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<ul xmlns:adobe="http://www.adobe.com/saxon" class="navigation"><li class="prev"><a accesskey="p" class="prev" href="WS5b3ccc516d4fbf351e63e3d117cbc98bab-7fee.html" title="Creating, opening, and moving projects"><img src="images/blank.gif" alt="Previous" width="17" height="17" /></a></li><li class="next"><a accesskey="n" class="next" href="WS5b3ccc516d4fbf351e63e3d117cbc98447-7fdf.html" title="Analyzing lighting, exposure, and color"><img src="images/blank.gif" alt="Next" width="17" height="17" /></a></li></ul><div xmlns:adobe="http://www.adobe.com/saxon" class="hierarchy" id="hierarchy"><a href="index.html">Using Adobe OnLocation CS5</a> : <a href="WS5b3ccc516d4fbf351e63e3d117cbc981e4-7ff5.html"><b>Creating projects and setting up cameras</b></a> 
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        <h1>
          Setting up cameras
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        <div xmlns:adobe="http://www.adobe.com/saxon" id="minitoc"><div class="t"><div class="b"><div><ul id="minitoc-links"><li><p><a href="#WSF35FDA53-D34B-481e-82B9-B64FF0587D44"><h1 class="topictitle1">About IEEE 1394 ports and cables</h1>
</a></p></li><li><p><a href="#WS5b3ccc516d4fbf351e63e3d117cbc98bab-7ffd"><h1 class="topictitle1">Step 1: Connect a camera</h1>
</a></p></li><li><p><a href="#WS5b3ccc516d4fbf351e63e3d117cbc98bab-7ffc"><h1 class="topictitle1">Step 2: Set the monitor aspect ratio</h1>
</a></p></li><li><p><a href="#WS5b3ccc516d4fbf351e63e3d117cbc98bab-7ffa"><h1 class="topictitle1">Step 3: Calibrate the Field Monitor</h1>
</a></p></li><li><p><a href="#WS5b3ccc516d4fbf351e63e3d117cbc98bab-7ff9"><h1 class="topictitle1">Step 4: Calibrate the camera with Camera Setup Assistant</h1>
</a></p></li><li><p><a href="#WS5b3ccc516d4fbf351e63e3d117cbc98bab-7fd2"><h1 class="topictitle1">Step 5: Set audio levels</h1>
</a></p></li></ul></div></div></div></div><div><ul class="navlinklist"></ul>
</div>
<div id="WSF35FDA53-D34B-481e-82B9-B64FF0587D44" class="nochunk"><a name="WSF35FDA53-D34B-481e-82B9-B64FF0587D44"><!-- --></a><h2 class="topictitle2">About IEEE 1394 ports and cables</h2><div><p>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).</p>
<p>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.</p>
<p>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.</p>
<div class="note"><span class="notetitle">Note:  </span>For the latest information on troubleshooting
digital video capture in Adobe OnLocation, visit the Adobe knowledgebase
at <a href="http://www.adobe.com/support/onlocation/" target="_self">www.adobe.com/support/onlocation/</a>.</div>
</div></div>
<div id="WS5b3ccc516d4fbf351e63e3d117cbc98bab-7ffd" class="nochunk"><a name="WS5b3ccc516d4fbf351e63e3d117cbc98bab-7ffd"><!-- --></a><h2 class="topictitle2">Step 1: Connect a camera</h2><div><p>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.</p>
<div class="note"><span class="notetitle">Note:  </span>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.</div>
<ol><li><p>Plug one end of a 1394 cable into a FireWire port on
the computer.</p>
</li>
<li><p>With the camera turned off, plug the other end of the cable
into the camera’s FireWire port.</p>
<div class="important"><span class="importanttitle">Important:  </span>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.</div>
</li>
<li><p>Turn on the camera, and set it to the Record or Camera mode.</p>
</li>
<li><p>If the Field Monitor displays a previously recorded clip
rather than video from the camera, click the panel menu icon&#160;<img src="images/panel_menu_icon.png" />, and
choose View Camera.</p>
</li>
</ol>
<div class="tip"><img src="images/tip_help.png" />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 <a href="WSA8D14067-0245-4611-9B6A-D21B9E2CEBFF.html">Check continuity between multiple cameras</a>.</div></div></div>
<div id="WS5b3ccc516d4fbf351e63e3d117cbc98bab-7ffc" class="nochunk"><a name="WS5b3ccc516d4fbf351e63e3d117cbc98bab-7ffc"><!-- --></a><h2 class="topictitle2">Step 2: Set the monitor aspect ratio</h2><div><p>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.</p>
<p>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.</p>
<ol><li><p>In the upper-right corner of the Field Monitor, click
the panel menu icon&#160;<img src="images/panel_menu_icon.png" />, and
choose Monitor Settings.</p>
</li>
<li><p>In the Monitor Aspect Ratio section, select one of the following:</p>
<dl><dt class="dlterm">Automatic</dt>
<dd xmlns:fn="http://www.w3.org/2005/xpath-functions" xmlns:fo="http://www.w3.org/1999/XSL/Format" xmlns:xs="http://www.w3.org/2001/XMLSchema">Automatically matches the video’s aspect ratio.</dd><p class="dlseparator"></p><dt class="dlterm">4:3</dt>
<dd xmlns:fn="http://www.w3.org/2005/xpath-functions" xmlns:fo="http://www.w3.org/1999/XSL/Format" xmlns:xs="http://www.w3.org/2001/XMLSchema">Specifies the aspect ratio used by conventional television.</dd><p class="dlseparator"></p><dt class="dlterm">16:9</dt>
<dd xmlns:fn="http://www.w3.org/2005/xpath-functions" xmlns:fo="http://www.w3.org/1999/XSL/Format" xmlns:xs="http://www.w3.org/2001/XMLSchema">Specifies the aspect ratio used by high-definition television
(HDTV).</dd><p class="dlseparator"></p><dt class="dlterm">Custom</dt>
<dd xmlns:fn="http://www.w3.org/2005/xpath-functions" xmlns:fo="http://www.w3.org/1999/XSL/Format" xmlns:xs="http://www.w3.org/2001/XMLSchema">Lets you set a ratio ranging from 1.000 (1:1, a square) to
2.400 (12:5).</dd><p class="dlseparator"></p></dl>
<div class="tip"><img src="images/tip_help.png" />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 <a href="WS5b3ccc516d4fbf351e63e3d117cbc98bab-7ffe.html">Preview different aspect ratios</a>.)</div></li>
</ol>
</div></div>
<div id="WS5b3ccc516d4fbf351e63e3d117cbc98bab-7ffa" class="nochunk"><a name="WS5b3ccc516d4fbf351e63e3d117cbc98bab-7ffa"><!-- --></a><h2 class="topictitle2">Step 3: Calibrate the Field Monitor</h2><div><p>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. </p>
<p>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. </p>
<div class="note"><span class="notetitle">Note:  </span>Calibrating the Field Monitor affects only what
you see within Adobe OnLocation. It has no effect on the brightness
and color of recorded clips.</div>
<p>Because the various calibration settings interact with one another,
it’s important to perform the steps below in order.</p>
<ol><li><p>Below the preview in the Field Monitor, click the Calibrate
Field Monitor button&#160;<img src="images/field_monitor_icon.png" />.</p>
</li>
<li><p>Drag the Chroma setting to zero, eliminating all color and
reducing the bars to shades of gray.</p>
</li>
<li><p>Locate the set of three narrow, dark bars below the second
and third bars from the right. These <dfn class="term">pluge bars</dfn> 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.</p>
<div class="tip"><img src="images/tip_help.png" />To adjust values in fractional
increments, Ctrl-drag (Windows) or Command-drag (Mac&#160;OS).</div><div xmlns:fn="http://www.w3.org/2005/xpath-functions" xmlns:fo="http://www.w3.org/1999/XSL/Format" xmlns:xs="http://www.w3.org/2001/XMLSchema" class="fignone"><img alt="" id="su_goodpluge_bars" src="images/su_goodpluge_bars.png" /><div class="figdesc">Calibrate contrast using pluge bars. </div><br /></div></li>
<li><p>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.</p>
<div xmlns:fn="http://www.w3.org/2005/xpath-functions" xmlns:fo="http://www.w3.org/1999/XSL/Format" xmlns:xs="http://www.w3.org/2001/XMLSchema" class="fignone"><a href="#" onclick="return showHideImage('su_gray_pluge2', this);">View full size graphic</a><img alt="" id="su_gray_pluge2" src="images/su_gray_pluge2.png" /><div class="figdesc">Adjust brightness using pluge bars.</div><br /></div></li>
<li><p>Click Blue Filter. The bars turn shades of blue.</p>
</li>
<li><p>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.</p>
</li>
<li><p>If necessary, adjust the Phase value until the third and
fifth bars are the same shade as the small blocks just below them.</p>
<div xmlns:fn="http://www.w3.org/2005/xpath-functions" xmlns:fo="http://www.w3.org/1999/XSL/Format" xmlns:xs="http://www.w3.org/2001/XMLSchema" class="fignone"><a href="#" onclick="return showHideImage('su_Setup_ClrBars_ChrmPhase', this);">View full size graphic</a><img alt="" id="su_Setup_ClrBars_ChrmPhase" src="images/su_Setup_ClrBars_ChrmPhase.png" /><dl><dt class="dlterm">A.</dt>
<dd>Adjust Chroma until the tall outer bars match adjacent
small blocks.</dd><p class="dlseparator"></p><dt class="dlterm">B.</dt>
<dd>Adjust Phase until the
third and fifth tall blocks match adjacent small blocks.</dd><p class="dlseparator"></p></dl>
</div></li>
<li><p>Click OK.</p>
</li>
</ol>
<div class="tip"><img src="images/tip_help.png" />To return all values to original settings, click
Defaults.</div></div></div>
<div id="WS5b3ccc516d4fbf351e63e3d117cbc98bab-7ff9" class="nochunk"><a name="WS5b3ccc516d4fbf351e63e3d117cbc98bab-7ff9"><!-- --></a><h2 class="topictitle2">Step 4: Calibrate the camera with Camera Setup Assistant</h2><div><p>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.</p>
<p>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).</p>
<div class="note"><span class="notetitle">Note:  </span>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 <a href="http://help.adobe.com/en_US/OnLocation/CS5/SetupAssistantChart/onlocation_cs5_camerasetupassistant.pdf" target="_self">Camera Setup Assistant</a>.</div>
<ol><li><p>Disable the camera’s automatic controls, particularly
autofocus, auto-white balance, and auto-iris.</p>
</li>
<li><p>Frame and light the scene.</p>
</li>
<li><p>Choose Window&#160;&gt; Camera Setup Assistant.</p>
</li>
<li><p>Select Enable.</p>
</li>
<li><p>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.<div xmlns:fn="http://www.w3.org/2005/xpath-functions" xmlns:fo="http://www.w3.org/1999/XSL/Format" xmlns:xs="http://www.w3.org/2001/XMLSchema" class="fignone"><img alt="" id="SureShot_focus" src="images/SureShot_focus.png" /><div class="figdesc">Placing the Camera Setup Assistant card</div><br /></div></p>
</li>
<li><p>Frame the chart using the Percentage Of Frame slider in the
Camera Setup Assistant panel. </p>
<div class="tip"><img src="images/tip_help.png" />To reposition
the target area in the Field Monitor, drag the cross hairs to the center.</div></li>
<li><p>Adjust your camera’s focus control until the Focus Meter
in the Camera Setup Assistant panel is as high as possible.</p>
</li>
<li><p>To maximize highlights and shadows (the upper and lower Exposure
Meters in the Camera Setup Assistant panel), do any of the following:</p>
<ul><li><p>Reposition, add, or remove lights.</p>
</li>
<li><p>Adjust camera settings, such as iris, shutter speed, exposure,
or gain.</p>
</li>
</ul>
</li>
<li><p>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.<div xmlns:fn="http://www.w3.org/2005/xpath-functions" xmlns:fo="http://www.w3.org/1999/XSL/Format" xmlns:xs="http://www.w3.org/2001/XMLSchema" class="fignone"><img alt="" id="SureShot_white_balance" src="images/SureShot_white_balance.png" /><div class="figdesc">Setting the white balance control</div><br /></div></p>
</li>
</ol>
</div></div>
<div id="WS5b3ccc516d4fbf351e63e3d117cbc98bab-7fd2" class="nochunk"><a name="WS5b3ccc516d4fbf351e63e3d117cbc98bab-7fd2"><!-- --></a><h2 class="topictitle2">Step 5: Set audio levels</h2><div><p>The
Audio panel provides meters that enable you to optimize audio levels
before recording and analyze levels during playback.</p>
<ol><li><p>If you’re monitoring audio without sealed headphones,
select Mute Pass-Through To Speakers For Live Source <img src="images/su_pass_through.png" /> in the
Audio panel to prevent feedback.</p>
</li>
<li><p>While watching the meters in the Audio panel, adjust the
position of your microphones and the audio input level on the camera. </p>
<p>The
meters must stay mostly in the yellow region, and audio-pop alerts
must be rare. If audio-clipping alerts&#160;<img src="images/audio_clipping_alert_icon.png" /> occur,
adjust microphone position or lower input level.</p>
</li>
</ol>
<div class="tip"><img src="images/tip_help.png" />To clear clipping alerts in the Audio panel,
click them.</div></div></div>


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