Posts
--- In FinalCutPro-L@yahoogroups.com, Richard Mills <phxpicsnapper@...> wrote:
>
> Calloway edit controllers,
> NOOOOOOOOOOOOOOOO! :>0
>
> Richard Mills
> Cinematography-Photography-Editor
> Phoenix, AZ
> 480-840-1388 (h)
> 480-522-8788 (c)
>
>
>
>
>
> On Dec 11, 2009, at 1:53 PM, johnrobmoore wrote:
>
> > Small world I inherited some of those Sony 910 bays when I was an
> > editor/post supervisor on the Dom Deluise version of Candid Camera
> > in the early 90's. First thing I did was get Calloway edit
> > controlers to replace the 910's. The LA Unitel facility took care
> > of the maintenance. Nothing like a good hicon reel for wacky wipes
> > my favorite was the school of fish. Create the body with an oval,
> > tail with a wedge wipe, modulate the wedge to get tail swimming
> > motion. Add an eye if you dare. A-53 multipix with warp for wavey
> > motion and slide the school in source space to move them accross
> > the screen. Damn I think I'm breaking out in tears. Where's a good
> > fish wipe when you need one today?
> >
> > --- In FinalCutPro-L@yahoogroups.com, "mhollis55" <mhollis55@>
> > wrote:
> > >
> > > John, we must be the old foagies here.
> > >
> > > The first real 3D page turn I used was the Abekas A53D, which I
> > used at Inside Edition. We also used it to do box turns and other
> > transitions, as well as key effects and certain posterize, polarize
> > effects. But I blew away the other editors at Inside when I used a
> > 3/4" machine, rolling in tandem (on a Sony 910 editor) to generate
> > really fancy wipes (that I had a friend lay off for me, white to
> > black, then reverse from a GVG 200 switcher) using the keyer on a
> > Grass 110 switcher. These additional wipes really impressed my co-
> > workers, as they thought I was using the Abekas to do that.
> > >
> > > One of my favorite moves was to do a stretch transition,
> > stretching a frame longitudinally or vertically as I pushed the
> > video to the incoming picture. I invented that move (for the
> > workgroup I was in) on the Abekas. I saw my transition ideas
> > repeated there for years after I left.
> > >
> > > I then learned the ADO which did need some really odd numbers in
> > order to do a page turn. Happily, those who developed the page turn
> > didn't think that they needed anyone to actually pay for their work
> > and the disk with the effect tended to come with the ADO. The next
> > digital effect box I used was the Grass Valley Kaleidoscope which
> > was horrendously expensive. It would do a 3D page peel with a front
> > and a back and a shadow if there were enough channels. Each channel
> > of Kaleidoscope cost a quarter million dollars, so to make a cube
> > in one pass (desirable in the day of the analog 1" machine with no
> > pre-read) one had to drop at least $1.25 million (an additional
> > quarter million for a "combiner").
> > >
> > > Edit rooms were "á la carte." Generally you'd get 3 VTRs at the
> > room rate, and then an extra $100 per hour was charged for each
> > channel of digital effects, each machine added and, perhaps an
> > additional $75 per hour for character generation. The highest
> > hourly rate I billed was $1275.00, which I did for three weeks of
> > eight-hour days. My employer was very, very happy, as that client
> > literally paid for another digital effect device.
> > >
> > > Today, we look at render time. And we grumble when effects take a
> > long time to render. Back in the linear world, everything was real
> > time, so when you laid it down to tape, it was done. Rendered. And
> > you could look at the full effect as you were building layers (I
> > suppose that kind of workflow is available in Motion these days, as
> > you can add effects while you are rolling through your timeline,
> > but VTRs never dropped frames).
> > >
> > > But, when you think about it, everything done to video is a
> > "digital effect" nowadays. A dissolve is a digitally-produced
> > transition on a pixel-by-pixel level. Switchers did that by using a
> > key ramp from one source to another, controlled by a timed
> > transition button or a fader bar.
> > >
> > > --- In FinalCutPro-L@yahoogroups.com, John Heiser <jpheiser@> wrote:
> > > >
> > > > There was a number hack in ADO for creating a page turn which
> > appeared to
> > > > twist the page as it moved off the screen, but the original ADO
> > didn't
> > > > actually do curved surfaces. Quantel was nice but out of reach
> > financially
> > > > for a lot of operations. Abekas A53D had a nice page roll and,
> > with a
> > > > combiner for multiple channels, you could do it in one pass.
> > Otherwise, you
> > > > would lay off your backside pass over superblack to tape
> > machine, and key
> > > > that along with the frontside.
> > > >
> > > > ----
> > > > John Heiser
> > > > o2ideas
> > > > birmingham, alabama, USA
> > > >
> > > >
> > > > On Thu, Dec 10, 2009 at 11:29 AM, Marilyn Heiss <mdivah@> wrote:
> > > >
> > > > >
> > > > >
> > > > > As far as I know--and I am one of the editors of "mature"
> > vintage on
> > > > > this list -- it was a Quantel product that had the first page
> > turns
> > > > > for tape post. It might have been the Quantel 5000, or maybe
> > page
> > > > > turns came in with the Mirage, which is the box that brought
> > in the
> > > > > shattering glass effect, among others. I know the first
> > Quantel boxes
> > > > > that came into our edit suites at NBC NY were 2D, then one
> > suite got
> > > > > the multi-channel Quantel and another got the Mirage. When
> > ADO came
> > > > > into the picture in all suites, page turns became the
> > transition of
> > > > > choice among many producers--they wanted to use them for
> > everything....
> > > > >
> > > > > I cut a lot of news pieces on economic issues--lots of words
> > with
> > > > > little video and a lot of graphic representations--in a
> > linear room
> > > > > using a Grass Valley 1600 switcher and a one-channel 2D
> > Quantel. So
> > > > > many passes, so many hours to put together something that, as
> > you say,
> > > > > is now much simpler.
> > > > >
> > > > > Marilyn
> > > > >
> > > > >
> > > > > On Dec 10, 2009, at 8:50 AM, Sune Alexandersen wrote:
> > > > >
> > > > > > Hi group!
> > > > > > I'm watching an old Norwegian tv-serie made in 1979 and the
> > opening
> > > > > > title made me think: how on earth did they achieve the page-
> > turn
> > > > > > transition before.. Eh... Fcp/Avid.. Everything!!
> > > > > > They used a lot of effects in the good old days that is a
> > simple drag
> > > > > > and drop operation these days..
> > > > > >
> > > > > > Hope some of you with the proper mileage could shed some
> > light on the
> > > > > > issue!
> > > > > >
> > > > > > Regards from rainy Norway,
> > > > > > Sune Alexandersen
> > > > > > Sent whilst on the go!
> > > > > >
> > > > > >
> > > > > >
> > > > > > ------------------------------------
> > > > >
> > > > > >
> > > > > > To learn more about the FinalCutPro-L group, please visit
> > > > > > http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
> > > > > >
> > > > > >
> > > > > >
> > > > >
> > > > >
> > > > >
> > > >
> > > >
> > > > [Non-text portions of this message have been removed]
> > > >
> > >
> >
> >
>
>
>
> [Non-text portions of this message have been removed]
>
------------------------------------
To learn more about the FinalCutPro-L group, please visit
http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
<*> To visit your group on the web, go to:
http://groups.yahoo.com/group/FinalCutPro-L/
<*> Your email settings:
Individual Email | Traditional
<*> To change settings online go to:
http://groups.yahoo.com/group/FinalCutPro-L/join
(Yahoo! ID required)
<*> To change settings via email:
FinalCutPro-L-digest@yahoogroups.com
FinalCutPro-L-fullfeatured@yahoogroups.com
<*> To unsubscribe from this group, send an email to:
FinalCutPro-L-unsubscribe@yahoogroups.com
<*> Your use of Yahoo! Groups is subject to:
http://docs.yahoo.com/info/terms/
No comments:
Post a Comment