DELETED
DELETED
Back to post
Comments
busterkeaton
wrote on 2/26/2004, 9:40 PM
Glennchan,
You can have a video that has some rendering and mostly straigth DV. In that case most of the render time is DV to DV copy.
You can have a video that has some rendering and mostly straigth DV. In that case most of the render time is DV to DV copy.
pb
wrote on 2/29/2004, 6:31 AM
Hi Zippy, always pleased to answer your questions.
Please bear in mind that people like DSE, Billy Boy, Chienworks etc. use Vegas simply to edit the material they shoot with their cameras of choice. It is naive to think that simply buying Vegas and mastering it will assure success in business.
Amateurs go out and wave a camera around for a few minutes shooting this and that with no thought to continuity then spend hours or even days colour correcting and chopping the material into a very second rate project.
Step #1 is write a good Script. Step #2 is light, mic and shoot to the best of your ability so that the footage matches the script. Step #3 is cut and paste the footage shot according to the script into a sequence that matches the script. No surprises that way, right?
My personal belief is a successful video (training or safety) is 50% research, scripting and scheduling, 35% shooting and 15% editing because if you shot and logged properly the editing process is simply a matter of assembling your properly lit and framed video clips, ensuring the audio levels are consistent and adding titles here and there.
Vegas is just a tool, as are cameras, dollies, jibs, lights audio gear etc.
A veteran cinematographer we know is fond of saying: "It's not the camera, it's the guy behind the lens." NOTE: we could get by with a Sony DSR PD150/PD170 fo rmuch of our work.
A person could have a Sony Cine Alta 24P, a truck full of HMI lights and whatever AVID configuration is required to edit the camera output but if he/she has not mastered the art, the output will be sh*t, despite the gear.
To answer your question regarding gerar, we shoot with a DSR 500 WS, usually in 16:9. The camera sits on a Miller 50 head. Matthews Doorway Dolly with pneumatic tires. Miler Pro Jib and Maxi Pod for the rare occasions we use it (furniture or applainace stores mostly). Lighting is Ianaro Red heads, Lowell 600 watt fresnels, Altman 50 watt fesnels and Altman ellipsoidals. C-Stands and clamps by Manfrotto. Sony 672 and C74 shotguns. Don't know the Sennheiser model number. All complex Video editing by Matrox PRO. Straight cut editing with Vegas. All audio editing with Vegas/Sound Forge.
Now the most important part: EXPERIENCE and EDUCATION. Jina (wife) has MA for Film and Video Directing and MSc for cinematography and was a senior Producer/Director for Bulgarian National TV up until she moved to Canada. 20 years Broadcast experience and 5 as an independent. I have been at it since the early 80s and have accreditation for Adult Education and Safety.
I hope I have answered your question adequately.
Peter
Please bear in mind that people like DSE, Billy Boy, Chienworks etc. use Vegas simply to edit the material they shoot with their cameras of choice. It is naive to think that simply buying Vegas and mastering it will assure success in business.
Amateurs go out and wave a camera around for a few minutes shooting this and that with no thought to continuity then spend hours or even days colour correcting and chopping the material into a very second rate project.
Step #1 is write a good Script. Step #2 is light, mic and shoot to the best of your ability so that the footage matches the script. Step #3 is cut and paste the footage shot according to the script into a sequence that matches the script. No surprises that way, right?
My personal belief is a successful video (training or safety) is 50% research, scripting and scheduling, 35% shooting and 15% editing because if you shot and logged properly the editing process is simply a matter of assembling your properly lit and framed video clips, ensuring the audio levels are consistent and adding titles here and there.
Vegas is just a tool, as are cameras, dollies, jibs, lights audio gear etc.
A veteran cinematographer we know is fond of saying: "It's not the camera, it's the guy behind the lens." NOTE: we could get by with a Sony DSR PD150/PD170 fo rmuch of our work.
A person could have a Sony Cine Alta 24P, a truck full of HMI lights and whatever AVID configuration is required to edit the camera output but if he/she has not mastered the art, the output will be sh*t, despite the gear.
To answer your question regarding gerar, we shoot with a DSR 500 WS, usually in 16:9. The camera sits on a Miller 50 head. Matthews Doorway Dolly with pneumatic tires. Miler Pro Jib and Maxi Pod for the rare occasions we use it (furniture or applainace stores mostly). Lighting is Ianaro Red heads, Lowell 600 watt fresnels, Altman 50 watt fesnels and Altman ellipsoidals. C-Stands and clamps by Manfrotto. Sony 672 and C74 shotguns. Don't know the Sennheiser model number. All complex Video editing by Matrox PRO. Straight cut editing with Vegas. All audio editing with Vegas/Sound Forge.
Now the most important part: EXPERIENCE and EDUCATION. Jina (wife) has MA for Film and Video Directing and MSc for cinematography and was a senior Producer/Director for Bulgarian National TV up until she moved to Canada. 20 years Broadcast experience and 5 as an independent. I have been at it since the early 80s and have accreditation for Adult Education and Safety.
I hope I have answered your question adequately.
Peter