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FLX posted:That's what we do at work, which I guess is why I hadn't heard of the audio export issue before. Then again, I'm not much of a sound guy at all. Coming from a sound guy: go OMF or go home.
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Feb 23, 2011 02:05
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AIIAZNSK8ER posted:I bought a Tascam DR-07 to get better audio, I recorded some dialog in .WAV and it sounds fine when I play the file. However, when I put it into Premiere it has this squelching and constant ringing in playback and the kicker is that when I export it back out, it sounds fine. So it sounds horrible while editing it. Any ideas? What program(s) have you tested it on outside of Premiere?
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Apr 14, 2011 20:54
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Ishamael posted:The reason I am disappointed is that they have stopped selling new licenses for FCP 7. I've taken a lot of digs at apple based on the information about FCPX I've heard in this thread (I work in a post house, but I'm not a video editor myself) however that just takes the cake. This would be pretty much the point where it crossed from "apple is screwing us again" to "what the gently caress are they thinking?".
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Jun 24, 2011 20:57
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More on the "FCPX is really imovie" bandwagon (just emailed to me by our senior video editor) http://provideocoalition.com/index.php/shullfish/story/proof_that_fcp_x_is_really_just_imovie_-_directly_from_apple/
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Jun 28, 2011 19:39
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If you've been in house for 5 years then you are way beyond the point of needing to work on freebies for pretty much any reason unless your boss is telling you to do so or you're helping out a buddy (which I occasionally do myself). Tell them straight up "you get what you pay for" and tell your politicking producer that under no circumstances are you dealing with being insulted on work that you're not even being compensated for.
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May 24, 2012 23:18
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Ok wait, what exactly is this being submitted to?
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May 25, 2012 00:38
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Yeah man how low of a budget are we talking here? Because a green screen could be created pretty cheaply by anyone even remotely resourceful. Even a rudimentary one would be better and cheaper in the end than none.
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Jun 23, 2012 04:24
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BonoMan posted:So I have a pretty beefy machine. Ivy Bridge Xeon 1245, 32 gigs of RAM, GTX 770 with 4gigs onboard, 2 SSDs (one OS/Programs, one scratch) and a 2 TB work drive. Test your RAM http://www.memtest.org
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Jul 11, 2014 22:37
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Jesus christ guys if you need a feature mixed in 5.1 or LCR for DCP tell your mixer before a stereo mix is finalized. ugh.
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Sep 5, 2014 18:57
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Is there a way to resize the video track on the timeline in FCPX when it's in just basic clip display form (IE not filmstrip mode)? This is like the one mode that the clip height slider is disabled. I want to like this program but goddamn apple makes some strange UI choices.
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Mar 3, 2015 16:43
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fatman1683 posted:So a separate stand with a boom on it near the subject, shotgun mic there with its own Tascam? Then stereo on the camera for ambient sound? Separate stand by the subject with a shotgun mic in a pistol grip out of frame overhead, pointed at the mouth. Not directly overhead, but overhead and in front of them a few inches so the capsule has a direct line of sight to the mouth. Run this shotgun into a sound recorder- pick your flavor of Zoom/Tascam device that has dedicated XLR inputs and can provide phantom power. If money is tight and you can only pick one audio solution, this will be the best sound you can get on a modest budget. If cash permits, invest in a lavalier mic. These come in both wireless and hardwired versions. There are pros and cons to each- wireless is more flexible and can easily accommodate a walk & talk but is susceptible to RF interference and battery life worries. Hardwires have the best sound quality and you'll never have to worry about it dying mid-interview but extremely limited mobility makes them useless for anything but a static setting. Don't ever mix your primary sound source (IE shotgun/lav mic) with whatever garbage 'ambient sound' your onboard camera mic/camera mounted mic picks up, unless there is some very specific creative reason for doing so. It will never mix properly if you're not skilled in audio post. In addition to phasing (which it absolutely will do) its also going to be picking up all sorts of extraneous noise, like you whispering behind the camera or literally even touching the camera body. If you get both the shotgun AND a lav, run them both into the zoom/tascam and ultimately use the one that sounds best in the final product. For context, I've been a professional location sound mixer (and post sound editor/mixer) for a decade and have recorded in every conceivable environment. I do actually know what I'm talking about. This rabbit hole goes as deep as you're willing to follow and everything I just wrote is really a high level overview, so feel free to PM me any questions 
thunderspanks fucked around with this message at 22:46 on Oct 31, 2018 |
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Oct 31, 2018 22:34
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gbs shitpost wannabe-superstar. probably safe to assume there was never any intent of actually showing a video.
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Jan 25, 2022 14:33
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Alan_Shore posted:Thanks, everyone! This was shot on Black Magic believe it or not. Oof yeah, all those extra steps and fiddling are definitely not worth what the pay is, but thankfully they realise their green screen problems and are getting rid of it and have kindly offered to give me another project without the green screen. In the future, advise them that having the shot in focus is a tremendous help. On a more serious note, if they aren't adverse to it for whatever technical reasons, increasing the shutter speed will reduce motion blur and make the process a little easier. It's a tradeoff though as they'll lose light doing it and may have to decide between stopping up or adjusting gain (or the lights themselves). It's a balancing act but you've just seen why it's an important conversation to have, no one wins when you just throw a green up and hope for the best.
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Nov 28, 2022 18:49
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oh hot drat the editing thread is poppin tod- 
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Mar 7, 2023 00:57
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So. I know there are professionally employed editors in here and to you I'm preaching to choir, but to the rest of you; the ones who are maybe editing on the side, getting the occasional professional gig, perhaps a bit on the younger and inexperienced end of the spectrum: If you think there is a problem, speak up. Don't be afraid to say "this actually sounds like camera audio, are you sure there isn't a location recording that didn't get synced?" -signed, someone who now has 4 days to mix and deliver a half hour doc that somewhere along the way got royally hosed and is entirely camera audio and going to national broadcast. 1 raised hand four months ago would have avoided what is about to become a very large problem.
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Mar 11, 2023 22:33
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well if you're gonna get hosed in the rear end, it might as well be by a lucky horseshoe. I got my hands on the project drive and not only is all the location audio there, the editor did about 75% of the timeline cut from multicam sequences done for each major scene. Premiere seems to accept replacing the camera audio inside the multicam sequence with the proper clips, and the test AAF export does as well. I still burned an entire day over this and have a significant amount of clips I have to assign a timecode burn-in to and manually spot in the proper audio, but at least I no longer feel murderous rage.
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Mar 12, 2023 02:47
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EL BROMANCE posted:So my workflow is pretty much set I'm currently getting towards the end of digitizing & up-scaling like 30 VHS cassettes to pull out the family videos (going back to 1984!) to give to my partner's family for Christmas- it's been a months long process of trial and error and crying over hard drive space. On the bright side I've also ended up with a ton of recorded-off-TV content, my favorite example being about 3 hours of the loving 1985 Live Aid broadcast. I can't do much with the Live Aid content itself because I don't want to get DMCA'ed into oblivion, but the commercials. I've got so many old commercials now that I'm starting a youtube channel for it. Might start buying some ebay tapes to see what gems I can dig up. After one particularly good thrift store trip I also found a VHS camcorder with a tape still inside it, containing a home video circa 1998 of some unknown family on summer vacation, as well as Christmas day of what appears to be that same year. I already have an Unsolved Mysteries spoof planned in my head to try and track down the family. Anyway, one thing I didn't do was use Topaz to de-interlace. My workflow was raw capture to Lagarith> de-interlace via Virtualdub> Import into Premiere> Edit/Color Correct> Export Prores>Upscale via Topaz (still prores)> Re-import into premiere> Export mp4 The Topaz upscale is 1/3 real time on my system and many of the tapes have from a few minutes to over an hour cut out, so in my case it makes more sense to upscale at the very end after locking the edit. All that to say, did you try de-interlacing independently of Topaz? I'm curious what difference if any in quality or processing time it makes. Sadly I had to ditch all still interlaced raw captures once I started dumping out upscaled 400gb pro res files, so I don't have any proper clips left to test with. thunderspanks fucked around with this message at 15:46 on Dec 6, 2023 |
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Dec 6, 2023 15:44
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I hadn't considered archive.org but it's definitely food for thought. There's several old regional news broadcasts and some smatterings of "lost media", mostly local cable shows that I can't find a single reference to online. At some point I'll try some tests for de-interlacing with/without Topaz and post some results, but it'll be a while cause it's crunch time and I still have days worth of Topaz upscales to get through 
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Dec 6, 2023 16:14
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CaptainViolence posted:does anyone know if there's a good way in pro tools to create several tracks from presets at the same time with one button combo? I don't believe the functionality you're looking for exists (I admit I may be wrong) However, on the omf import screen- if you have multiple omf tracks selected and hold ctrl+shift+alt (or the mac equivalent) when choosing track assignment, it will automatically assign them in descending order of available tracks starting from the one you chose. You might be able to rig something similar to what you're looking for with this? Obviously it would require you to have things setup in advance to facilitate it, but if the stuff you're getting is consistent then it could work. edit: I know you say you already work with templates, but I'm only pointing this method out because I've encountered plenty of folks who don't know you can do this and instead just import the omf and manually start dragging clips to templated tracks. thunderspanks fucked around with this message at 20:27 on Dec 12, 2023 |
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Dec 12, 2023 20:20
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Ok- a project I started for my partner as a Christmas gift was taking dozens of family VHS home movies going back to the early 80s and digitizing, cleaning up, and upscaling for modern displays. Many many hours and terabytes of disk space later and it went over like gangbusters. A secondary benefit of this project was access to lots of TV tapings and more interestingly, the commercials contained in them. I've decided to start a youtube channel for them, which is where I'm getting to the real question of this post. I'm trying to be pro-active about managing hard drive space, but have hit a small road block. Here's a simplified version of my situation with Premiere: I have a project, called Assembly. In my clip bin, I have one 4-hour master clip called "Tape A"- this is the full rip of 1 VHS. In my timeline, I have 50 clip edits sourced from Tape A, totaling 30 minutes. The remaining 3.5 hours of Tape A is of no benefit to me and can be discarded. The clips in my timeline have been renamed by hand to reflect their contents. eg. "Sports Illustrated: Dick Butkus, Christmas 1986 ". This part is important not only for organization and avoiding duplicates, but also as a reference for when I start dropping in timeline markers to chapter everything in youtube.*** What I would love to do at this point would be to export the timeline clips while maintaining the clip names I've specified in the timeline, so I can blow away the 400gb master file that I'm only using a fraction of. 50gb of properly named 'source' files that I can organize however I want is far more appealing to me than 1 giant half terabyte monster just eating up space. And that's just one tape. I have dozens. Project manager, nesting and batch export, marking in/out and manually exporting, everything I've tried so far only ever references the "Tape A" name in the bin or requires a name to be typed in from scratch. If I gotta do it by hand then so be it, but given the sheer volume of clips I'm dealing with, extrapolated out to the collection of tapes as whole.. I hope I'm being clear on why I'm trying to save time on this one extremely monotonous part of the process. Just naming them the first time is wildly time consuming. ***if there's a way to make premiere drop a timeline marker at the head of a timeline clip using the name of the timeline clip I would be SO THRILLED edit: I'm happy to re-assess my workflow if it looks like there's a more efficient way to approach, but if there's a plugin or something that'll do what I'm looking for, I'm willing to pay for it if it's reasonable. thunderspanks fucked around with this message at 15:30 on Feb 22, 2024 |
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Feb 22, 2024 15:23
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frytechnician posted:this of any use? Not quite, I'm looking to do the opposite; ignore the source clip name and instead use the name specified on the edited clip in the sequence.
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Feb 22, 2024 16:03
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frytechnician posted:Not gonna lie, this is a quite a headscratcher! I have never, ever renamed clips in the timeline but I'm also extremely stubborn and am curious to find a way to do what you've asked. I'll have a hunt around, see what I can dig up. haha I understand that it is not at all a customary way to approach things. In all the professional projects I've done I don't think I've ever renamed a timeline clip ever, either. It made sense in the moment, my thought process was that since I was going to be dropping youtube chapter markers as the very last step, I should name the edited clips so I can easily C/P the marker names after I get the edit locked. This was before knowing I was going to export new individual clip masters and delete the original rip, but I'm starting to accept that maybe what I need to do is actually just completely change up my workflow. Edit clip>export with new name>repeat for all clips>import into new project>delete original rip.
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Feb 22, 2024 16:26
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EL BROMANCE posted:As someone who utilizes YouTube for old commercials, I appreciate that you’re doing them individually and not sticking them into a single video that can’t be losslessly split apart. I'm actually undecided on the final formatting. Individual uploads while easily shareable and more flexible, is a lot more work (I hate writing descriptions)- my initial thought was 20-30 minute compilations but fully fleshed out chapter markers in the description for every clip (hello SEO). It seems the monotony of hand naming clips and markers for 50+ clips on every tape is daunting but unavoidable, regardless of which approach I take. Each tape so far averages about 20-30 minutes worth of ads, and each tape seems to be pretty self contained within the same year- no crazy style or decade jumps from one ad to another. I might compromise and do individual uploads but give every tape its own playlist to try and maintain some sense of order to it all. I'm also tossing around the idea of using a couple of CRT overlay variations on the videos for a little extra pizazz, and to reduce the amount of upscaling that each clip requires. Not sure if that's too hokey though. The crown jewel in my collection so far, which I'm real excited to get to (and what inspired this whole thing), is a tv taping of 3.5 hours of the original Live Aid broadcast from 1985, and what looks like nearly 40 minutes of ads from it. thunderspanks fucked around with this message at 15:20 on Feb 23, 2024 |
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Feb 23, 2024 14:24
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currently sitting on 550 clips with more to come so, uh, don't think I'll be doing individual uploads. sorry goon.
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Feb 26, 2024 04:21
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EL BROMANCE posted:As someone who utilizes YouTube for old commercials, I appreciate that you’re doing them individually and not sticking them into a single video that can’t be losslessly split apart. Just following up to say the first couple of compilations are now online. Many more to come. Unfortunately doing individual uploads just isn't realistic at this point, the volume of clips is too high. However, I did sort out most of the logistics around naming/timeline marking/exporting, so I do actually have all the clips individually backed up with color & mix (and keyword tags) and one day I'll look into doing giant themed playlists. In the meantime I've individually chaptered every clip as a compromise. Took the extra step of manually correcting premiere's auto-captions for everything too which was tiresome but a good learning experience. This is the worst quality rip by a country mile, I think the vcr was being fed by a dying piece of coax. Thanks for your assistance, goons https://www.youtube.com/watch?v=V2H80sdrw6U
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Mar 12, 2024 17:03
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