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BonoMan posted:But what kind of workflow are you doing where you make tons of edits AFTER the color grade? We have quite a few projects where the creative director wants to push ahead and get a final version done so we can show it at an event or push it out with a launch. Then, after whatever deadline we're rushing for, go back make changes based on client feedback or just wanting to change it more. Or they're making changes so close to when we need the final that I have to get started on color correct or it won't get done at all.
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Oct 28, 2014 01:25
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RaoulDuke12 posted:I've had the same sort of issues with being rushed into color before picture locks, I've had moderate success just rendering out the color with 2 second handles and spitting the XML back into Premiere/FCP/Avid, which usually accomodated 99% of changes after the fact. Anything extra could just be graded as a pickup. What's your workflow between Premiere and Resolve? The last few times I've used it the simplest thing seemed to be just running scene detect. But on the last couple projects I had the previously mentioned quick edits plus a lot of fades and overlays so SpeedGrade seemed easier. After doing a bit more research it looks like I'm far from the only person who has had the issue, and one guy was running a very man cored new MacPro, so it may not be a computer speed thing. I do wonder if it's related to AMD GPU's not working as well with Adobe products. For Colorista, the last time I used it I remember it actually having pretty crazy lag within Premiere too. This was a few years ago though. Apparently at the time Adobe's method for third party plugins to do UI stuff caused major lag in Premiere but worked fine in After Effects, so their recommended workflow was to do it all in After Effects (which isn't ideal, obviously).
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Oct 29, 2014 16:01
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Does anyone have a tape backup program they like? We're doing some major upgrades to our backup systems, but the last thing I used extensively was Retrospect six years and several versions ago and it looks like the Mac version is even more garbage than what I had on windows back then. Someone recommended BRU server but it's hard to get a sense of the program from their rear end website.
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Nov 25, 2014 08:00
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Yeah, we have the hardware already and need it to work with OSX so Yosemite and Cache-A are out. I might just have to try their 30 day demo and see how it works.
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Nov 25, 2014 21:10
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I wind up doing a lot of color work even though I very explicitly tell people that it's not what I do and I don't have the right setup. Depending on the project I'll use Resolve or Speedgrade and I calibrate our 5k iMac with an X-Rite i1 Display Pro. It works ok and honestly I'd rather skimp there than on the editor for our work.
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Jul 8, 2015 17:46
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This is making me think maybe I should squeeze our contractors more. Please post if you feel you've been exploited in the past and can't seem to get paid what you deserve. I wanna boost our margins. TIA.
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Jul 10, 2015 20:34
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We have a raid 5 array of 5 4tb disks direct attached to our edit system for working files, a Synology NAS with a 6x4tb Raid 5 array for local replication, and then an LTO-6 drive for offsite backup and archiving. I dunno how I feel about the LTO-6 drive. On one hand, we could have just bought a whole third array to cart offsite for the same money. On the other hand, once we start running out of storage it'll be easy and cheap to archive files to a couple tape copies and then remove from our main arrays. Probably half of our storage right now could be safely archived to tapes and we'd probably never look at it again. I think long term it'll work out to be for the best, but it's a hell of an investment in the beginning.
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Jul 18, 2015 23:21
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60p slowed down to 24p should like fine, I'd think. I do that all the time with decent results. Usually it's a 24p timeline and I use the speed/duration setting at 40%, camera with 180 degree shutter (so 1/120th.) If you cranked your shutter speed up to high that could cause it to look choppier.
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Aug 7, 2015 18:27
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I'm sure the camera ops are just intentionally keeping the speakers centered in frame so it can crop however. That's not at all crazy for a skilled operator. I feel like getting this effect might work best if you manually pan and scan, but I don't see why you wouldn't be able to use a tracker. Instead of trying to have it animate the crop I'd just try to get it to keep the subject perfectly center frame and then drop a matte on top of it or pull it into another comp.
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Aug 20, 2015 05:07
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The wall doesn't look too bright to me given the rest of the scene. I mean, it's a white wall and they're right up against it. It's gonna be bright. I dunno that I'd do anything more than adding a little bit of a curve on it.
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Feb 26, 2016 20:18
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Yeah, if I had that budget I'd probably build a pc and buy a lower priced, more portable laptop.
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Mar 10, 2016 17:47
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You'd do consolidate and transcode in the options. That would export just the relevant bits and then reconnect to the new files.
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Mar 31, 2016 23:23
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You can get decent processors in iMacs and I don't think the price is bad if you factor in the display. Granted it's laptop parts and you can't upgrade them, but ours have been pretty solid. Premiere can run OK without crazy specs. I do some basic stuff on my dual core macbook and it's not great but it's useable. It's a dual core i5 with 16gb of ram. I'd really, really want quad core if it was my main machine though. Maybe start with Ars Technica's budget VR build: http://arstechnica.com/gadgets/2016/03/ars-system-guide-vr-edition-cheap-vr-great-vr-and-optional-4k-craziness/ I'd up the ram and add a hard drive/more ssd space though.
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May 12, 2016 17:39
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That's only 2 axis. If you're gonna go to the trouble of building something I'd try to find a 3 axis whatever. To me, a gimbal is the solution to wanting cinematic camera moves without rigging up a dolly/crane/whatever or dealing with a steadicam. There are lots of situations where it's not gonna be ideal and a monopod/tripod/shoulder rig would be better. I usually shoot handheld with a monopod tucked under my arm as a makeshift brace and get decent results. Even when I have a gimbal with me I'll only break it out for specific shots. I'd start with those other tools way before a gimbal for what you're shooting. powderific fucked around with this message at 17:16 on Jun 13, 2016 |
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Jun 13, 2016 17:11
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Why not just do it in premiere?
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Jun 14, 2016 19:48
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You should be able to convert mkv to mp4 without re-encoding. It's usually a h.264 video stream inside the mkv container and Premiere can handle that fine. ffmpeg can probably do it if you're comfortable diving into command line tools. If not I'm sure someone makes a gui front end.
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Jun 14, 2016 20:20
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Chill Penguin posted:Alright Post-Goons, I need some help here. I'm just getting back into the game after a couple years off, and am about to tear my hair out over this. I have a solid chunk of Canon XF footage which I have captured and can view using the latest Canon XF Utility. I'm trying to get this stuff into FCP7, but it looks like the Canon XF plug-in is only for FCPX. Is there a way to transcode this stuff into .MOV or DVCPRO or whatever so that FCP7 can read it? Or do I have to download some bullshit conversion software? Any help here would be much appreciated. Which XF? With my XF300 you had to do some malarky with telling FCP that it was Sony XDCam footage to edit native. I don't really remember since this was a long rear end time ago. There was also definitely an XF plugin for old school FCP.
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Jul 6, 2016 21:24
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I am 100% sure I used the Canon plugin with FCP7. After googling a little it's a setting where you log and transfer as native codec and it just rewraps everything so there's no transcode step. I found a guide to doing what I did: http://blog.abelcine.com/2012/02/07/how-to-import-c300-footage-in-avid-fcp-x-and-premiere/ The title says FCP X but it actually has instructions for 7. Edit: and the plugin is still available from Canon: https://www.usa.canon.com/internet/portal/us/home/support/details/cameras/cinema-eos/eos-c300?tab=drivers#Z7_MQH8HIC0L88RB0AMD0F1Q42K25 I set the OS to OSX 10.7 and it was under software. There's a FCPX version at the top, and then the older versions down towards the bottom. powderific fucked around with this message at 23:27 on Jul 6, 2016 |
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Jul 6, 2016 23:21
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Could be the macs adding .ds_store files to the folder. You can delete them with terminal before you eject the card.
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Sep 10, 2016 23:16
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Have you tried prelude? I think that's generally what it's for and since it's part of creative suite you might already have it.
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Nov 9, 2016 15:19
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Captioning is rough in Premiere too so I've started just using Rev.com for $1 a minute. It's adequate and so much better than doing it myself.
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Jan 18, 2017 17:11
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Gotcha. Maybe you could have someone put together an SRT file from the translation that you could import into Avid? These guys have a terrible site but were highly recommended to me by someone who has lots of captioning and subtitle work done: http://captionsolutions.com/ Sorry all my suggestions are just to pay someone else to do it 
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Jan 19, 2017 00:38
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Motion blur helps, and finding the right speed to move things along with how they accelerate. A lot of the bad still image moving stuff I see is cause it's going too fast.
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Jan 31, 2017 19:38
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melon cat posted:Not to bring the focus away from the stock music conversation you all have going on, but do you guys have any recommendations for a collapsible cart that can be used to move equipment (lighting stands, tripods mostly) from a vehicle to a filming venue? I'm not feeling great about making multiple trips between my car and the filming location, especially when I'm leaving expensive recording equipment unsupervised between trips. I've had one of these things with the top shelf for about 3 years and it's pretty good. Easy to get in a regular car and I've loaded the thing quite a bit with no issues. It's not as good as the kind of carts you'd get on a grip truck but it's similar usefulness to a magliner I think. Usually I strap stands and tripods to the bottom and put lighting cases and camera gear on the top shelf. https://www.amazon.com/Rock-Roller-Multicart-Model-Mid/dp/B003AYL92G
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Feb 8, 2017 22:56
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Dude, Mkv is a container format, not a codec. It can house h.264 video tracks. It exists so you can have multiple audio tracks, subtitles, whatever like a DVD in a single file. Not saying it's not a pain to use with NLE s.
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Sep 17, 2017 02:35
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I'm not a professional colorist but I do all of our color anyway and I've never had much issue with Red footage in resolve either.
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Sep 22, 2017 20:01
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I’m not familiar with fcp at all but if it’s instant just cut the clip and move the second one? Or am I misunderstanding?
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Mar 28, 2018 05:19
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I don't know when it started but our Premiere installs have a fun bug where audio doesn't work unless you solo/unsolo at least one track in your sequence every time you open a project.
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May 10, 2018 21:38
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melon cat posted:Hope you don't mind me sharing another review video here- this time it's for the Ikan DS2-A with the "angled" motor. I incorporated a lot your feedback (mostly relating to the readability of the text). I'm not thrilled with my spoken audio since a lot of mouth-wind was picked up during my reading and I didn't feel like re-recording the audio. I think this is a way better style than the first one (about the fs5 I think?)—it's nice seeing you out in the world using it and I think it's a lot more engaging than hanging out in a sorta studio setting just talking about it.
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Jun 8, 2018 23:08
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I use kyno to do it but I wouldn’t buy it just for that.
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Jun 18, 2018 18:16
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About a year ago I was working with h.265 in Premiere and it seemed to glitch out a lot. Not sure if it would have / still does the same thing just transcoding, but that's why I use a different program to ingest.
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Jun 18, 2018 22:01
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Well, I'm on mac so I did ProRes 422 and like I mentioned above I do it with Kyno. I use Kyno to browse video folders and make sure all my offloads worked right so I have it anyway. Not sure if it's worth it if you don't want to use it for stuff other than transcoding.
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Jun 19, 2018 04:43
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The solo/unsolo audio bug is supposedly fixed but I haven’t had the chance to check yet.
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Jul 19, 2018 02:37
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Do you need the subtitles burned into the file, or would you be ok with a sidecar file so people can turn it on/off as needed? If it's the latter you could just have rev.com make captions for $1 a minute and then upload that you whatever service you're sharing the video through.
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Jul 24, 2018 15:05
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Wait so where are you putting the shotgun? If it's not on a boom you aren't going to be getting that great of interview sound. Are you thinkin you put all three mics on the camera? Cause that's a little wacky. I'd just do the shotgun on camera if that's what you're looking at. I don't know many people who actually use stereo mics for the type of recording it sounds like you'll be doing. And then for interviews it's really important to get the mic off camera and closer to your subject.
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Oct 16, 2018 14:14
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fatman1683 posted:Thanks, this makes sense. Is there a way to mount a boom to the same tripod she'll be using for the camera? This would make it easier for her to manage solo. Probably not in any way that's actually easier than just using a separate stand. If it's gonna be a solo thing putting a lav on the subject will probably be easier. Or having the camera static on the tripod and hand holding the boom (or even just putting a handle on the shotgun and holding it closer).
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Oct 16, 2018 23:53
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You want the mic for your subject to be as close as possible to them without being in the shot (or if it can be in the shot, just as close as possible really) and usually I just get room tone + whatever audio from b-roll rather than worrying about getting it synchronous with the interview. Not a journalist though. Either way, I kinda feel like you should do some googling on "how to shoot an interview," read some super basic articles, and look at BTS shots of some interviews because worrying about phasing issues is definitely getting lost in irrelevant weeds.
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Oct 17, 2018 20:43
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I don't have an answer for you but every time I use mocha I wind up having issues like that. I only use it like once every two years, have to relearn it every time, and always gently caress up that transfer from Mocha to AE. Not helpful I know but you're sure not alone, ha. Edit: ^^^ nice, usually I do something dumb with what kind of data I'm exporting at what frame ^^^
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Oct 22, 2018 19:30
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I’ve liked neofinder, but moved to windows pretty soon after getting it.
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Dec 21, 2018 07:21
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Echoing other comments, and think it's a well done piece in general. I'd try to cut the dialogue a bit more as it gets long at points and I think loses momentum. Do you have a wireless set for your lavs? Another thing that'd help, I think, is some walk and talk and doing a bit of the convo around the business. Have them show her around kinda thing. Maybe show her how they make one of their specialty donuts (or whatever it is in the future.) That also lets you have them wander around and chat more casually, which could help getting natural bytes.
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Mar 7, 2019 00:13
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