mon, 30 Jul 2001 10:52:28 -0700
From: "Tyler A. Hawes"
To:
Subject: RE: New Tyan Athlon MP Revealed
Message-ID:
That's a change of subject. That quote from me was about not seeing how the
new Tyan board would save me more than $250, not about SCSI. Your preaching
to the choir on SCSI, although I'm realistic about its benefits.
-----Original Message-----
From: Charles Molnar [mailto:ccmm@worldnet.att.net]
Sent: Friday, July 27, 2001 8:48 AM
To: DV-L@DVCentral.org
Subject: RE: New Tyan Athlon MP Revealed
In response to the question:
>Unless I'm missing something...
>Tyler A. Hawes
>Krysalis Productions
Of course you're missing something. It's right in front of your eyes.
Can't you see it yet?
SCSI makes sense for multitasking individuals running businesses and
running multitasking operating systems on muliprocessor computers.
If you want to work on one project while another is running in the
background, SCSI makes sense.
------------------------------
Date: Mon, 30 Jul 2001 10:52:23 -0700 (PDT)
From: john markert
To: DV-L@dvcentral.org
Subject: Re: StormEdit
Message-ID: <20010730175223.11770.qmail@web11508.mail.yahoo.com>
Here I thought Steve was a Matrox RT guy. Has he
jumped ship?
--- Jon Burkhart wrote:
> Steve Mullen wrote:
>
> > "One of the many reasons I use StormEdit for 95%
> of my NLE work. I
> > still prefer the titler in Storm over what I can
> do in Premiere 6 with
> > titles."
> >
> > I never hear anyone mention StormEdit. So glad to
> know someone else
> > thinks it's great. Combining it with AE is a
> perfect combination.
> >
>
> Exactly. StormEdit is lightening fast. I can do
> all the basic editing in a fifth the time I could do
> it in Premiere thus leaving lots of time to do the
> multi-layer, "splash & trash" in
> After Effects.
>
> Now, about DVStorm's RT color correction (which I
> could not be without). Have you figured out you can
> put in one color correction filter and make spline
> adjustments on the gamma, for
> instance, then add a second color correction filter
> in the same scene to use other types of correction?
> All on the same video clip? And, I'll run in real
> time on my dual PIII 500mhz
> machine.
>
> I guess it's you and me against the world, Steve ;^)
>
> Aloha,
> Jon Burkhart
>
> -- (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://dv411.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> DV-L archive at
http://groups.yahoo.com/group/DV-List/messages
=====
-=john markert
www.accelvideo.com
"Read with the same wit with which the author hath writ."
-Alexander Pope
__________________________________________________
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Make international calls for as low as $.04/minute with Yahoo! Messenger
http://phonecard.yahoo.com/
------------------------------
Date: Mon, 30 Jul 2001 11:00:52 -0700
From: "Justus J. Schlichting"
To:
Subject: RE: Sound for DV Short Film
Message-ID: <200107301804.OAA23069@cliff.concentric.net>
Steve's advice is all excellent. I would add:
1. Get plenty of room tone.
2. If you doubt whether you got the best audio on a take - or=
even if
you don't - do and extra audio-only read through on the set. =
This
can be a life saver if you need to insert a word or even a phrase=
during post - the acoustics will match perfectly, which is almost=
impossible when doing ADR.
3. If you record dual system (separate audio recorder) - highly
recommended), slate every scene, head and tail.
3. If you use a consumer Minidisc (which sounds good and is very=
convenient), get one with manual level adjustment (e.g., Sharp
models) and avoid AGC. If you want more headroom, and have a few=
bucks, get a Denecke AD20 (low noise mic preamp and 20 bit ADC)=
to
plug into your cheap consumer Minidisc. Sounds better than a HHB=
Portadisc at about a third the cost.
4. Mic placement is everything (well, good mics help, too). Your=
boom
person should stand-by during lighting and camera set-up so that=
the
best mic position does not compromise your camera angle or=
lighting.
5. Avoid wireless and lavs.
On Mon, 30 Jul 2001 13:33:40 -0400, Steve wrote:
>You're right on track about getting superb sound and Jay Rose's=
book
>is
>excellent so I won't repeat his advice.
>
>Avoid making the mistakes we made on my first short film:
-- Justus J. Schlichting, justus-j@deltanet.com on 07/30/2001
------------------------------
Date: Mon, 30 Jul 2001 14:14:03 -0400
From: Jennie Horn
To: DV-L@dvcentral.org
Subject: RE: Sound for DV Short Film
Message-ID:
Thanks, but what is GIGO?
I have access to some stuff at school, but I'm not sure what yet.
Stephen, which $400 mic did you get?
Thanks
Jennie
>
>PS. "We'll fix it in the mix" is audio's biggest lie. IMHO GIGO rules.
>
>Good luck.
>
>Mark Franklin
>Media Magic Inc.
>Victoria, B.C.
>Canada
------------------------------
Date: Mon, 30 Jul 2001 11:19:00 -0700
From: Charles F. McConathy
To:
Subject: RE: Avid Xpress 2.0
Message-ID: <1010730111909.105cced3.3f774447.ASIP6.3.1.220124@mail.promax.com>
Kenneth S. Bell Wrote
>On another note, we have received word from Avid that they are finishing a
>document to allow turnkey resellers to meet their specifications for
>building systems. I found it rather curious that notwithstanding what has
>been posted on this list, only the following are showing as "certified" on
>the Avid website; Dell, IBM and Compaq. Folks may claim certification, but
>if it isn't posted you can draw your own conclusion.
My conclusion....
I was told that our ProMax Xpress DV 2 system would be listed on their
web site since our system was certified before NAB. Avid showed one of
our systems in their booth during NAB. I think its simply a case that Web
sites from many companies are not updated as often as they should.
FWIW
Charles F. McConathy
www.promax.com
------------------------------
Date: Mon, 30 Jul 2001 11:18:37 -0700
From: Evan Robinson
To: DV-L@dvcentral.org
Subject: RE: Sound for DV Short Film
Message-ID:
At 2:14 PM -0400 on 2001.07.30, Jennie Horn wrote about "RE: Sound
for DV Short Film":
>Thanks, but what is GIGO?
old computer science saying (possibly older than that):
Garbage In, Garbage Out,
meaning that the best processing in the world can't help you if you
have bad data.
A more modern acronym sometimes used is PEBCAK: "Problem Exists
Between Chair And Keyboard". ;-)
Evan
>
>
> I have access to some stuff at school, but I'm not sure what yet.
>Stephen, which $400 mic did you get?
>
>Thanks
>Jennie
>
>>
>>PS. "We'll fix it in the mix" is audio's biggest lie. IMHO GIGO rules.
>>
>>Good luck.
>>
>>Mark Franklin
>>Media Magic Inc.
>>Victoria, B.C.
>>Canada
>
>-- (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://dv411.com/dvl.html
>All about DV-L, to subscribe & unsubscribe:
>http://www.DVCentral.org/thelist.html
>DV-L archive at http://groups.yahoo.com/group/DV-List/messages
Your friends love you anyway.
-- Dave Berry, "25 Things I Have Learned in 50 Years"
------------------------------
Date: Mon, 30 Jul 2001 11:23:11 -0700
From: Richard Everett Goss
To:
Subject: Re: Sound for DV Short Film
Message-ID:
Garbage In Garbage Out
> From: Jennie Horn
> Reply-To: DV-L@dvcentral.org
> Date: Mon, 30 Jul 2001 14:14:03 -0400
> To: DV-L@dvcentral.org
> Subject: RE: Sound for DV Short Film
>
> Thanks, but what is GIGO?
>
>
> I have access to some stuff at school, but I'm not sure what yet.
> Stephen, which $400 mic did you get?
>
> Thanks
> Jennie
>
>>
>> PS. "We'll fix it in the mix" is audio's biggest lie. IMHO GIGO rules.
>>
>> Good luck.
>>
>> Mark Franklin
>> Media Magic Inc.
>> Victoria, B.C.
>> Canada
>
> -- (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://dv411.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> DV-L archive at http://groups.yahoo.com/group/DV-List/messages
------------------------------
Date: Mon, 30 Jul 2001 13:31:36 -0500
From: Jeff Economy
To: DV-L@dvcentral.org
Subject: RE: Sound for DV Short Film
Message-ID:
>5. Avoid wireless and lavs.
I would add that the opposite may be true for documentary work. On my
last project they worked perfectly, the sound quality was excellent,
and once our subject was wired we were able to get greater
spontaneity with her than would have been possible following her
around with a boom.
Jeff
------------------------------
Date: Mon, 30 Jul 2001 14:39:45 -0400
From: "Stephen van Vuuren"
To:
Subject: RE: Sound for DV Short Film
Message-ID: <000401c11927$01e4df00$4423a8c0@dell420>
>5. Avoid wireless and lavs.
Excellent points, Justus. Though I might say. Avoid wireless and lavs when
possible. If you do use them, use high quality. We had good results from
Audio Technica and Lectrosonics diversity units. Really helped when camera
and sound crew were 100 ft plus away from cast.
stephen
www.xiveren.com
"But you know something? Sometimes you have to break the rules to free your
heart."
-Homer Simpson
------------------------------
Date: Mon, 30 Jul 2001 11:47:54 -0700
From: Kevin Marks
To: DV-L@dvcentral.org
Subject: Re: Quicktime - midi files to audio files (wav/aif)
Message-ID:
At 10:32 AM -0400 7/30/01, Sean Adair wrote:
>I wondered if anyone could let me in on an easy way to get midi files
>(classical keyboard transcriptions) into wav or aif files for use in a lo/no
>budget dance therapy video for a non-profit I work with.
>[...]
>Quicktime pro doesn't export the midi file as any sound file, I couldn't
>configure any of the recorders I have to receive QT's playing of the file,
>and couldn't find any shareware solutions after a decent search, including
>some dedicated Mac midi link lists.
Yes it does:
Open the Midi file in QT player Pro.
Choose export.
Choose 'Music to AIFF' from the bottom popup.
Click Options to pick your preferred bitrate etc.
Hit Save.
Using QT 5.0.2 (current version) is a good idea, as it has a new
synthesis engine that sounds a lot better than the old one in QT 4
and earlier.
------------------------------
Date: Mon, 30 Jul 2001 19:59:28 +0100
From: "Perry"
To:
Subject: RE: Broadcast
Message-ID:
Jennie - there is no 'original definition' or universal standard. Every
broadcaster will have its own definition and this will change depending on
the nature of the program content.
There may well be a defined delivery format, for instance here in UK my
local broadcaster demands most material on Digital Betacam. That is not to
say that I cannot copy material from VHS onto a Digital Betacam tape!
In practice a certain amount of trust must be involved, and of course the
finished image quality will be assessed as being 'fit for purpose'.
At the moment, UK broadcasting is full of consumer DV camcorder pictures,
that crop up in all sorts of programs. At one time they used to be
accompanied by suitable 'apology' captions but they rarely bother now. There
are of course also numerous uses of blatantly amateur or surveillance or
police video footage, and much archive programming has VERY dubious quality.
At the end of the day, the broadcasters should want your program content and
should not be given an excuse to reject it for technical reasons.
Perry Mitchell
Video Consultant
http://www.perrybits.co.uk
-----Original Message-----
From: Jennie Horn
Sorry, I know this has been rehashed a few times but i was wondering
if someone could point me to a good archived discussion or article
about broadcast quality. I'm curious to understand what the general
opinion is, as well as the "original definition."
------------------------------
Date: Mon, 30 Jul 2001 14:08:55 -0500
From: Danny Grizzle
To:
Subject: Re: Sound for DV Short Film
Message-ID:
on 7/30/01 12:33 PM, Stephen van Vuuren at stephen@xiveren.com wrote:
> Avoid making the mistakes we made on my first short film:
>
> 1. Always record with camera mike if possible even if you're using other
> mikes as primary source
Maybe I will do different once my confidence level is higher, but the way I
am working right now is to take audio off a single Sennheiser shotgun, send
it equally to both L+R channels. At the camera, I run these at different
levels, one hot, one not. I try to get the hot channel just right. The other
channel is for safety, in case I ever overdrive the main audio track.
I'm using a Shure FP33 field mixer. One of the great things about this is
configurability. With the right snake cable, you can confidence monitor the
audio return from your camera, not simply hear audio direct from the mics.
I got my snake from Markertek. It is built for the FP33 and has a quick
disconnect that is essential for moving between setups. I felt somewhat
mislead about the quality, since Markertek's photos show heavy jacketing on
the internal wires at either end of the snake's breakout, where it splits
into XLR connectors, etc. Markertek overstates the quality of all their
cables, in my experience, by comparison to Comprehensive (B&H's "generic")
and custom cables I've had made out of LA with Coffee Sound. My main beef is
with strain relief and exposure to strand breakage when the thin inner wires
of the snake are exposed for connectors.
Now that I've used a snake cable, I will *never* go back to winging it with
my own homegrown solutions, with knots of individual wires.
Danny Grizzle
------------------------------
Date: Mon, 30 Jul 2001 15:17:22 -0400
From: "Stephen van Vuuren"
To:
Subject: RE: Sound for DV Short Film
Message-ID: <000501c1192c$44b9fea0$4423a8c0@dell420>
>> Avoid making the mistakes we made on my first short film:
>>
>> 1. Always record with camera mike if possible even if you're using other
>> mikes as primary source
>
>Maybe I will do different once my confidence level is higher, but the way I
>am working right now is to take audio off a single Sennheiser shotgun, send
>it equally to both L+R channels. At the camera, I run these at different
>levels, one hot, one not. I try to get the hot channel just right. The
other
>channel is for safety, in case I ever overdrive the main audio track.
I did not explain myself well - your method is exactly what we used when
recording stereo 48K dialog into the camera. What I was referring to was
when were NOT doing boom dialog to camera:
Straight to DAT or Minidisk (when camera was on dolly, steaditracker etc.).
Or non-dialog and/or non actor scenes - closeups, exteriors, coverage. We
had removed the onboard mike for weight etc. but really missed not have
on-camera room-tone, wild sounds that we might have picked up here. The room
tone we asked for was not nearly enough.
stephen
www.xiveren.com
"But you know something? Sometimes you have to break the rules to free your
heart."
-Homer Simpson
------------------------------
Date: Mon, 30 Jul 2001 12:24:18 -0700
From: "Justus J. Schlichting"
To:
Subject: RE: Sound for DV Short Film
Message-ID: <200107301927.PAA00196@marconi.concentric.net>
Stephen (and Jeff),
OK, brevity is NOT a virtue. I should have added "when=
possible." I
use wireless lavs, or lavs with Minidiscs (often a more reliable=
-
and certainly cheaper - arrangement) - couldn't live without=
them. I
was only responding to Ms. Horn's specific inquiry. Since she=
was
working in a constrained space, her best bet was wired (boomed or=
planted) mic(s).
On Mon, 30 Jul 2001 14:39:45 -0400, Stephen wrote:
>>5. Avoid wireless and lavs.
>
>Excellent points, Justus. Though I might say. Avoid wireless=
and
>lavs when
>possible. If you do use them, use high quality. We had good=
results
>from
-- Justus J. Schlichting, justus-j@deltanet.com on 07/30/2001
------------------------------
Date: Mon, 30 Jul 2001 14:42:07 -0500
From: Danny Grizzle
To:
Subject: Re: Sound for DV Short Film
Message-ID:
on 7/30/01 1:39 PM, Stephen van Vuuren at stephen@xiveren.com wrote:
> Excellent points, Justus. Though I might say. Avoid wireless and lavs when
> possible. If you do use them, use high quality. We had good results from
> Audio Technica and Lectrosonics diversity units. Really helped when camera
> and sound crew were 100 ft plus away from cast.
Samson and Audio Technica are the diversity units you are likely to see
matched to DV. Of the two, Samson is more "prosumer" -- you will never catch
a Hollywood audio pro using it. Lectrosonics gear is excellent, but the
diversity sets cost as much as a typical 3CCD DV camera most people on this
list use.
I agree that wireless is a last resort, but there are times when you have
got to have them.
For myself, I settled on two non-diversity Sennheiser Evolution 100 Series
mics. These were about $500 each w/lav, compared to $750 for just one A-T,
and maybe $1200 for the entry-level Lectro 100, also non-diversity. The
E100s are new design and have tremendous frequency diversity, so you should
be able to get a channel without interference.
The Sennheisers are 30mW, typical for most wirelesses. The Lectro is
considered high power with a 100mW transmitter.
At a total cost of $1,000, I've got full redundancy. It may not be
diversity, but on a good day, I can run two wireless channels, and on a bad
day, I can double up one source with two mics as a sort of virtual diversity
system. On an extremely bad day, one wireless can die, and I will still be
up and running.
Danny Grizzle
------------------------------
Date: Mon, 30 Jul 2001 12:50:14 -0700
From: Kevin Marks
To: DV-L@dvcentral.org
Subject: Re: Super OT: Photoshop problem
Message-ID:
At 8:07 AM -0400 7/30/01, dv hobbyist wrote:
>On 7/30/01 7:30 AM, Nancy L. Spoolman passionately wrote:
>
>> More detailed explanation:...
>
>Wow Nancy. Thanx for that detailed explanation. Umm... but the thing is,
>I've had this problem before, and I think it's specific to Photoshop 6.
That probably means its just Photoshop's files that are corrupted.
Back up the drive NOW.
Buy a copy of Alsoft's DiskWarrior, and run it on the drive in
question. It will do a good job of fixing it or removing the bad
files.
------------------------------
Date: Mon, 30 Jul 2001 10:38:11 -1000
From: Jon Burkhart
To: DV-L@dvcentral.org
Subject: Re: XL1/XL1S questions
Message-ID: <3B65C5B3.246DDA9C@maui.net>
Kat Dalton wrote:
>
> Also. . . 3x lens users: Is there a noticeable improvement in
> front-heaviness problem when you use this lens? From specs I see it's
> not that much lighter.
>
It's a little better, but not a great difference. I've gotten so accustomed to the balance of the XL1, I don't even think about it anymore.
But then, people say I've been a bit unbalanced most of my life ;^)
Aloha,
Jon Burkhart
------------------------------
Date: Mon, 30 Jul 2001 16:37:42 -0400
From: "Jason Chrispen"
To:
Subject: JVC JY-VS200??
Message-ID:
Hi,
I'm new to this mailing list and thought I'd start off with a question. I'm
thinking of buying the JY-VS200 camcorder and wondered if anyone had any
thoughts or opinions on it.
For those of you not familiar with it here's the link -
http://www.jvc.com/prof/Attributes/features.jsp?model_id=MDL101220&feature_i
d=01
Thanks for any info
Jay
------------------------------
Date: Tue, 31 Jul 2001 08:41:14 +1200
From: Crazyhorse Pictures
To: DV-L@dvcentral.org
Subject: Re: Clicks at the endpoint of every piece of sound!
Message-ID: <3B65C66AB0.7B10SOUTHCAM@smtp.world-net.co.nz>
This is caused by a DC component in your audio, which of course being
DC, only makes itself known on a speaker when it starts or stops. When
the track ends the DC suddenly stops too with a noticeable CLICK. Usually
caused by a noisy microphone or microphone fault. It can be filtered out
and "GOLDWAVE" does an excellent job. Funny, I've never heard of this
problem in digital recordings however. Only in analog to digital like
the phantom getting into dynamic mics?
Steve
> I'm running EditDV QT4 and WIndows 98. Rendering creates a little click
> appears at the end of EVERY piece of sound in the timeline! This happens
> even when I use a synthesized sine wave that loops flawlessly in SOundforge
> (meaning that it starts and ends on a zero crossing) and even if I put a
> sound fade in and fadeout at the beginning and end of the piece of sound.
> Rendering a quicktime file and then extracting the wave produces
> incontrovertible and graphical proof: a visible spike at the end of the
> fadeout. Is there any way to get rid of this?
> Unbelievable!!
------------------------------
Date: Tue, 31 Jul 2001 08:54:32 +1200
From: Crazyhorse Pictures
To: DV-L@dvcentral.org
Subject: Re: URGENT: XL1 Auto Focus Problem Needs Immediate Solution
Message-ID: <3B65C9882AC.7B11SOUTHCAM@smtp.world-net.co.nz>
Autofocus????.... WHATS THAT!??? :-).
Seriously though, like auto iris, even if you have to use it, DON'T!.
Thins like changes in room temperature can effect the sensor and shift
readings. Set up your shot on manual then shoot it, its well worth the
extra few minutes. I have actually put gum in the auto focus switch on
our VX-1000 so it can't accidentally be switched on!. Nothing worse than
being in the middle of a nice shot and having the focus start hunting,
which it will!. Anyone actually had a camera with a autofocus that
WORKS!??..
Steve
> We recently purchased an XL1 for a national show we're currently producing
> and we're regularly having MAJOR focus problems with it in auto focus mode.
> Basically, it seems to momentarily lose focus at the strangest (and often
> most critical) times without any known changes to the controls. This happens
> inside, outside, with and without our UV protector in place, and with two
> different shooters. Here's our camera specs for reference:
>
> Manufactured April 2000
> Canon Video Lens 16x IS (standard lens)
> Tiffen 72mm UV Protector
>
------------------------------
Date: Mon, 30 Jul 2001 11:11:22 -1000
From: Jon Burkhart
To: DV-L@dvcentral.org
Subject: Re: URGENT: XL1 Auto Focus Problem Needs Immediate Solution
Message-ID: <3B65CD7A.14BD4023@maui.net>
Christopher Van Nest wrote:
> We recently purchased an XL1 for a national show we're currently producing
> and we're regularly having MAJOR focus problems with it in auto focus mode.
> Basically, it seems to momentarily lose focus at the strangest (and often
> most critical) times without any known changes to the controls.
Christopher, I'm sure every XL1 user on this list feels your pain over this subject. We've all been there more times than we care to count. We have all fought this battle. For me, here's
what works best:
I sometimes run in the auto focus mode but only when there is no chance in hell that I can keep up with the focus. Mostly I run in the manual focus mode, pressing the momentary focus
switch when I want to check or adjust focus. Of course you need to zoom in all the way, check focus and then zoom out to frame your shot. Even in the manual focus mode you can just barely
move the focus ring on the lens and it will pop out of focus. I try to make it a habit to NEVER touch the focus ring. When focus adjustment is needed, I press the momentary focus switch
until focus is reached and then I release it, returning to manual focus.
One more thing about staying in focus throughout a zoom, of course you must be at lease 6 or 7 feet from your subject if you expect the focus tracking to work correctly.
With the color viewfinder that comes with the XL1, it's a bit difficult to see exact focus in the first place.
You may laugh at this, but when I end up with a shot that's slightly out of focus, I have the luxury of being able to pop a Sharp filter into the clip with my Canopus DVStorm and it works
wonders. It's saved my butt more times than I care to count.
Hope this helps.
Aloha,
Jon Burkhart
------------------------------
Date: Mon, 30 Jul 2001 11:14:09 -1000
From: Jon Burkhart
To: DV-L@dvcentral.org
Subject: Re: Avid Xpress 2.0
Message-ID: <3B65CE21.10F038D5@maui.net>
"Kenneth S. Bell" wrote:
> Indeed,
>
> Which is why we sell about 10 to 1 in favor of the DVStorm. It would be
> pretty interesting if Avid would work with Canopus to put the interface on
> the Storm hardware. Kinda pricey, but that would be a smokin configuration.
> Of course, a lot of higher end Avid purchasers would wonder what they paid
> for...
>
> I'm glad to hear good things about StormEdit from users. It kind of gets
> ignored with Premiere 6 out there, but it is very clean, simple and usable.
>
> Ken Bell
> ---
> DVLine - DV/MPEG2 Video Production Solutions
> http://www.dvline.com | Sales (800) 826-0556
> Fax (847) 556-0887 | Support (970) 622-8088
> Microsoft Certified Professionals
>
> > -----Original Message-----
> > From: Jon Burkhart [mailto:burkhart@maui.net]
> > Sent: Monday, July 30, 2001 10:18 AM
> > To: DV-L@dvcentral.org
> > Subject: Re: Avid Xpress 2.0
> >
> >
> > "Kenneth S. Bell" wrote:
> >
> > > George,
> > >
> > > It is important to understand that currently the software is
> > not tweaked for
> > > dual CPUs. In fact duals will add to instability with the Avid system at
> > > present. That is why you are seeing most turnkey guys offer it
> > as a single
> > > system. We have chatted with them about duals and since the Xpress DV
> > > software uses the multi-threaded Canopus codec, it makes a lot
> > of sense for
> > > them to get that done. If they get that done, an enormous
> > amount of speed
> > > will immediately accrue.
> > >
> >
> > Sure, it would be nice to have the Avid editing interface, but
> > doesn't the DV Express software ALONE cost as much as a Canopus
> > DVStorm card with StormEdit? I would still take the DVStorm
> > card.
> >
> > Just my $.02.
> >
> > Aloha,
> > Jon Burkhart
>
> -- (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://dv411.com/dvl.html
> All about DV-L, to subscribe & unsubscribe: http://www.DVCentral.org/thelist.html
> DV-L archive at http://groups.yahoo.com/group/DV-List/messages
------------------------------
Date: Mon, 30 Jul 2001 14:11:45 -0700
From: Jim Feeley
To: DV-L@dvcentral.org
Subject: Re: JVC JY-VS200??
Message-ID:
>Hi,
>
>I'm new to this mailing list and thought I'd start off with a question. I'm
>thinking of buying the JY-VS200 camcorder and wondered if anyone had any
>thoughts or opinions on it.
Check out Adam Wilt's detailed review on the DV-L site:
http://www.computervice.com/DV-L/Reviews/jyvs200u.html
Jim
-----------------------------------------
Jim Feeley 415-947-6256 phone
Senior Editor 415-947-6030 fax
Digital Video http://www.dv.com
------------------------------
Date: Thu, 30 Aug 2001 14:12:46 -0700
From: "Mike Falconer"
To:
Subject: Quicktime conundrum
Message-ID: <001501c13198$84812250$db12693f@c381851g>
This is a multi-part message in MIME format.
------=_NextPart_000_0012_01C1315D.D8080B90
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
I have a 48 second long 320x240 avi file that I've turned into a same =
size Quicktime movie for streaming on my website. I've gone for a high =
quality DSL type file using Sorenson 3 and 29.97 frames per second etc.
However the movie insists on fully downloading before it will play.=20
I've tried a number of Quicktime Pro encoding options and can't get it =
to start on it's own and play including checking the "fast start" =
option.
Does anyone have a thought on how I can solve this problem?
Thanks,
Mike Falconer
Oregon Media Services inc.
------=_NextPart_000_0012_01C1315D.D8080B90
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
I have a 48 second long 320x240 avi = file that I've=20 turned into a same size Quicktime movie for streaming on my website. = I've gone=20 for a high quality DSL type file using Sorenson 3 and 29.97 frames per = second=20 etc.
However the movie insists on fully = downloading=20 before it will play.
I've tried a number of Quicktime Pro = encoding=20 options and can't get it to start on it's own and play including = checking the=20 "fast start" option.
Does anyone have a thought on how I can = solve this=20 problem?
Thanks,
Mike Falconer
Oregon Media Services inc.
------=_NextPart_000_0012_01C1315D.D8080B90--
------------------------------
Date: Tue, 31 Jul 2001 09:18:47 +1200
From: Crazyhorse Pictures
To: DV-L@dvcentral.org
Subject: Re: Broadcast
Message-ID: <3B65CF3731C.7B12SOUTHCAM@smtp.world-net.co.nz>
I too would love to know the TRUE meaning of "broadcast quality".!!!.
What a horrible term!. To me, broadcast quality is the CONTENT or how
the camera was used, not the medium it was shot on!!??.
Steve
> Sorry, I know this has been rehashed a few times but i was wondering
> if someone could point me to a good archived discussion or article
> about broadcast quality. I'm curious to understand what the general
> opinion is, as well as the "original definition."
>
>
> Thanks
>
> Jennie
------------------------------
Date: Mon, 30 Jul 2001 14:06:10 -0700
From: "Mark Williams"
To:
Subject: Re: StormEdit
Message-ID: <001301c1193b$7d2005a0$19b01e18@socal.rr.com>
I was just about to buy a Final Cut Pro system,,,,how does the DVStorm
compair in price?
It seems to be faster and have better color correction
mark williams
----- Original Message -----
From: Jon Burkhart
To:
Sent: Monday, July 30, 2001 9:42 AM
Subject: Re: StormEdit
> Steve Mullen wrote:
>
> > "One of the many reasons I use StormEdit for 95% of my NLE work. I
> > still prefer the titler in Storm over what I can do in Premiere 6 with
> > titles."
> >
> > I never hear anyone mention StormEdit. So glad to know someone else
> > thinks it's great. Combining it with AE is a perfect combination.
> >
>
> Exactly. StormEdit is lightening fast. I can do all the basic editing in
a fifth the time I could do it in Premiere thus leaving lots of time to do
the multi-layer, "splash & trash" in
> After Effects.
>
> Now, about DVStorm's RT color correction (which I could not be without).
Have you figured out you can put in one color correction filter and make
spline adjustments on the gamma, for
> instance, then add a second color correction filter in the same scene to
use other types of correction? All on the same video clip? And, I'll run
in real time on my dual PIII 500mhz
> machine.
>
> I guess it's you and me against the world, Steve ;^)
>
> Aloha,
> Jon Burkhart
>
> -- (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://dv411.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
> DV-L archive at http://groups.yahoo.com/group/DV-List/messages
>
------------------------------
Date: Mon, 30 Jul 2001 11:32:18 -1000
From: Jon Burkhart
To: DV-L@dvcentral.org
Subject: Re: Avid Xpress 2.0
Message-ID: <3B65D262.72DFD49@maui.net>
"Kenneth S. Bell" wrote:
> Indeed,
>
> Which is why we sell about 10 to 1 in favor of the DVStorm. It would be
> pretty interesting if Avid would work with Canopus to put the interface on
> the Storm hardware. Kinda pricey, but that would be a smokin configuration.
> Of course, a lot of higher end Avid purchasers would wonder what they paid
> for...
>
Yes, it would rank right up there with one of my favorite things in the whole world. . .
and I'm not talking about DV.
>
> I'm glad to hear good things about StormEdit from users. It kind of gets
> ignored with Premiere 6 out there, but it is very clean, simple and usable.
>
I try to make myself use Premiere 6 now and then, but I still much prefer titling in StormEdit.
With all the controls you have, you can make even 14 point helvetica readable on NTSC.
And no, I don't work for Canopus nor do I sell their products.
Aloha,
Jon Burkhart
------------------------------
Date: Mon, 30 Jul 2001 14:26:09 -0700
From: Karl Lohninger
To:
Subject: Re: Sound for DV Short Film
Message-ID:
Jennie,
I feel your pain and throw in a few aspririns - from someone who makes a
living doing sound.
First, as others have already said, you're on the right track thinking that
SOUND is important.
>My only problem is, I don't really know what to look for in a sound person or
team. I ordered the book on it by Jay Rose, and it should be here tomorrow.
What other tips can you guys give me? I won't be doing the sound, but I'd
like to able to tell these guys what I need, and be able to determine if
they "get it."
Well, it's certainly good to have at least a vague idea of what SOUND is
about, but you wish for something that's not going to be happening. You will
not know much more really about SOUND after reading the (any) book. That's
like reading a book about photography and hoping you can tell the DP how to
light a scene....;-(
The only way to determine if they (the sound crew) 'got it' is to listen to
the takes - the truth's in the pudding!
> takes place in an
> elevator. I will have 2-4 people in a scene at once, speaking. I'll
> also need subtle foley stuff like keys jingling, buttons being
> pressed, and the elevator doors opening and closing (it will probably
> be an old manually operated elevator). Then of course it needs to
> be mixed in post and the soundtrack music added. No voiceovers.
Regarding foley, one of the sound crew's duty is to record as much 'wild
sounds' on location as possible - but be aware that with digital projects
that means probably they'll have to use the camera as recorder plus they
need QUIET on the set when doing so. It's in your hands to give them the
time and circumstances to do a good job!
Is the elevator a real one or is this on a sound stage? With real ones be
aware of sound that can be too hollow sounding - talk with your sound mixer
about it - there might be problems of whre to put the boom because of
confined spaces etc. MIXING, MUSIC etc. is a different job altogether and
done seperately from the location sound recordings.
Stephen mentioned:
>5. Don't try dolly, hand-held or steadicam shots recording sound to camera.
I wouldn't be afrai of doing that. We do it all the time - should'nt be a
problem for an experienced crew to deal with.
>6. We got a minidisk recorder late in our shoot to replace the DAT we had
>borrowed and it made life much easier.
If shooting digital I'd recommend going directly into the camera (as long as
it's not some consumer thingy). Cables are a hassle, but you've got
immediate sync sound.
Mark menstions:
>..... look/listen at what they've done in the past, and make sure that they've
>done it, i.e.. you want to listen to original tapes, not finished product where
>others have processed their work. I have had a long career trying to fix(read
>disguise)
I have not one original tape in my posession because the originals go right
to the AD after the day's wrapped. In addition one cannot judge the sound
without knowing about the circumstances the sound was recorded in. If the
director decides that he's got to have that gas-powered wind machine running
while the hero whispers into his lover's ear - what can you do? It's the
director who said we'll just fix it in post.
>....people's audio problems in post (as much as that can be done) and just 'cos
>the finals sound good doesn't always mean that the guy knew what mic to use
>and where ;-)
Just because sound on tape was'nt that good doesn't mean the sound mixer
didn't know what mic to use and where to put it....;-) if you know what I
mean. Never underestimate the directors influence on having good or bad
sound!
Talk with the sound crew, meet them in person, read their resume and ask for
reference phone numbers and call them.
Good luck, Karl
------------------------------
Date: Tue, 31 Jul 2001 00:28:40 +0200
From: "Tal Hart \(I-Media\)"
To:
Subject: Re: Broadcast
Message-ID: <092801c11946$fc20d5e0$64ba39d5@a9l0d9>
'Broadcast quality' Has changed massively during the years....
i remember it was once 1" Tapes,
than 3/4" Low band, than High Band, than Betacamp SP..
now all these analog formats had a measurable picture Bandwidth/TV Lines
that could be measured to detrmine quality...
today with Digital Video formats, Digi beta , Beta SX , DV , and many
others, Including
tons of various qualitys available fron NLE's, it is impossible to measure
the quality...
The bandwidth of a good NLE would allwasy eb very high, even when you output
an AVR3 Digital cut..
still , the eye can see it's a poor offline, the Machines would see a high
quality levels,etc...
So , true, content and relevance are now the true quality keys...
If we're talking about News or Reality TV, any home video would do...
If were talking about Less professional Local tv stations , community TV ,
etc...
you can find stations using S-VHS / Hi-8 / DV as standard.
from True professional TV like Networks, and for True TV Series/ TV Dramas
etc...
people wouldnt usually use anything less than Beta SP to aquire...
Still, it's true you can get very good Results with DV,
(Not even close to true Beta SP or Digital Betacam)
but my suggestion would always be, Transfer to Dig beta , and never send
material on MniDV tapes.
People will categorize you as 'low quality/low budget' even if your material
is great..
also, if you're selling the program, they would offer a lower price if they
see it was aquired in MiniDV...
tal.
----- Original Message -----
From:
To:
Sent: Monday, July 30, 2001 11:18 PM
Subject: Re: Broadcast
> I too would love to know the TRUE meaning of "broadcast quality".!!!.
> What a horrible term!. To me, broadcast quality is the CONTENT or how
> the camera was used, not the medium it was shot on!!??.
>
> Steve
>
> >> Sorry, I know this has been rehashed a few times but i was wondering
> >> if someone could point me to a good archived discussion or article
> >> about broadcast quality. I'm curious to understand what the general
> >> opinion is, as well as the "original definition."
> >>
> >>
> >> Thanks
> >>
> >> Jennie
>
> -- (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://dv411.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> DV-L archive at http://groups.yahoo.com/group/DV-List/messages
>
------------------------------
Date: Mon, 30 Jul 2001 11:54:58 -1000
From: Jon Burkhart
To: DV-L@dvcentral.org
Subject: Re: StormEdit
Message-ID: <3B65D7B2.A84E80B0@maui.net>
wes chow wrote:
> StormEdit is fantastically fast and stable. The biggest problem for me
> is that split edits are so inconvenient. And it's not like a split
> edit is an uncommon thing either... I use it on just about every single
> cut. You're also limited in the number of audio tracks, which is a
> bummer.
>
Absolutely, you're right on both counts. So much depends on the way you work as to whether any particular software will be BEST for you.
Aloha,
Jon Burkhart
------------------------------
Date: Mon, 30 Jul 2001 18:01:35 -0400
From: "Stephen van Vuuren"
To:
Subject: Re: Sound for DV Short Film
Message-ID: <200107301801.AA108069170@mail.xiveren.com>
>Stephen mentioned:
>
>>5. Don't try dolly, hand-held or steadicam shots recording sound to camera.
>
>I wouldn't be afrai of doing that. We do it all the time - should'nt be a
>problem for an experienced crew to deal with.
Karl:
The steaditracker system we had is very sensitive to weight and balance - the cables running to the camera on fast shots completely threw it off and posed and safety risk to the camera operator, especially up and down stairs. Of course professional crews do this all the time, but Jenny (as we were) are first timers without the ability to do this. Yanking the cables and using a wireless to minidisk or lavs works great.
>>6. We got a minidisk recorder late in our shoot to replace the DAT we had
>>borrowed and it made life much easier.
>
>If shooting digital I'd recommend going directly into the camera (as long as
>it's not some consumer thingy). Cables are a hassle, but you've got
>immediate sync sound.
>
But sometimes cables are more than a hassle - they force you to change a shot or blocking that interferes with storytelling. If you can get good sound other way, do it. And syncing DAT or minidisk is easy. Head or tail slate and away you go.
--
stephen
www.xiveren.com
"It can only be attributable to human error"
-HAL
--
------------------------------
Date: Tue, 31 Jul 2001 00:06:01 +0200
From: "Jonas Hermansson"
To:
Subject: SV: Broadcast
Message-ID: <000301c11943$d25c92b0$6400a8c0@ws01>
Hi all!
I'm working for a large tvcompany in sweden, as editor, director and
engineer. In my work, I regulary has to decide if material is good enough to
transmit or not. I do most edits on Digital Betacam, and is used to very
good technical quality. In my opinion "broadcast quality" is something that
depends on several aspects:
- The pure techincal quality, in terms of signal levels, noise, drop-outs
etc. I'm quite hard when looking at the technical part, because bad material
in always means bad quality on air. But nearly all digital tape formats
today has good technical quality.
- Image quality. Here I look at color levels, focus, white balance, detail
levels etc. This is the part where it's difficult to set a minimum level,
since it's difficult to measure it. I require that the picture should "look
good", and that is why most single-chip DV-cameras don't pass my broadcast
definition. They just dont look as good as the "real" cameras.
- Program quality. In some cases, a material that I normally would rank as
not broadcast quality, might pass because the program it self is so good or
important that you can live with the fact that it is not looking perfect.
This is usually the case in news and some sport programs.
I don't think it's possible to define a standard for "broadcast quality".
You have to put all the aspects together and make a individual decision if
it's good or not.
Hope this was to some help...
Jonas Hermansson
------------------------------
Date: Mon, 30 Jul 2001 12:24:18 -1000
From: Jon Burkhart
To: DV-L@dvcentral.org
Subject: Re: StormEdit
Message-ID: <3B65DE92.35E2AA4B@maui.net>
Mark Williams wrote:
> I was just about to buy a Final Cut Pro system,,,,how does the DVStorm
> compair in price?
>
> It seems to be faster and have better color correction
>
The DVStorm is available only on PCs. Final Cut Pro is Mac based and has some great features as well. It would be highly desirable for you to actually see both systems before you buy to
determine which would be right for you. So much depends on the way YOU work.
For a complete system with Final Cut Pro you might look at
http://www.promax.com/
or for a system with DVStorm check out
http://www.dvline.com/
I just noticed DVLine has a Dual PIII One Gig system for around $4100. That thing must smoke!
And, it's got 150 Gigs of A/V storage!
Aloha,
Jon Burkhart
------------------------------
Date: Mon, 30 Jul 2001 17:15:45 -0500
From: Danny Grizzle
To:
Subject: Re: Broadcast
Message-ID:
on 7/30/01 4:18 PM, Crazyhorse Pictures at southcam@world-net.co.nz wrote:
> I too would love to know the TRUE meaning of "broadcast quality".
"Broadcast quality" doesn't have a hard meaning -- never has.
In the construction industry, most buildings are built to standards of
"general trade practice". What this means is things are done the way most
carpenters know have worked since prehistoric times.
There is no SMPTE standard for "broadcast quality". There is also no hard
definition for terms like "offline" and "online", although you can identify
specifics in autopsy on any individual project.
You can record a webcam to the most expensive digital video recorder in the
world, and it will yield junk. Neither camera nor format validate anything.
"Broadcast quality" is an authoritative position that means whatever it
needs to mean on any given day.
At one time, manufacturers loosely grouped their product offering into
"broadcast", "industrial", and "consumer" divisions. Digital video has
largely wiped out the usefulness of those distinctions, which were a mash of
price point, quality, and marketing objective.
In short, "broadcast quality" is a euphemism used when something is "below
the standard of what we are trying to do here". Since this is a brush-off
phrase, the actual reasons may be either technical, creative, or simply a
mismatch to the thrust of station/network programming.
The thing about "broadcast quality" is that each broadcasting organization
is free to be tyrants of their own little domain, until the market hurts
them and forces them to change their mind. Keep this in mind if you need to
pass muster with a specific set of engineers.
Danny Grizzle
------------------------------
Date: Mon, 30 Jul 2001 15:43:56 -0700
From: "Mark Williams"
To:
Subject: Re: StormEdit
Message-ID: <001a01c11949$1e755ec0$19b01e18@socal.rr.com>
I am a PC guy all the way....that is what was holding me up,,,,the Mac
thing,,,I was just not ready to make the change over
mark w
----- Original Message -----
From: Jon Burkhart
To:
Sent: Monday, July 30, 2001 3:24 PM
Subject: Re: StormEdit
> Mark Williams wrote:
>
> > I was just about to buy a Final Cut Pro system,,,,how does the DVStorm
> > compair in price?
> >
> > It seems to be faster and have better color correction
> >
>
> The DVStorm is available only on PCs. Final Cut Pro is Mac based and has
some great features as well. It would be highly desirable for you to
actually see both systems before you buy to
> determine which would be right for you. So much depends on the way YOU
work.
>
> For a complete system with Final Cut Pro you might look at
> http://www.promax.com/
>
> or for a system with DVStorm check out
> http://www.dvline.com/
>
> I just noticed DVLine has a Dual PIII One Gig system for around $4100.
That thing must smoke!
> And, it's got 150 Gigs of A/V storage!
>
> Aloha,
> Jon Burkhart
>
> -- (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://dv411.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
> DV-L archive at http://groups.yahoo.com/group/DV-List/messages
>
------------------------------
Date: Tue, 31 Jul 2001 00:39:19 EDT
From: Synergy543@aol.com
To: DV-L@dvcentral.org
Subject: Premiere Camera Blur looks blocky
Message-ID: <7e.188b49ba.28979077@aol.com>
Why does the Premiere 6.01 Camera Blur create a digitized blocky image? When
I render the zTour.ppj project that comes with Premiere 6 I can't get nearly
as smooth a blur as in the sample Zfinal movie.
Can someone else confirm this by rendering the zTour.ppj sample movie? Does
the blur look the same as on Zfinal.mov?
Gregory D. Moore
TALK STUDIO USA
synergy543@aol.com
------------------------------
Date: Tue, 31 Jul 2001 00:20:16 -0500
From: "Alejandro V"
To:
Subject: Re: Sound for DV Short Film
Message-ID: <003d01c11980$7e657090$744b1ec8@irealvistuti8l>
This is a multi-part message in MIME format.
------=_NextPart_000_003A_01C11956.9319D4B0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Jennie,
the issue not spoken, yet
1 Be aware from the start about what you have, what you can do and =
what you can not.
this gives you the chance to plan your shots carefully from your audio =
needs too
2 Talk to your sound crew a lot , let them know what you think , what =
you expect from each shot, dont be afraid of being to "nosy", get =
involved into sound design ( is the only way they can give you what you =
really want).=20
3 It's a good thing to learn some audio basics, but please dont take =
what you read for granted, sometimes you will have to brake every single =
rule to get that particular sound you imagined your film needed. =20
4 give your audio crew the confidence they need , so they will acctualy =
cut a take if audio is not working( many sound recorders, mostly =
unexpirienced ones are too afraid to stop a crucial, e.g. very expensive =
take, because they heard a noise, a level problem etc, wich tey consider =
can be fixed later.).
=20
5 Be very CAREFUL about POST, a facility with a Digital Audio =
Workstarion ( even your livingroom) can give you a chance to really =
improve your sound quality, as well as add foley, ADR, and get a final =
MIX so good or even better than a 100.000 + dollars professional post =
ten years ago . BUT having a million audio processors, and using them =
all at once ( very common on small low budget films) on a single track =
is not the best idea; an overcompressed, overprocessed sound is a LOT =
worst than a sligthly noisy one( i'm not saying that is ok ). The =
key.........it has to sound NATURAL
I hope this can help you at least a little bit, i wish you good luck =
with your project.
Alejandro V
alejandrov@Irealvision.com =20
------=_NextPart_000_003A_01C11956.9319D4B0
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Jennie,
the issue not spoken, yet
1 Be aware from the start = about=20 what you have, what you can do and what you can = not.
this gives you the chance=20 to plan your shots carefully from your audio needs=20 too
2 Talk to your sound crew a lot , let=20 them know what you think , what you expect from each shot, = dont be=20 afraid of being to "nosy", get involved into sound design ( is the only = way they=20 can give you what you really want).
3 It's a good thing to learn some=20 audio basics, but please dont take what you read for=20 granted, sometimes you will have to brake every single rule to = get=20 that particular sound you imagined your film=20 needed.
4 give your audio crew the = confidence=20 they need , so they will acctualy cut a take if audio is not working( = many sound=20 recorders, mostly unexpirienced ones are too afraid to stop a=20 crucial, e.g. very expensive take, because they heard a noise, a = level=20 problem etc, wich tey consider can be fixed later.).
5 Be very CAREFUL about = POST, a=20 facility with a Digital Audio Workstarion ( even your livingroom) can = give you a=20 chance to really improve your sound quality, as well as add foley, ADR,=20 and get a final MIX so good or even better than a 100.000 + = dollars=20 professional post ten years ago . BUT having = a=20 million audio processors, and using them all at once ( very common on = small low=20 budget films) on a single track is not the best idea; an overcompressed, = overprocessed sound is a LOT worst than a sligthly noisy one( = i'm not=20 saying that is ok ). The key.........it has to = sound=20 NATURAL
I hope this can help you at least a = little bit, i=20 wish you good luck with your project.
Alejandro V
alejandrov@Irealvision.com=
------=_NextPart_000_003A_01C11956.9319D4B0--
------------------------------
End of DV-L V1 #933
*******************
-- (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://dv411.com/dvl.html
All about DV-L, to subscribe & unsubscribe: http://www.DVCentral.org/thelist.html
DV-L archive at http://groups.yahoo.com/group/DV-List/messages