DVL-Digest 839 - Postings: Index 3-D lens color bars/NTSC monitor confusion NLE 3-D lens - "Perry" Ahhh the late 50's/ early 60's, what the cinema didn't try to deflect interest from that new fangled tv thang! My favorite was a film that needed a wire rigged in the theatre, and at an appropriate point this realy naff plastic skeleton rolled out into the audience. It was guaranteed to bring the house down - with laughter! I remember the 3D films always involved lots of fights, throwing things (like knives) towards the audience. Perry Mitchell Video Consultant http://www.perrybits.co.uk color bars/NTSC monitor confusion - "Perry" The whole point of color bars in a production environment is that you take some from the source camera and stick it on the front of your tape. Whatever follows is presumed to relate to those bars, so if the levels are low then that's the way the Director wanted it! When you mix different sources it then also makes it relatively easy to match the levels and set-up. Trying to add bars in post is a pretty pointless exercise, and using bars as a monitor picture reference is also very inaccurate. You'd be much better using a well lit and exposed face that you know has the correct levels. Perry Mitchell Video Consultant http://www.perrybits.co.uk NLE - "Perry" Ian: Way back when, we used to edit programs on tape decks. The material had to be assembled in the order it was recorded on the tape, or in a linear fashion. Later machines were devised which allowed the program to be assembled in any order you desired, if you wanted you could start at the end and work backwards! Not surprisingly, these were called 'non-linear editors' or NLE for short. Just about all computer editors work in this way, but we still tend to call them NLEs. Perry Mitchell Video Consultant http://www.perrybits.co.uk (diese posts stammen von der DV-L Mailingliste - THX to Adam Wilt and Perry Mitchell :-) [up] |
 slashCAM  News HD Camcorder database One-on-One Cam comparison About our tests About us |
|
|
