Phillip Evanesce

Thank you for answering my question, Robert, which was to find a source of information. Under average circumstances, I would simply hire a pro. My situation is that I will be using this shooting technique quite often, and with small budgets, so it really seems worth my while to learn how to rig them. Thanks again for the resource. Phillip

I little background before you all get carried away with the insults. I have been a serious climber and rope rigger for twenty years, so it's not as though I have no perspective on the subject. What I am trying to find out is the user specs on cable commonly used for this application, and I want to know which fastening systems have proven safest and most effective for this purpose. If you don't have the answer, then maybe it's best to keep the snide comments to yourselves. I guess I expected more from a pro forum.

Can anyone tell me where I can find a diagram on rigging the cable for a cable cam that will support myself and the camera? I need to know what type and diameter of cable is necessary, and what type of hardware is needed to fasten it safely. The span will be approximately one hundred feet, and it will hover two hundred feet above the ground. Thanks, Phillip

John Toll.

Just saw it on DVD. Great story, and I think the Genesis worked well for this type of picture.

I hate to sound ignorant, but how would I do that in Vegas?

I have shot some DVX100B footage in letterbox mode, and when I get it into post and add certain effects to it, they bleed onto the letterbox margins. I realize that those margins are part of the image, but is there any way to confine the effects to the picture area only? I am editing in Vegas 7.

Phil, That's some of the best nature/wildlife footage that I've seen. Great work.

Vegas 7 does have Waveform, Vectorscope, Histogram, and RGB Parade tools, although I think you hit the nail on the head about the ire setting. I had my Master Pedestal set at 7.5%, instead of 0%. I guess that would explain the milky look. I will set it to zero and see if that solves the problem. I did some reading on the difference in analog broadcast vs. digital settings, and I realized my mistake. Thank you for pointing that out.

I meant to say that the problem is a lack of contrast.

Let me preface my post by saying that I do not own a video editing monitor. I own two crt computer monitors, and my video card has s-video input capability. I just can't afford one yet. My concern is that all of my footage appears flat on my computer monitor. I don't think it is the monitors, because footage from other sources looks fine. I have been very careful about exposure settings, and the images have been fine, in that respect. The problem is contrast and a bit of graininess. So far, I have kept all of my in-camera settings at zero, because everything that I have read says that touching those settings will cause artifacts or a general degradation of the image. What I have read suggests making those corrections in post. I also keep my V-Detail set to "thin. All of my footage has been shot in 24p advanced mode, and edited in a 24p timeline, in Vegas 7. Is this flatness inherent in the DVX, or should I correct the in-camera settings?

It has an odd look to it. It's nothing like film, and too high a resolution for video. It looks more like a moving image from a digital still camera. I didn't care for it.

Other than better frame recovery, is there really any advantage to shooting in 24pa?

I'll try to phrase this question semi competently, but please forgive me if I screw it up. I am pretty new at this. I think I understand the difference between 24p and 24pa, sort of. And I know that Vegas 7 will do the pulldwn so that I can edit in 24p or 23.976p, so I'm not worried about that. Here is my question (scenario): I want to shot 24pa to get the film look and also preserve optimal data. I am planning on rendering out for DVD, but I would also like the option of doing a film-out if the opportunity arises. I also want to intercut stock and historical footage into the timeline, some of which wasn't shot in 24p or pa. As I understand it, if I shoot in 24p, I can edit in a 29.97p timeline, which wouldn't affect the stock footage, but If I pull that non-24pa footage into the 23.976p timelime, I could get some noticeable motion artifacts. Is this true, and what is the best way to handle these scenarios? I hope some of that made sense.