Douglas, the point is that sometimes, in spite of a user's best efforts (and the technical limitations of the DV format), there is a fringe around the subject being chroma-keyed. Using the SCC can help to clean up this extra fringing.

Blush :-)

Thanks for the compliment.
After reading about this issue numerous times on various video forums and having the mode change come up as the solution, it was a good guess.
Glad you got it worked out.

Mike

I'd be color correcting the image first; at event level or media pool level. Then when you assemble your master track, all the color corrections are intact on the master track.
Glad to hear you found the DVD useful!

Hi Jeff,
I'm glad you like the DVD.

To answer your question:
From what I understand, you have a multicamera shoot and you're wondering the best approach of tackling the project. One approach that would work well is:
Finish editing first before color correction.
If the three cameras don't match up, then match up their colors like the process I demonstrated on the DVD. Since the cameras are the same, the only thing that would be different between the cameras would be white balance and exposure (unless somebody messed with one camera's settings). It may be possible that some secondary color correction would be useful, but you probably don't need to touch it.

You can apply these effects at the media or trackFX level to just quickly apply the FX to each camera angle. Or if you know that you need to do more detailed color correction, you can apply the filters to each shot. Copy + paste event attributes will quickly copy filters over (copy from one clip, apply that to a group of clips). Paste event attributes will copy over other attributes like pan/crop, so be careful about that.

If you play through your sequence and find that there are some shots that stick out, then go in and color correct those shots (at the event FX level). To recap:
A- Match the camera angles first.
B- Then match shot to shot. This may not be necessary since it was shot in studio.

If you want to apply a look to the entire sequence, apply some FX at the video preview level. i.e. you might want to put in a bit of the color curves + secondary color corrector to make the image pop a little. You can play with the color corrector if you want to add a tint to the image.

If you need to apply a look to a sequence but not others, then you can use nesting.

I hope that answers your question.

You can add an effect to an existing chain, which means you'd want to apply the chain first, and then apply the chromakey, and you can also move the chromakey forward in the chain after applying. It's a drag that Vegas removes plugins from the event when you apply a chain, no doubt.

Ressurecting my own threads now. :)

This is what I'm thinking of doing with the third monitor:

1 PCI nvideo 6800 HDTV card (not sure of brand yet-dvi out)
1 Dell 2005FPW 20" monitor

This setup would be my preview monitor. Right now I have a dual vid nvidia AGP card running two ACER al1912's. I'd use this for workspace and the Dell for preview.

Anyone see any issue with this setup?

Still Phot Question-Newbie
 

Is there a way to know the exact length(time-in seconds) of a photo on the timeline as you stretch it out. I know you can set a preference for the still length in Vegas. In a former life I edited with a DPS Velocity which showed the time of a still if you clicked and dragged the edge out along the timeline.
Tks,
John

Double click it, this creates a selection. Look in the lower right corner of the timeline, you'll see the length indicated there. As you drag it out, you'll see the time indicator climb. Add the value of the indicator to the length of the selection, you'll have the total time.
Another option is to double click to know the length of existing, then in that time window, type in the desired length. The selection will size to that length, and you can drag your image to the end of the selection, giving you an image in place of exact length.

Upgrade
 

I played with the demo of Vegas 6 and decided that there was no way I wanted the limited # of tracks that VMS provides. In just a demo I already had too many layers.

The first NLE I played with was Avid but their demo had the same problems... limiting the number of tracks. But they have to limit the Demo versions some how. I don't know if I like the water mark demos or the functionality limited demos. I think I prefer the watermarked ones. That way I can at least try to do what I think I need to do and get a good idea about what the full version will offer.

jason

template change?
 

as you can see I have been almost ruined by a render issue. I see most of you started with an HDV project..I did not. I think I started with DV widescreen..can I change now that the project is done and still on the timeline? Ive got to try and correct the final image befoe i throw it away...and rebuild...uck

Yes...just change the project settings, undo any pan/cropping you might have going on, and you'll need to resize your titles. Otherwise, it should just fly for you.

Thanks Douglas, This forum ROCKS, compared to the old Velocity forum.
John

[QUOTE=Douglas Spotted Eagle]Yes...just change the project settings, undo any pan/cropping you might have going on, and you'll need to resize your titles. Otherwise, it should just fly for you.[/QUOTE Thanks Man! im trying it now. not sure what pan crop is. I have many stills in the project that I have resized to 16:9???? they are generally under a moving image with the video image as a composite "mask"..?

Pan/crop is likely what you used to set the 16:9 images in your stills... Look on the media, you'll see a little crop icon, or right click and choose "Pan/Crop from those settings.

I have an m-audio MobilePre USB interface that is just fine. Does it sell for $150? It did. It opens up the world of xlr and phantom-powered mics, I think it's similar to what they include with the podcasting bundle.

The least expensive approach is the Samson CO1U, about $80, it's a large diaphram mic with an internal USB converter.