I just started using premiere elements. I am an electronics engineer and I've written machine level code to process audio, images and video (Digital Signal Processing). I understand the theory of processing and editing audio and visuals extremely well. But learning to use this particular software tool, and seeing what the GUI looks and feels like, and experiencing what the end user sees is just a whole new thing to me.
You didn't take camera positions/angles into consideration in your lighting plan. You also need to consider which way your participants will be facing. Will the host be speaking directly to camera? Which camera? I would use your LED panels on dimmers 11, 18,16, 17 as overall fill lights and use fresnels as key lights. You should invest in an 8-foot long wooden pole with a metal hook on the end so you can tap barn doors into place without having to climb the ladder. Speaking as someone with a few decades of network lighting experience.
Really? You want to lay that harshness on us, a mere public cable access center whose workshops are aimed at novices just entering into the world of television production on a shoestring? I am my own worst critic, and have identified way more in this workshop that could have been taught better than what you are saying, and which will go into our efforts when we produce an updated and better version. I don't appreciate grandstanding and "I-know-better-than-you"-ism. And as far as using a pole with a hook to adjust barn doors: lights frequently need more than just barn door adjustment; they need to be aimed as well. We're not going to contrive some device to loosen the yoke knobs and grasp the instrument to manipulate it from the ground any year soon; you'd need a masseuse after doing it that way.
@@CANTVTraining Good lighting practice is the same whether you are at NBC, Paramount, cable access or a junior college with zero budget. Being a "mere" cable access studio is no excuse for bad practices. A lighting director needs to know the camera positions and angles. If you consider that to be "harshness" and "grandstanding" and it makes you this defensive then maybe a cable access studio is the best place for you.
@@testpattern701 Yikes, dude. Watch your ego. Some of us are here to learn, and because we value the community mission of CAN TV. You, on the other hand, appear to be here to bolster your ego and insult the organization. Gross.
@@CANTVTraining Not joining in with the criticism but just for everyone's knowledge, there do exist "pole-operated" fixtures that allow you to pan/tilt/spot/flood with a pole that hooks into a knob. As far as I know, Arri is currently the only manufacturer that still makes some lights available with this mechanism. I have also worked with ones made by De Sisti. It's pretty nice once you have your instruments hung and roughed in since it means you don't need a ladder or lift to make adjustments.
Thank you so much we're going to try this method for our Podcast the seed group Podcast you can listen to my new CD on there and I'd love to be able to come on Can TV thank you for your help
Hi Grant! This video was made during a time when COVID cases were really high, and with a crew of four people in a very small control room, it was in fact very necessary.
I'm listening to it on RU-vid but I wanted to listen to my new single on on the seed group Podcast hope you enjoy it like subscribe even share with a friend thank you
An SM58 is a dynamic microphone by the way. Its is NOT omni, it's the words most popular cardioid dynamic mic. Even us Brits know that the SM57 has been the standard microphone for US presidents for a VERY long time - so I guess that might be voice too, Maybe?
I'd not want to operate a camera with the prompter cable tied through the pad control ring - especially when on some designs you need to rotate the damn thing to disengage the crab locks, or re-engage them? we still use white text in the UK - I've never seen green. A few places use a colour to denote items that are advisory - like EXT VT or TK and someplace invert these memos.
Hi Paul, that's an interesting note. What would be your procedure for securing the cable so that it's not just dangling freely? Lime is just our suggestion. CAN TV is a public access center, and our studio is used by a very wide variety of producers with varying levels of expertise, and a wide range of production needs. So being that strict with the way that we let producers use the space simply doesn't make sense for our studio's purposes.
@@CANTVTraining Oddly, I had to actually Google it. No - we have nothing like it here. Mainly because we never did cable TV in anything other than some failed pilots in the 60/s/70s - all our TV until the advent of Satellite was from the BBC, state funded and then from advert funded ITV - they added Ch4, a national commercial station, and then in modern times, the 4 is now maybe 60 or so terrestrial channels and the usual Sky and other subscription services - either satellite or normally internet distributed. On the cable front - surely you just tape it to the camera cable? That way your operators set their balance and forget it - I can't imagine trying to bash two totally separate cables? You have I note wranglers, we have cable bashers. We also don't use wall drums and have to over/under - if we have gurus cable, they're figure-8'd on the floor. It's interesting seeing how you operate so differently. I've also never seen anyone put the audio mixer next to the switcher? The people calling shots make far too much noise to allow the sound op to have the level up high enough - so I guess they mix on headphones, but then of course can't hear what's going on in the room? We separate as far as we can sound and production, and the only closeness tends to be lighting and racks. I've never been into a studio for an early startup and found a ped unlocked - column and head. I'd worry that inexperienced users could do something silly and the thing would shoot up - like a well meaning assistant tasked with swapping a faulty viewfinder, or prompter? Hence why we always lock, just in case. The risk assessment would consider even a small risk - and if you have lots of strangers - the risk is higher. I don't know what your pets are - put is that HUGE clock with the red button far too loud to use in a live studio? Ours are all silent? Vintner, in the main of course - we're British!
Some very different policies the US Here in the UK at the BBC, ITV and others, leaving a camera pad unlocked is very bad form. If you walk into a studio and see a gassed up ped, you assume an unbalance and press down to check rough balance - and nobody removed a prompter, or added one - so expect the lock to be on. Initial setup means unlocking the ped column, unlocking the head, as that will also have locks applied. Interesting how the US process is the opposite. Our Vinten beds also don't exhibit the drop in heaightwhen you tilt down, and when we are in crab mode, we don't have to keep using locks or brakes. A lift and tilt down is just a two handed process - right pan bar and left hand on the ring for me? Even odder here is the trend to have zoom on the left and focus on the right - goes back to the early days when the mechanical focus on many of our studio cams was on the right. Some camera folk see it and swap them, but that's often not practical, so you learn both - because in single cam work on a tripod, zoom goes on the right, lens direct focus with left - we're clearly odd here!
Hey, Paul, I know that this response is a year late (as I am not normally the one to respond to social media posts), but I saw your message and thought I might as well reply. I can only say that our procedures are probably unique to the cable access environment, where non-professionals get trained to use our studio to express themselves in a very low-cost manner. Since we deal with a wide range of people with varying skill sets, our practices are geared towards protecting the equipment so that others can come and continue to use it. So-called professional studios most likely have a different approach. It might also have something to do with the particular pedestals that we use - Cartoni. Do you have cable access centers in the UK, where the general public can take classes and mount studio productions for a small fee? Just curious. Eric Torres, Training Coordinator.
@@CANTVTraining Thanks Eric. Cable TV never took off here, so no, nothing like that. I must admit it's a shame, because that would have been great -but no bother, just a comemnt - I laughed to see the word 'ped' kept being autocorrected and I didn't notice! Best wishes from england.
@@pauljohnson4590 The sun must be setting for you guys over there. Mid-morning here, and cold as hell, but at least sunny; nice to read your message. I initially felt foolish sending a one-year-late response (a new record for me), so thanks for writing back! Best wishes from Chicago.
It would be nice to see cutaways of some examples from those applications and programs you are discussing. Pictures are useful to understand the issues you are trying to teach your students.
