Macromedia OnLocation - CS5 Instruction Manual

Using

ADOBE® ONLOCATION™ CS5

Last updated 4/20/2010

This user guide is protected under copyright law, furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide.

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Last updated 4/20/2010

Chapter 1: What’s new

Chapter 2: Workspace

Customizing the workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Managing workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Chapter 3: Creating projects and setting up cameras

Creating, opening, and moving projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Setting up cameras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Chapter 4: Analyzing lighting, exposure, and color

Evaluating brightness with zebras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Evaluating brightness and color with waveform monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Evaluating brightness and color with histograms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Analyzing color with the Vectorscope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Maintaining consistent color for background keying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Video and audio alerts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Checking continuity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

iii

Chapter 5: Checking framing and focus

Aesthetic framing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Frame with the grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Display and adjust the action-safe margin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Preview different aspect ratios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Zooming, underscan, and overscan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Chapter 6: Organizing and logging shots

Organizing shots in Project panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

File-based workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Interoperability with Adobe Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Viewing and editing XMP metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Chapter 7: Recording, reviewing, and transferring clips

Recording clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Reviewing recorded clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Transferring clips to other applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Chapter 8: Keyboard shortcuts

Finding and customizing shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Common shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Last updated 4/20/2010

Chapter 1: What’s new

Adobe® OnLocation™ CS5 is a powerful cross-platform, direct-to-disk recording and monitoring software that helps you shoot better and faster. Adobe OnLocation is designed to run on a laptop or workstation. It gives you an impressive array of production tools to quickly manage shots, review content, and add metadata. Save time and money on-set, in postproduction, and through delivery with XMP metadata support and tight integration with Adobe®Premiere® Pro.

For a video overview of Adobe OnLocation features, see www.adobe.com/go/lrvid5523_ol_en.

Workflow integration with Adobe Story Import script from Adobe Story ®to Adobe OnLocation, while retaining the

metadata entered during authoring. This metadata is used for assigning the scripts to placeholders.

Workflow integration with Adobe Premiere Pro Move content from Adobe OnLocation to Adobe Premiere Pro

quickly and easily, while retaining metadata entered during shooting, speeding up the editing process. (See “Transferring clips to other applications” on page 49.)

Fast logging Log shots in the Project panel using a tabular interface that works like a spreadsheet. Navigate through

the most commonly used data fields using the keyboard. This fast and efficient method of data entry ensures that you gather more useful information at the time of the shoot. This method provides greater efficiency in postproduction.

“Organizing shots in Project panel” on page 27.)

(See

Comment Markers Use Comment Markers to add notes during recording or playback. Comments are attached to

exact timecodes, making it easy to review specific parts of clips while still at the shoot. Use Turbo Comments to store a list of frequently used comments and to insert comments quickly. (See

Media Browser Use Media Browser to navigate to files and to import clips copied from video storage media, such as

P2 cards. Media Browser is content aware and can recognize media files. Also, while importing media clips, you can filter out the existing clips in your project.

“Comment Markers” on page 48.)

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Chapter 2: Workspace

Customizing the workspace

About workspaces

Adobe video and audio applications provide a consistent, customizable workspace. Although each application has its own set of panels (such as Project, Metadata, and Timeline), you move and group panels in the same way across products.

The main window of a program is the application window. Panels are organized in this window in an arrangement called a workspace. The default workspace contains groups of panels as well as panels that stand alone.

You customize a workspace by arranging panels in the layout that best suits your working style. As you rearrange panels, the other panels resize automatically to fit the window. You can create and save several custom workspaces for different tasks—for example, one for editing and one for previewing.

You can use floating windows to create a workspace more like workspaces in previous versions of Adobe applications, or to place panels on multiple monitors.

Example workspace A. Application window B. Grouped panels C. Individual panel

Dock, group, or float panels

You can dock panels together, move them into or out of groups, and undock them so they float above the application window. As you drag a panel, drop zones—areas onto which you can move the panel—become highlighted. The drop zone you choose determines where the panel is inserted, and whether it docks or groups with other panels.

Docking zones

Docking zones exist along the edges of a panel, group, or window. Docking a panel places it adjacent to the existing group, resizing all groups to accommodate the new panel.

Last updated 4/20/2010

Dragging panel (A) onto docking zone (B) to dock it (C)

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Workspace

Grouping zones

Grouping zones exist in the middle of a panel or group, and along the tab area of panels. Dropping a panel on a grouping zone stacks it with other panels.

Dragging panel (A) onto grouping zone (B) to group it with existing panels (C)

Dock or group panels

1 If the panel you want to dock or group is not visible, choose it from the Window menu.

2 Do one of the following:

•

To move an individual panel, drag the gripper area in the upper-left corner of a panel’s tab onto the desired drop zone.

Last updated 4/20/2010

Drag panel gripper to move one panel

USING ADOBE ONLOCATION CS5

• To move an entire group, drag the group gripper in the upper-right corner onto the desired drop zone.

Workspace

Drag group gripper to move entire group

The application docks or groups the panel, according to the type of drop zone.

Undock a panel in a floating window

When you undock a panel in a floating window, you can add panels to the window and modify it similarly to the application window. You can use floating windows to use a secondary monitor, or to create workspaces like the workspaces in earlier versions of Adobe applications.

❖ Select the panel you want to undock (if it’s not visible, choose it from the Window menu), and then do one of the

following:

• Choose Undock Panel or Undock Frame from the panel menu. Undock Frame undocks the panel group.

• Hold down Ctrl (Windows®) or Command (Mac OS®), and drag the panel or group from its current location.

When you release the mouse button, the panel or group appears in a new floating window.

• Drag the panel or group outside the application window. (If the application window is maximized, drag the

panel to the Windows taskbar.)

Resize panel groups

When you position the pointer over dividers between panel groups, resize icons appear. When you drag these icons, all groups that share the divider are resized. For example, suppose your workspace contains three panel groups stacked vertically. If you drag the divider between the bottom two groups, they are resized, but the topmost group doesn’t change.

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Workspace

To quickly maximize a panel beneath the pointer, press the tilde (~) key. (Do not press Shift.) Press the tilde key again to return the panel to its original size.

1 Do either of the following:

• To resize either horizontally or vertically, position the pointer between two panel groups. The pointer becomes a

double-arrow

• To resize in both directions at once, position the pointer at the intersection between three or more panel groups.

The pointer becomes a four-way arrow

2 Hold down the mouse button, and drag to resize the panel groups.

Dragging divider between panel groups to resize them horizontally A. Original group with resize icon B. Resized groups

Open, close, and scroll to panels

When you close a panel group in the application window, the other groups resize to use the newly available space. When you close a floating window, the panels within it close, too.

• To open or close a panel, choose it from the Window menu.

• To close a panel or window, click its Close button .

• To see all the panel tabs in a narrow panel group, drag the horizontal scroll bar.

• To bring a panel to the front of a group of panels, do one of the following:

• Click the tab of the panel you want in front.

• Hover the cursor above the tab area, and turn the mouse scroll wheel. Scrolling brings each panel to the front, one

after another.

• To reveal panels hidden in a narrow panel group, drag the scroll bar above the panel group.

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Drag horizontal scroll bar to see all panels in narrow group

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Workspace

Working with multiple monitors

To increase the available screen space, use multiple monitors. When you work with multiple monitors, the application window appears on one monitor, and you place floating windows on the second monitor. Monitor configurations are stored in the workspace.

More Help topics

“Dock, group, or float panels” on page 2

Brighten or darken the interface

If panels, windows, and dialog boxes are too light or dark for your work environment, adjust the workspace brightness.

1 Choose Edit > Preferences > Appearance (Windows) or OnLocation > Preferences > Appearance (Mac OS).

2 Drag the Brightness slider. (To return to the original setting, click Reset To Default.)

Managing workspaces

Choose a workspace

Each Adobe video and audio application includes several predefined workspaces that optimize the layout of panels for specific tasks. When you choose one of these workspaces, or any custom workspaces you’ve saved, the current workspace is redrawn accordingly.

❖ Open the project you want to work on, choose Window > Workspace, and select the desired workspace.

Predefined workspaces

In the Window > Workspace submenu, Adobe OnLocation provides the following predefined workspaces:

Calibration Prominently displays panels, to calibrate cameras before recording.

Full Screen Expands panels to fill the screen, to easily monitor them from a distance. To switch between panels, click

the tabs in the upper-left corner of the screen.

Pre-Production Expands the Project panel and Metadata panel, to easily enter descriptive properties for shot

placeholders.

Production Optimizes the workspace layout for recording, reviewing, and analyzing clips.

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Workspace

More Help topics

“Organizing and logging shots” on page 27

Save, reset, or delete workspaces

Save a custom workspace

As you customize a workspace, the application tracks your changes, storing the most recent layout. To store a specific layout more permanently, save a custom workspace. Saved custom workspaces appear in the Workspace menu, where you can return to and reset them.

❖ Arrange the frames and panels as desired, and then choose Window > Workspace > New Workspace. Type a name

for the workspace, and click

Note: If a project saved with a custom workspace is opened on another system, the application looks for a workspace with a matching name. If it can’t find a match (or the monitor configuration doesn’t match), it uses the current local workspace.

Reset a workspace

Reset the current workspace to return to its original, saved layout of panels.

OK.

❖ Choose Window > Workspace > Reset workspace name.

Delete a workspace

1 Choose Window > Workspace > Delete Workspace.

2 Choose the workspace you want to delete, and then click OK.

Note: You cannot delete the currently active workspace.

Last updated 4/20/2010

Chapter 3: Creating projects and setting up cameras

Creating, opening, and moving projects

Adobe OnLocation stores related files in a project folder. Each project consists of a *.olproj file that references recorded video in the Clips folder. Any still images you grab from those clips appear in the Grabbed Stills folder.

You can store Adobe OnLocation projects on any local drive, internal or external. For external drives, both FireWire® and USB 2.0 are sufficient for Adobe OnLocation. For DVCPro HD®, Adobe strongly recommends that you use a 7200rpm drive and defragment it regularly.

Using the Link Media option, you can reconnect to media that has been moved from its original location on the hard disk. To enable Link Media, right-click a media clip in the Project panel, and select Link Media.

Create a project

1 From either the start screen or the File menu, select New Project.

2 Specify a name and location for the project.

Use a descriptive name that includes the name of the project or client, or a job number.

3 Click Save.

Note: Adobe recommends against recording video to a network location. Latency in the network might drop data.

Open a project

1 From either the start screen or the File menu, select Open Project.

2 Navigate to the project folder, and select the [project name].olproj file.

3 Click Open. Adobe OnLocation opens the project, populating the Project panel with its clips.

Moving projects between computers

To access a project from a different computer, move an external drive, or copy the entire project folder. All paths are relative within the project folder, you must move the project folder as a unit without moving or deleting any subfolders or files.

More Help topics

“Transferring clips to other applications” on page 49

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Creating projects and setting up cameras

Setting up cameras

About IEEE 1394 ports and cables

Adobe OnLocation communicates with cameras and other OHCI-compliant devices using the IEEE 1394 standard, which is also known as FireWire and i.Link®. If the computer has no IEEE 1394 ports or too few for your purposes, add one or more FireWire cards (PCI cards for a desktop computer, PCMCIA® or ExpressCard® for a laptop).

Before buying a cable, check whether you need a 4-pin to 4-pin or 4-pin to 6-pin type cable. Most 1394-compatible cameras have a 4-pin port. Computers have 4-pin or 6-pin ports.

With DV and HDV cameras, you can use cables up to 25 meters (80 feet) in length. The maximum cable length for DVCPro HD is 4.5 meters (15 feet) because the data rate is much higher. You can use repeaters to daisy-chain up to 16 cables.

Note: For the latest information on troubleshooting digital video capture in Adobe OnLocation, visit the Adobe knowledgebase at

Step 1: Connect a camera

For direct-to-disc recording, Adobe ® OnLocation™ works with NTSC or PAL DV cameras, as well as HDV and DVCPro cameras. The application automatically detects the camera’s video standard and format, so you don’t have to change any switches or project properties.

www.adobe.com/support/onlocation/.

Note: Adobe OnLocation does not support camcorders that record onto DVDs, hard disks, or flash memory unless they output DV or HDV over a FireWire connection.

1 Plug one end of a 1394 cable into a FireWire port on the computer.

2 With the camera turned off, plug the other end of the cable into the camera’s FireWire port.

Important: Although some IEEE 1394 devices may be hot-swappable, FireWire ports might be damaged if you plug in a cable when the camera is turned on. Adobe recommends that you turn off the camera before connecting the cable.

3 Turn on the camera, and set it to the Record or Camera mode.

4 If the Field Monitor displays a previously recorded clip rather than video from the camera, click the panel menu

, and choose View Camera.

icon

To switch to another camera, close Adobe OnLocation, disconnect the current camera, connect the next camera, and restart the application. If you want to ensure that video has a common appearance, see “Check continuity between

multiple cameras” on page 22.

Step 2: Set the monitor aspect ratio

The aspect ratio of a rectangular image describes frame dimensions in width relative to height. By default, the Field Monitor automatically reflects the aspect ratio of the video stream. You can also manually control the aspect ratio.

Aspect ratios are typically represented as ratios such as 16:9. However, you can also specify a decimal value, which equals the first value in the ratio divided by the second. For example, the value of 1.333 equals 4 divided by 3, or 4:3.

1 In the upper-right corner of the Field Monitor, click the panel menu icon , and choose Monitor Settings.

2 In the Monitor Aspect Ratio section, select one of the following:

Automatic Automatically matches the video’s aspect ratio.

4:3 Specifies the aspect ratio used by conventional television.

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16:9 Specifies the aspect ratio used by high-definition television (HDTV).

Custom Lets you set a ratio ranging from 1.000 (1:1, a square) to 2.400 (12:5).

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Creating projects and setting up cameras

If you’re not sure what this setting should be, point the camera at a circular image that’s parallel to the plane of the lens. If the shape looks circular in the Field Monitor, the setting is correct. If not, change the setting until the

shape is circular. If you can’t achieve a circular shape, make sure the letterbox mask is disabled. (See

“Preview different

aspect ratios” on page 24.)

Step 3: Calibrate the Field Monitor

The built-in color bars calibrate the computer screen to display levels of brightness, white, and color to match what the camera records. This step ensures that what you see in the Field Monitor accurately reflects what you will see in postproduction.

Adobe recommends that you recalibrate the screen whenever the lighting around the computer changes significantly. Position the computer screen at an angle that reduces the amount of glare. When shooting in direct sunlight, you might want to consider using a computer screen sunshade for better visibility.

Note: Calibrating the Field Monitor affects only what you see within Adobe OnLocation. It has no effect on the brightness and color of recorded clips.

Because the various calibration settings interact with one another, it’s important to perform the steps below in order.

1 Below the preview in the Field Monitor, click the Calibrate Field Monitor button .

2 Drag the Chroma setting to zero, eliminating all color and reducing the bars to shades of gray.

3 Locate the set of three narrow, dark bars below the second and third bars from the right. These pluge bars are used

to calibrate the contrast. Adjust the Contrast value until the center and left bars are identical and the bar on the right is faintly lighter.

To adjust values in fractional increments, Ctrl-drag (Windows) or Command-drag (Mac OS).

Calibrate contrast using pluge bars.

4 Locate the set of three narrow, white bars below the second and third bars from the left. Adjust the Brightness value

until the two bars on the left are indistinguishable and the bar on the right is slightly darker.

Adjust brightness using pluge bars.

5 Click Blue Filter. The bars turn shades of blue.

6 Adjust the Chroma value until the tall section at the top of each outer bar is the same shade as the small block just

below it.

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If necessary, adjust the Phase value until the third and fifth bars are the same shade as the small blocks just below them.

A. Adjust Chroma until the tall outer bars match adjacent small blocks. B. Adjust Phase until the third and fifth tall blocks match adjacent small blocks.

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Creating projects and setting up cameras

8 Click OK.

To return all values to original settings, click Defaults.

Step 4: Calibrate the camera with Camera Setup Assistant

Sometimes, even the best, most expensive cameras can’t record high-quality images unless you accurately set the focus and exposure. You can achieve high-quality video even with a modest camera. For high-quality video, the focus must be crisp, white balance correct, and exposure and lighting must yield the maximum dynamic range. To help you achieve the best results, the Camera Setup Assistant panel analyzes the image and provides graphical feedback. This feature takes the guesswork out of calibrating cameras and adjusting lighting.

The Waveform Monitor, Vectorscope, and Field Monitor provide analytical tools that allow you to assess focus, exposure, and white balance. However, Camera Setup Assistant has added advantages. It presents data in meters that are easy to read. Second, it analyzes only a defined region of the frame (the specific area where you place the Camera Setup Assistant card).

Note: The Camera Setup Assistant requires the Camera Setup Assistant card, which is a focus and exposure chart. Download onlocation_cs5_camerasetupassistant.pdf, and print the focus and exposure chart on a heavy stock, white paper. For more information on the Camera Setup Assistant card, see

1 Disable the camera’s automatic controls, particularly autofocus, auto-white balance, and auto-iris.

2 Frame and light the scene.

3 Choose Window > Camera Setup Assistant.

4 Select Enable.

5 Place the Camera Setup Assistant card next to your primary subject, and adjust the card so that it’s receiving the

same light. If necessary, tilt the card down to avoid reflected glare.

Camera Setup Assistant.

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Placing the Camera Setup Assistant card

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Creating projects and setting up cameras

6 Frame the chart using the Percentage Of Frame slider in the Camera Setup Assistant panel.

To reposition the target area in the Field Monitor, drag the cross hairs to the center.

7 Adjust your camera’s focus control until the Focus Meter in the Camera Setup Assistant panel is as high as possible.

8 To maximize highlights and shadows (the upper and lower Exposure Meters in the Camera Setup Assistant panel),

do any of the following:

• Reposition, add, or remove lights.

• Adjust camera settings, such as iris, shutter speed, exposure, or gain.

9 Flip the chart over to the blank, white side. Then, set the white balance control on your camera to maximize the

White Balance Meters in the Camera Setup Assistant panel.

Setting the white balance control

Last updated 4/20/2010

USING ADOBE ONLOCATION CS5

Creating projects and setting up cameras

Step 5: Set audio levels

The Audio panel provides meters that enable you to optimize audio levels before recording and analyze levels during playback.

1 If you’re monitoring audio without sealed headphones, select Mute Pass-Through To Speakers For Live Source

in the Audio panel to prevent feedback.

2 While watching the meters in the Audio panel, adjust the position of your microphones and the audio input level

on the camera.

The meters must stay mostly in the yellow region, and audio-pop alerts must be rare. If audio-clipping alerts occur, adjust microphone position or lower input level.

To clear clipping alerts in the Audio panel, click them.

More Help topics

“Video and audio alerts” on page 19

Last updated 4/20/2010

Chapter 4: Analyzing lighting, exposure, and color

Evaluating brightness with zebras

Adobe OnLocation provides two adjustable zebras in the Field Monitor. These zebras overlay a pattern of diagonal stripes on areas of the video that exceed the specified brightness or darkness threshold. By default, the threshold is 96% for Zebra 1 and 75% for Zebra 2.

Use Zebra 1 at its default setting to identify areas that will lose all detail from overexposure and may cause video clipping and distortion. Use Zebra 2 at its default setting to identify areas of faces, or other main subjects, that are bright enough to show satisfactory detail.

The complexion of the faces, the overall ambiance of the scene, or the intended artistic mood can dictate different brightness thresholds. Some videographers prefer to expose faces at below 70%, and those creating a film look might use a threshold of 60% or even less. You can change zebra Threshold settings from the defaults to any of these values.

To monitor the levels of shadow areas, you can also change a zebra from its default Bright mode to Dark. For example, in Dark mode a zebra with a Threshold of 20% displays stripes across all areas below that level.

Enable or disable a zebra

❖ In the Field Monitor, click the Zebra 1 or Zebra 2 button.

Only one zebra can be active at a time, so enabling Zebra 1 disables Zebra 2, and vice versa.

Set a zebra to identify highlights or shadows

1 In the upper-right corner of the Field Monitor, click the panel menu icon , and choose Zebra Settings. Or, press

Alt+Z.

2 From the Mode menu for either zebra, choose Bright to identify highlights or Dark to identify shadows.

To contrast with the area they're painted over, zebra stripes are black in Bright mode and white in Dark mode.

Set zebra thresholds

A 0% threshold represents a brightness value of 16; 100% represents 235. (The values 16 and 235 are the brightness limits for broadcast.)

1 In the upper-right corner of the Field Monitor, click the panel menu icon , and choose Zebra Settings.

2 Set the Brightness or Darkness Threshold, and click OK.

Preserving shadows with dark zebras

Dark shadows in a scene can meet many different cinematic goals. But it can be particularly challenging to create a dark, moody ambiance in DV format because it’s unforgiving when shadows become too dark. Undesirable image noise often occurs, which postproduction cannot address.

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Macromedia OnLocation - CS5 Instruction Manual

Contents

Chapter 1: What’s new

Chapter 2: Workspace

Customizing the workspace

About workspaces

Dock, group, or float panels

Resize panel groups

Open, close, and scroll to panels

Working with multiple monitors

Brighten or darken the interface

Managing workspaces

Choose a workspace

Predefined workspaces

Save, reset, or delete workspaces

Chapter 3: Creating projects and setting up cameras

Creating, opening, and moving projects

Create a project

Open a project

Moving projects between computers

Setting up cameras

About IEEE 1394 ports and cables

Step 1: Connect a camera

Step 2: Set the monitor aspect ratio

Step 3: Calibrate the Field Monitor

Step 4: Calibrate the camera with Camera Setup Assistant

Step 5: Set audio levels

Chapter 4: Analyzing lighting, exposure, and color

Evaluating brightness with zebras

Enable or disable a zebra

Set a zebra to identify highlights or shadows

Set zebra thresholds

Preserving shadows with dark zebras