AVS Forum Club Gold
Join Date: Jun 1999
Location: Jacksonville, FL
Mentioned: 4 Post(s)
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Bob- My order from B&H says Thursday for arrival. When I ordered, it says delivery Tuesday! But UPS says Thursday. No proof of competitive product was requested.
Regarding keyframes- Yes, in Vegas the motion keyframming will create a ramp of changes, such as ease to and ease from so you don't get that sharp change. It's automatic as you place the keyframe point on the timeline. The trick is you have to manually put a closing keyframe to a setting if you want the settings to hold. If you don't the changes will ramp from the last keyframe making the adjustments along the way. Most of the time you will not want that so just remember to use a start and CLOSE keyframe then make the change keyframe to begin another group of settings that hold.
Brightness and contrast control is very basic and often is quite inadequate to make the changes for really good image in video space. You also should use a set of scopes to monitor your changes so as not to create "illegal" video settings. This would include a waveform for luminance, a vectorscope for color saturation and phase, and a histogram, for setting the black level spread, Gamma, white level, and offset.
Keying comes in three flavors, Luminance keying, Chroma keying, and alphachannel keying (or pixel transparency level) Luminance keying is rarely used today. Video over video must be done with chroma keying. Alpha channel keying is used for graphics over video. However, a process called rotoscoping will use alpha channel video ( animation ) mapped to graphics as the background. Since we now work in all digital, adding an alpha channel to video ( a matte ) is just computing power and easily done. Anytime you add a feathered edge to a PIP, that will be using alpha channel video.
Generally good chroma keyers must work against an exact color to have good edge definition and a clean key with no noise. These are usually pretty good in today's basic editors, but if you shoot a subject against a green screen, the lighting on the screen must be carefully controlled for the key to work absent the noise. Shadows can cause problems, green glow on flesh tomes can be trouble and the wardrobe can be a problem too. I've had to sent talent back to the dressing room because they showed up with a green shirt or tie. What is really hard to explain is why white clothes is a no-no. Better chroma keyers can key against a range of shades of green so darker green shadows could be handled but a white glare could not as it lost chroma. The trick here is to keep that area in the clear and in post simply color in with the add color like a paint program as another layer above your subject layer. Finally, never move the cameras on a chroma keyed subject unless the idea is to show your subject floating around in space, like there is no gravity on the set.
Last two days I haven't had time to do any work on editing but hope to get back to it tomorrow and use the many tips and tricks you guys have offered. Keep them coming.
Joe or anyone else- You mention hauling the cut up clip back to the bin for correction and arranging. Why do that if it's already on the timeline? Why not just drag the clip into the building story on the timeline?
Speaking of corrections- Sometimes I make global corrections to the timeline and separate the clips based on these corrections like color. That way I can just do the correction once. Then if one clip needs additional adjustments, I can do that at the cut down clip level ( Event in Vegas lingo). Or I can make the correction to everything in a long clip that affects everything cut from that long clip regardless of where I put the clip in the story. Is this possible in Edius too?
My 3D videos and more
Don Landis HT System: Projector Sony VPL VW665ES Players: Samsung UBD K8500 OPPO BD93 Sony BDP S6200 All Regions Player Denon AVR 4311ci, 7.1 JBL Professional series and Klipsch PS3, XBOX360, Dish VIP722K; 3D Edit Suite: Edius7.53, Vegas Pro v13, Power Director15, i7-950, LG 3D TV DM2752