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Monitor Calibration

Chapter: Video and Computer Technology

Topic: Monitoring Video

Many people have asked me over the years how to properly set up and adjust a colour monitor, so for my first article, I’d like to review the entire procedure.

http://www.simvideo.com/articles/monitor_cal.htm

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Calibrating Your Camera Viewfinder

Chapter: Image Acquisition

Topic: Camera Settings

Just like any monitor, your camera viewfinder has user controls –and thus it can be adjusted wrongly.† If your VF is tuned too bright or too dim, it may cause you to use the wrong exposure settings.† Even if you’re used to using zebra bars, it’s still hard to avoid depending on your eyes!† But if what your eye is seeing in the VF is poor adjustment rather than poor exposure, you’ll create a problem. Calibration is shown for old-style viewfinders but the principles will apply to LCD viewfinders and screens.

http://www.greatdv.com/cameras/adjustvf.htm

TAGS: contrast, brightness, light, setup

Adobe Premiere: Keying Green in Adobe Premiere: Taking care of the blue screen blues

Chapter: Keying

Topic: Basic Keying Techniques

In this clip from Total Premiere, Brian Maffitt gives a tour of Premiere’s terrific keying abilities. Starting with an image of toys shot against a blue screen, Brian applies the Transparency command. Setting the Key Type to “Blue Screen” is a no-brainer, but Brian also demonstrates the subtleties of the Threshold and Cutoff parameters. The same technique serves Brian well as he next works with a green screen shot of a toy airplane (yes, you can set the Key Type to “Green Screen” too!) Brian then turns to the Motion Settings in his quest to make the keyed airplane fly across the screen, and demonstrates the necessity of setting an appropriate Fill Color. This clip is a sure cure for the blue screen blues; let Brian show you that with Premiere, it is easy keying green.

http://www.creativemac.com/2001/05_may/tutorials/totalpremiere06/totalpremiere06-page1.htm

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Adobe After Effects: Faking an iris

Chapter: Visual and Creative Effects

Topic: Simulation

Rick Gerard explores some methods of simulating a camera lens. In this tutorial, Rick uses the Boris Sphere Plug-In for After Effects (but the CC Sphere included with AE 6.5 will probably substitute). Creating a fake iris using a 3D sphere plug-in like Boris Sphere or FE Sphere turned out to be a little more difficult than I thought. The idea is simple, but illustrating a blade turned out to be a bit of a trick. Let’s start there.

http://www.creativecow.net/articles/gerard_rick/Iris_tutorial/index.html

TAGS: camera, lens

Avid Symphony: Direct RS-422 Control of the HDW-F500 for NTSC Offline

Chapter: Editing

Topic: Editing Hardware

The new HKDV-507D pulldown board is now available. With this board, and the new software needed to support it, an HDCAM user can digitize into an Avid NLE running at 60i (59.94, of course) directly from the VTR, running at 24P (23.98). Both the board and the software are necessary to ensure the accuracy of in/out points, and to fix the audio “advance” when compared to the SD and HD Pulldown output, which can be delayed by up to two frames from the Analog and AES/EBU outputs which come directly from the HDW-F500. Also includes links to PAL equivalent information in pdf form.

http://24p.com/direct_control.htm

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Avid Xpress Pro: Direct RS-422 Control of the HDW-F500 for NTSC Offline

Chapter: Editing

Topic: Editing Hardware

The new HKDV-507D pulldown board is now available. With this board, and the new software needed to support it, an HDCAM user can digitize into an Avid NLE running at 60i (59.94, of course) directly from the VTR, running at 24P (23.98). Both the board and the software are necessary to ensure the accuracy of in/out points, and to fix the audio “advance” when compared to the SD and HD Pulldown output, which can be delayed by up to two frames from the Analog and AES/EBU outputs which come directly from the HDW-F500. Also includes links to PAL equivalent information in pdf form.

http://24p.com/direct_control.htm

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Avid Media Composer: Direct RS-422 Control of the HDW-F500 for NTSC Offline

Chapter: Editing

Topic: Editing Hardware

The new HKDV-507D pulldown board is now available. With this board, and the new software needed to support it, an HDCAM user can digitize into an Avid NLE running at 60i (59.94, of course) directly from the VTR, running at 24P (23.98). Both the board and the software are necessary to ensure the accuracy of in/out points, and to fix the audio “advance” when compared to the SD and HD Pulldown output, which can be delayed by up to two frames from the Analog and AES/EBU outputs which come directly from the HDW-F500. Also includes links to PAL equivalent information in pdf form.

http://24p.com/direct_control.htm

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Avid Symphony: Using Broadcast WAV files, InDAW, and Film Transfers in PAL

Chapter: Audio

Topic: Audio Workflow

Recent versions of the Avid editing systems, support the importing of Broadcast WAV files created from several manufacturers Aaton, Zaxcom and Nagra all have the capabilities of creating these files either during capture on the set, or during the picture and sound transfer in the telecine suite.

http://24p.com/BWF_PAL.htm

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Avid Xpress Pro: Using Broadcast WAV files, InDAW, and Film Transfers in PAL

Chapter: Audio

Topic: Audio Workflow

Recent versions of the Avid editing systems, support the importing of Broadcast WAV files created from several manufacturers Aaton, Zaxcom and Nagra all have the capabilities of creating these files either during capture on the set, or during the picture and sound transfer in the telecine suite.

http://24p.com/BWF_PAL.htm

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Avid Media Composer: Using Broadcast WAV files, InDAW, and Film Transfers in PAL

Chapter: Audio

Topic: Audio Workflow

Recent versions of the Avid editing systems, support the importing of Broadcast WAV files created from several manufacturers Aaton, Zaxcom and Nagra all have the capabilities of creating these files either during capture on the set, or during the picture and sound transfer in the telecine suite.

http://24p.com/BWF_PAL.htm

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