Alan Lloyd
Forum Replies Created
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Were there any incandescent lights on dimmers in use?
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That depends in large measure on what sort of processing of the picture you’re doing, the nature of the material (HD? SD?) and more.
It’s not possible to give an accurate answer – it would be pure speculation.
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Color correction and resizing can be more computation-intensive. Still, that’s a good bit of render time.
Thought about letting it run overnight?
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Did something very like this in what otherwise would have been a near-impossible shooting situation.
A corporate client loves the upper story boardroom in their downtown office tower. What they wanted, though, for a specific piece, was the CEO with a window over his shoulder.
In fairness, the view from that window is rather nice.
Did his piece first. Thankfully it was a set of short intros/out-tros for other speakers, and they were somewhat resigned to having a blown-out window behind him.
He’s quite good on camera, knocked his pieces out with a minimum of fuss, and went off to do CEO things.
I told everyone to just stay put, and switched off all the lights, then stopped down the camera and ran off several minutes of a properly exposed window floating in dark space.
It took a couple key layers and some tweaking to get it right, though when they saw a proper view behind him (with traffic visibly moving along streets!) they were properly pleased.
Showed it recently to a local arts/freelancers group and popped up framegrabbed stills at the end to illustrate the process. Got a nice round of applause.
Stuff like this goes back to the days of optical bench composites. As does the pseudo-kinescope I had to MacGyver someone for a very different project. That, though, kids, is another story.
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I’ll gladly try to help, if you can tell me more.
Specifically:
What format is the original?
What are your exporting as?
What sort of effects and color corrections are in your 80 minute video?
What OS are you using?
What is your computer configuration? (Chip, RAM, drives, etc.)
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If you’re looking in terms of longevity, rent cameras, buy lighting and sound gear.
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Apple does make a ProRes converter (export only) which ought to work.
You really ought to speak to whoever did this to you. What they were doing was not helpful, and they need to know that.
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Have you tried Apple’s ProRes converter?
And this would probably be better in the Premiere Pro forum.
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Dynamic mics can usually handle higher SPL than condensers. I’d also think about having a second mic somewhat removed to add a bit of room sound, close-micing a gunshot to an extremely “dry” sound can be less than satisfying.
Also, record two channels, one several DB down.
And maybe one of the real audio guys can help. I’m a camera/lighting guy really, with an interest in sound mostly from a documentary angle.
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You left out the falling sheep!