Alex Zvyk
Forum Replies Created
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Sadly, if your layers are not perfectly sequential to begin with, this method won’t work.
Example: you have some layers with adjustment layers on top. Sequencing layers would shift those Adjustment layers out of position…
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How about RAW 2 CF RAW. Converts raw DNGs to Cineform video raw, with audio.
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Ok, and to answer my own question…
Adobe Bridge – Metadata section shows “DateShot” with correct date and time of the clip.
Just peruse that info – copy it into the clip’s name, or Timecode section etc., or just use it to position the clip on Premiere’s Timeline.
Voila, case solved.
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Mark – well… Tim nailed it… since VIDEO FRAME is the lowest time resolution unit, you are locked to what is recorded in that frame.
Sliding it would not do any good for more precise adjustments, since we’d just be moving the same visual information back and forth in time.
On the other hand, if you separate (unlink) the audio track from the video track, and change the NLE timeline units to audio units, then you’ll be able to adjust audio very precisely against the visuals.
This will not help my case (I need higher resolution time sampling for video, it seems), but it should help yours.
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The issue is this…those images and what “instant” in time they were “taken” is locked in.
Even if you could somehow slide them sub-frame, you can’t change when the camera took the shot…you’ll simply be moving the mismatched instances around.
Oh crap, you are right!
So I guess, there could be two solutions to the problem…
1. Use high-speed cameras to quantize time better (at shorter intervals), which then will allow for better sync in post. Say, 120fps camera would allow 4 times more accurate sync than a 30fps camera.
OR
2. Employ your idea to actually “blur out” the reality, so to speak, so motion flows more smoothly from one frame to another, thus actually eliminating a need to exact sync (because the difference between the frames becomes small).
Problems:
#1 – cost. I do not know of any $$ budget video cameras that record 120fps in HD.
#2 – looks like it will work, but with the obvious limitation: a very blurry motion. In most cases I don’t think 4x more blurry than normal motion would be an advantage…
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Normally that’s what I do on any 2-cam shoot, Tim, and I agree – it works just fine for lipsyncing.
But this project is different. What I have is 10 video cameras, all rolling at the same time. They are positioned along the path – arch in my case.
The idea is to replicate The Matrix effect – Bullet Time, when I’d be able to “freeze time” and move the virtual camera along the path of my 10 actual video cams.
In the Matrix, it was achieved with Canon Rebel still cams, and I did some tests with those, but it seems restrictive. For instance, you are locked to the moment the cameras captured their stills. What if the moment is off?
So I now have 10 video cameras rolling at 30fps. The idea is to sync all these videos exactly to the clap mark (audio track), and then I will be able to freely choose at which moment do I want to “freeze time”.
Problem is, in post, I can’t sync the darn clips to less than 1 video frame accuracy because of NLE limitations. And this is simply not good enough for my purpose, because in 1/30th of a second, my object (dancer) moves significantly between the cams!
I also can’t genlock those cams at the time of acquisition because those are cheap cams without timecode sync abilities. (I have to go with them due to the large number of cameras required for the effect.)
Ideas?…
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Well, I’m not really trying to slip audio out of sync with its respective video clip.
What I’m really trying to do is slip the video/audio clip in its entirety against another clip from the 2-cam shoot, so audio marks of both clips would match with better than 1 video frame accuracy on the timeline.
Come think of it, this is probably impossible per-se, because 1 video frame is the smallest unit the video is quantized by.
Maybe artificially increasing timeline’s framerate, then, will help solving this?
For instance… my videos are 30p on a 30p timeline. What if I change timeline to 60p. Or 120p. Then it would appear that I should be able to better adjust the positioning of clips on different layers, matching each other’s audio mark…