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Don't know if this is the right thread but it looks like it, so, question: I have to do a project for my music class: combine music with some other art. I want to combine music & video. The music is pretty much done (could improve a bit but I won't have the time to do anything drastic) but I still need to do the video. For, reference, this is the music: https://soundcloud.com/jeeves-3/my-wife-bunny It's basically some music with a whole lot of dialogue samples from The Big Lebowski movie on top. Now what I want for the video is have some generic 'nothing happening' footage as a base (the beginning of TBL has some landscape footage that's perfect), and switch to the correct parts from the movie whenever a sample is playing. I installed Lightworks and had a go at trying this. I managed to sync up the first few samples but it took a while and I basically stumbled on the correct sync by accident each time. What I do is: -I have the background footage in an edit, together with the video. Audio is unselected because that's fixed and shouldn't change. -I look for the dialogue footage in the source video, and mark the rough 'in' and 'out' points. -I insert the selected dialogue footage in the edit. And then I'm basically stuck. I try unjoining (?) the cuts (?) in my edit video and then try to go backwards and forwards to make the video sync up with the audio. But I don't really know the best process for this. What I want to do is move the starting point of the inserted dialogue video backwards and forwards but I don't know how to do this with any ease or precision. Anyone who can give me any pointers on how to easily do this? If there's another (free or cheap) program that would make it easier or quicker to do this, suggestions are welcome. I haven't gotten very far yet and I'm not married to Lightworks. I do like LW in that it has a very nice undo function so that I can totally gently caress around and still not lose any work. TL;DR: I want to copy source video into target video so that people's mouths move when they are talking. Halp! uXs fucked around with this message at 11:24 on Mar 13, 2015 |
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Mar 13, 2015 11:20
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uXs posted:And then I'm basically stuck. I try unjoining (?) the cuts (?) in my edit video and then try to go backwards and forwards to make the video sync up with the audio. But I don't really know the best process for this. What I want to do is move the starting point of the inserted dialogue video backwards and forwards but I don't know how to do this with any ease or precision. Anyone who can give me any pointers on how to easily do this? So basically a slip edit? If your software won't let you do that, then trash it. (typically this defaults to < and > on the keyboard, with m and ? doing either 5 or 10 frames instead of 1) quote:TL;DR: I want to copy source video into target video so that people's mouths move when they are talking. Halp! Audio syncing without clear sync points (slate) is a pain in the rear end. I've done it before and it takes forever. Slip edits can help with final adjustments, though typically in such a case I just forgo the 'rough' edit as time spent on that (for me) ends up being wasted. I would typically find a hard phoneme to use as a sync point. Unfortunately since you've said that you won't have time to do much of anything else with the music, that would indicate you don't have time to do a video. No matter how involved and intricate I get in sound design, it still is done much faster than work on the video itself. Afterthought: I'd have to see your workflow to know for sure, but if the voice clips in the music were pulled from the same source video you are using, then you could construct a synced video by taking the music timeline and then use match frame to drop in the video. Afterthought 2: If the music is 44.1K and the video audio is 48K (which are the standards for music and video respectively), then its also possible that stretching of the audio has occurred and sync is impossible, though for short sound bites I would doubt that it would be noticeable. Though this depends upon your workflow as to whether or not this could manifest. Reverend Dr fucked around with this message at 23:29 on Mar 13, 2015 |
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Mar 13, 2015 23:24
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Thanks for the help, even though I don't understand half of what you're saying :-) I figured out how to move the starting point of the clip around, but I also found a much better way: I turned on the thing that shows the waveform of the audio tracks on both the source video and the video I was creating. With those I could just select the starting point of the clip I wanted to insert and the place to insert it into. So no more messing around with trying to move stuff around, the waveforms made it so that the clips I inserted were always in the correct place right away.
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Mar 14, 2015 00:10
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I'm not sure about lightworks but a lot of editing programs will allow you to highlight a clip, then hit + or -, then type in a number and hit enter and you will move the clip forwards or backwards by that many frames in the timeline.
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Mar 14, 2015 21:00
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Some other programs like Premiere and Final Cut X do come with a function that allows syncing up of soundtracks based on their waveforms, handy for matching on-camera with recordists sound. But anything really complex does require a bit of sorting and planning to make life easier. Before that fancy gizmo the old way was to manually listen to it all and place markers at key points (namely the clap or some notable sound).
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Mar 15, 2015 03:42
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I just filmed the eclipse in the UK today with a very lovely Creative Vado camera. It looks like arse, but it's usable enough. What I want is to be able to zoom into the sun, and leave it centred in the frame, so I imagine I'll need some sort of stabiliser plugin to stop it moving in its arc across the sky. Complicating matters is that every 15 minutes or so I repositioned the camera to keep the sun sort-of near the centre. I have Premiere and AE available and I'm wondering what the best method for this is. Edit: Nae bother, manually keyframed it. Didn't take too long. thehustler fucked around with this message at 17:58 on Mar 20, 2015 |
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Mar 20, 2015 12:41
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I'm just getting my feet wet in AE/Premiere. I want to know how you guys think this effect was done: https://www.youtube.com/watch?v=q1MidHHTkrw Skip to 4:40 of this (admittedly insane) video. Can you explain how when the mouth comes in and the words scroll down, the "old" video frames move along with the motion from the current video? Sorry if I didn't explain my question well enough, it's difficult to describe. e: messed up link agscala fucked around with this message at 21:45 on Mar 20, 2015 |
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Mar 20, 2015 19:14
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agscala posted:I'm just getting my feet wet in AE/Premiere. I want to know how you guys think this effect was done: Look up datamoshing. Then watch Off the Air. I'm phone posting so could post some more later. Asnorban fucked around with this message at 03:49 on Mar 21, 2015 |
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Mar 21, 2015 03:46
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Yeah it's basically emulating the look of a video compression error, like the video didn't receive all of an i-frame and all the b-frames just keep on moving forward.
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Mar 21, 2015 03:50
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There are a few tools out there made for that kind of thing. Off the top of my head there's the Glitch effect in the Red Giant Universe subscription and the Twitch plug-in from Video Copilot, and I'm sure there's more. Probably neither will give you that exact effect out of the box but they're worth looking into. That video and song are amazing by the way. I love how perfectly it captures the look of a high school a/v club dweeb in the late 90's loving around with a pirated copy of After Effects.
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Mar 21, 2015 05:03
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Asnorban posted:Look up datamoshing. Then watch Off the Air. Thanks, datamoshing is definitely what I was looking for. Off the Air is amazing. And thanks for the other suggestions for AE plugins/effects. I'll check them out for sure
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Mar 22, 2015 01:59
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Watch out Hollywood, my new software suite has arrived (plus a little something for some downtime). oh what searching through the old tape vaults will get you
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Mar 27, 2015 21:57
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What the heck is / was Specular Infini-D? We had a lot of cool old software laying around at my old job too. Probably that exact same version of After Effects and a shitload of funky old Digital Juice b-roll and graphics on CD and tape. The inclusion of Marathon is definitely what makes that collection though.
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Mar 27, 2015 23:07
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Cyne posted:What the heck is / was Specular Infini-D? quote:Photoshop 3.x requires Mac System 7.0, 16 MB of RAM, a 68020 processor, 25 MB of available hard drive space, and a floppy drive. I started working in Photoshop in version 4.0 in highschool. I initially saw PS as a more powerful version of Paint before realizing layers allowed me to not have to save multiple files that I'd composite on top in a final. Edit : Was chatting one of the pioneers of effects "I coded the 2D blur in Nuke" and got the amusing anecdote that "we stopped optimizing after reaching 8 hours as we'd just check it in the morning". BogDew fucked around with this message at 15:25 on Mar 29, 2015 |
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Mar 28, 2015 01:55
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I was shooting some interviews in a rather low-budget TV studio. Something happened to one of our tripods or some other piece of gear and we were going through some of their equipment closets to see if they had something we could use when I found a training VHS for Premiere 2 (the one from 1992). I really regret not stealing that. On a different note, what the hell is up with the BS 1770-3 standard? Everything I've seen has been deliberately overly technical, a useless overview of the idea, or software requests or add-ons to measure it.
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Apr 5, 2015 02:25
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I'm selling off my old 670s, which are pretty much the best PC-based GPUs for video editing ever. I don't edit on my home PC any more. http://forums.somethingawful.com/showthread.php?threadid=3713655
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Apr 15, 2015 19:27
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How does someone become a professional colorist? Career path, geographic advantages etc.
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Apr 19, 2015 22:36
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I'm stumbling around in Adobe Premiere with some video from a weather balloon experiment and was wondering if anyone knew of good sites to look for workflow advice, general information on how to get poo poo done, and in particular how to do things like transitions and titles well instead of like some random douche's youtube videos. Any help would be appreciated. Also to bounce one particular thing off, can I slow a source video in Premiere without it looking like poo poo? The people doing the experiment haven't found a good way to keep the 'probe' from spinning like crazy and it'd help a poo poo-ton to be able to smooth out the times when it's not going crazy, but is still spinning somewhat.
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May 6, 2015 23:45
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I've looked and looked for a good resource for text design over video but haven't found one, unless you count Art of the Title. You can't slow things Feb in Premiere without it getting choppy unless your source video has a higher frame rate than your project. It makes sense if you think about it - slow thirty frames per second top 50% and you only have fifteen frames per second left. That said, After Effects has a way of doing slow motion where it tries to create a new frame based on data from the previous and next frame. It works sometimes, but it's worth a shot.
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May 7, 2015 00:20
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Slow-mo filters like Twixtor pretty much work by morphing the jumps between frames. After Effects attempts to do something similar. It's a cheat compared to if you shot it at 120 frames. FXPHD has some tutorials in After Effects that do cover some basics in titling and motion design - the key is consistency and legibility and keeping it within the safe zones. VideoCo-pilot could have a few possible ideas to use as inspiration, but they're very "THIS LOOKS WOW!" rather than being practical in action - they're a bit too busy at times. I think Red Giant Universe now comes with some free transitions and effects that could help if you're looking for something a bit more involved looking than the default effects in Premiere, but remember you can adjust all sorts by clicking on the transition and looking under effects controls.
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May 7, 2015 01:04
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Thank you both! Unfortunately the video was provided to me to play with so I have no control over the frame rate it is taken at. Thankfully I already have a Adobe CC subscription so I can just download After Effects and then stumble through it a bit. Holy poo poo has that been worth it.
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May 7, 2015 13:16
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Twixtor is very powerful, but not at all easy to use. Especially with footage that may be spinning! I think they have a free trial though to try.
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May 7, 2015 14:40
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It's not on by default - make sure you look up how to turn it on. You need to push a button that turns a little choppy line into a little straight line but I'm not describing it will and Google can help better than I can.
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May 7, 2015 17:05
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I've been shooting and editing videos for the real estate brokerage I work for, as well as producing a web series about my hometown with a friend of mine. My custom built PC from like 6 years ago is getting a bit long in the tooth and I'm starting to run into some limits in terms of what I can do vs what I want to do. So I'm thinking of purchasing a new computer and new software and was looking for advice. Budget is probably somewhere in the $2000 range. So advice on a computer is welcome (I'm thinking iMac?). Also, I'm wondering what software I should use that wouldn't be too much of a transition for me. I've been using Pinnacle Studio 17 for about 2 years. I hear a lot of good things about FCP and Adoobe Premiere. Anyone that has used those as well as Pinnacle Studio that could compare how they function?
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May 7, 2015 19:34
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My refurbed 2013 macbook pro is doing a pretty good job on handling HD video, though it chugs in preview when you have some effects like reversing on. Here's a stupid question that I can't find the answer to: when exporting 1080p from Premiere, what is a good encoding and max bit rate to use to retain quality while minimizing size? Looks like my options are CBR, VBR 1 pass, VBR 2 pass. There's also something called Level which clearly makes a big difference, but I'm not sure exactly what it's doing.
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May 7, 2015 19:56
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Parts Kit posted:My refurbed 2013 macbook pro is doing a pretty good job on handling HD video, though it chugs in preview when you have some effects like reversing on. What is your deliverable?
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May 7, 2015 20:28
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Chitin posted:It's not on by default - make sure you look up how to turn it on. You need to push a button that turns a little choppy line into a little straight line but I'm not describing it will and Google can help better than I can. This may be my AE naivete showing, but isn't this only for graphics, text, solids, etc? As in, vector objects you create inside AE? It will motion blur your animation of text zooming around, or make your red circle that goes from left to right look more natural, but I don't think it does anything to actual video clips - since there's no objects moving around there, as far as AE is concerned. You need to apply Twixtor or RSMB (which analyze each frame for movement and apply blur and interpolate frames accordingly) as an effect to the footage.
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May 7, 2015 22:21
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BonoMan posted:What is your deliverable?
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May 8, 2015 01:17
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Prolonged Priapism posted:This may be my AE naivete showing, but isn't this only for graphics, text, solids, etc? As in, vector objects you create inside AE? It will motion blur your animation of text zooming around, or make your red circle that goes from left to right look more natural, but I don't think it does anything to actual video clips - since there's no objects moving around there, as far as AE is concerned. You need to apply Twixtor or RSMB (which analyze each frame for movement and apply blur and interpolate frames accordingly) as an effect to the footage. No, you're thinking of motion blur. That's the little MasterCard icon. AE has a built in Twixtor-style effect - though as with most of AE's built in effects, I'm given to understand the third party is better.
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May 8, 2015 02:09
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Thoogsby posted:How does someone become a professional colorist? Career path, geographic advantages etc. 1. Learn color theory and how to read scopes. You should be able to color correct a simple shot without really looking at it if you know how to read scopes. There's an old book out there by Stephen Hullfish called "The Art and Technique of Digital Color Correction" that is excellent for this. It's dated, as will be any book that hasn't come out in the past year or so, but the principles are solid. 2. Educate yourself on DaVinci Resolve. 99% of houses use it. The lite version is free and it's almost as functional as the paid version for your purposes. 3.Just like any other film production trade, build a reel. Probably by working for free unfortunately. Make sure you keep before/after video, as well as ideally any steps in between so potential clients can see the depth of the secondaries etc. you use. 4. Now you just have to move to LA and spend 5 years languishing in the vault of a post-production facility, working your way up until you're assisting a top-tier colorist. When he dies or you kill him, you get to take his job. Or you could skip step 4 and just do it from home, but you'll never be grading top tier material unless you open up your own shop; the clients that pay big bucks for grading are paying more for client services and pedigree than anything else. There are brilliant colorists out there, but most of the work is pretty mundane and easy.
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May 8, 2015 02:25
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RaoulDuke12 posted:1. Learn color theory and how to read scopes. You should be able to color correct a simple shot without really looking at it if you know how to read scopes. 4b. Move to LA or Vancouver and spend the rest of your life languishing in the vault of a post-production facility, colour timing dailies on an overnight shift so you never see the sun again, knowing full well that either: i) all your work will be thrown away and never seen again once the film hits the conform stage where the creatives will completely change the look of the film or ii) the DP will leave 95% of your timing in place and take all of the credit (if he even bothers to show up to the timing session)
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May 8, 2015 03:07
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Parts Kit posted:Here's a stupid question that I can't find the answer to: when exporting 1080p from Premiere, what is a good encoding and max bit rate to use to retain quality while minimizing size? Looks like my options are CBR, VBR 1 pass, VBR 2 pass. There's also something called Level which clearly makes a big difference, but I'm not sure exactly what it's doing. You could get away with one of the H.264 presets for Android or ipad - I've found they're pretty handy in a pinch if you want something that does work. However keep in mind 1080P video can be too much for portable devices, so always test. CBR = Constant Bit Rate - meaning it will lock at what you set it to and stay there. Best for when footage has to be high quality across all frames. VBR is Variable Bit Rate, in this case it looks at the footage and tries to calculate when lots of things are happening vs something static like an interview. Based on your settings it will scale up and down between the max and min rate. However one small downside is that it could create sudden jumps in quality throughout should there be a sudden shift in movement. 2 Pass does an extra pass. Profiles and levels are decoder settings that are geared towards certain devices so they are able to be played back at a smooth speed. For instance with DVDs you could export at 8mbps or higher but very very few players would have enough in their buffers to store all that and crash. There's a ton of info here about this.
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May 8, 2015 05:03
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I'm partial to the YouTube HD preset in Adobe Media Encoder. Seems to do a nice job for that kinda thing.
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May 8, 2015 05:05
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I don't suppose anyone here is in the DGC and has experience applying for EI? If there is someone, please PM me, I'm new to the union and have some questions, and no one ever seems to answer the phone when I try to call about EI. Thanks!
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May 11, 2015 18:30
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Thank you WebDog and BonoMan. I haven't tried the YouTube preset yet but will later, seemed like the file size was comparable to what I was going with anyways but it's worth a try. I did try the iPad and holy poo poo did it mess up the cross dissolves. It'll be worth passing the smaller file on anyways with the fat one I guess so they have something more portable, not like most people will notice the difference, especially if it's on a meh projector.
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May 14, 2015 17:28
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Anybody experiencing Adobe products over boosting audio? Everything I put into Premiere or After Effects is peaking bad but sounds fine in all other applications. And it's professionally recorded stuff that I know wasn't recorded that way. I can't seem to figure out what is causing it.
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May 17, 2015 23:30
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Is this in the timeline or on export? Check your mixer settings, then check volume on every audio clip
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May 18, 2015 00:02
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1st AD posted:Is this in the timeline or on export? Check your mixer settings, then check volume on every audio clip Timeline. Mixer and volume is fine, but everything is sounding overdriven as poo poo. Gonna see if I can figure this out. Somebody may have come in and hosed with my Mackie board, but it's weird. If I play it in a standard media player (stock music) it sounds fine...hell even in Audition it sounds ok. Bring it into either Premiere or After Effects and it sounds boosted. Ghosts in the machine.
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May 18, 2015 00:26
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I hope it's okay to ask dumb questions about software in this thread. My sister made a movie of some family events in Movie Maker, and since Microsoft somehow can't make their own apps work together (old known issue that latest Movie Maker produces horribly artifacted garbage when using Windows 8.1), I'm using my computer to export it. However, I think it looks like absolute rear end: even when configuring the very sparse settings to produce something of decent quality, it looks much blurrier and fuzzier than the original clips. Is there any way to convert the entire .wlmp project to Premiere or some free (yet good) movie-making app, in hopes that it'll look better when I've run it through some decent software?
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May 21, 2015 18:55
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What other export options does Movie Maker give you? Anything like XML or whatever?
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May 21, 2015 19:34
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