Andrew Rendell
Forum Replies Created
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I suppose the things that are going to be important are the height, distance from the subject, direction (up/down as well as side to side) and angle of view (focal length) of the camera. So if you took that information from your graphics program and duplicated it to the camera setup when filming the actor you’d be pretty close to start with.
[I composited an item a few years ago where they took those values from the green screen shoot and matched them in the gfx render and it slotted together very nicely.]
I’d want to do an overlay of some kind at the shoot as well to be sure though.
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It’s probably a “gamma curve” thing. Those have come up a few times so have a search for that.
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Which codec did you use for your quicktime?
If you’ve used ProRes, your friend will have to download that codec from the Apple web site in order to play it. Otherwise you need to remake the export using another codec.
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Why do you need to upgrade?
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I’d make a multiclip out of the takes once you’ve synced them up, then cut your video with that (not with takes layered on multiple video tracks).
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Richard and Bob reveal my secret past as editor at a big broadcaster then at a serious facility before becoming freelance, where all editing systems are installed/accepted by engineers before I got my hands on them. Which basically means that I tend to take it for granted that the editing system works perfectly, which is a dangerous assumption to make…
On the other hand, I did get the ball rolling ( https://xkcd.com/386/ comes to mind).
🙂
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Day for night is trickier than it sounds because the background/sky has to be darker than the foreground. It’s hard to say what’s going to be convincing without seeing the footage you’re trying to change but you’ll probably have to put the shot on two layers and key or matte the upper one to separate the sky/background from the foreground and put a darker grade on that. Blue cast & crushed shadows.
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I don’t want to answer that question as I think it is one that you should take legal advice on.
On the production that I used youtube clips in, we had a researcher contact the originators and get permission, offering a small fee IIRC (and also with the intention of getting hold of better quality files than youtube downloads, which were dropped into the programme after I was done editing). We regarded it as the safe thing for an entertainment show to do.
Maybe getting permission from youtube would be enough, but we took the view that if someone decided to make an issue of it, we didn’t want to be the ones standing in a court room finding out.
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My thinking is this: the deck and the computer both think that they’re running at precisely the right speed, but in the real world they’re likely to be very slightly different, so the computer will think the video is slightly wrong and occasionally the video circuit will drop a frame to make it what it thinks of as being right. The audio encoding part of the card probably won’t, so on the digitised file the audio may drift out of sync. I have seen that happen on an Avid (4 or 5 frames over an hour IIRC) although it was a few years ago (and with the old Meridien hardware).
Now, if the deck and the capture card are both genlocked to a stable b&b source they have to be running at precisely the same speed, so that particular problem shouldn’t occur, and as Chris has a deck that can do that I think it’s a sensible thing to try.
You’re right that it could be the card and the proper engineering approach would be to do some tests to establish exactly where the problem is occurring. Perhaps I am slightly sloppy in my approach of “this quick fix has worked for me before so lets try it again”… we’ll found out if Chris wires up the genlocks and it makes no difference.
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Basically, what the small print effectively says is that YouTube can do pretty much anything they want to do with your stuff. As a user I know that when I put stuff up on youtube to show to friends anyone can see it (unless I make it private, which rather defeats the point) so it’s “out there” and I have no control over what happens to it.
As a tv professional I’m aware of copyright law and “fair use” (which very roughly means that you don’t have to get permission if you’re using stuff for the purpose of commentary, criticism, news reporting, research, teaching, library archiving and scholarship) but unless I’m absolutely sure that whatever I want to use some material for does come under fair use, I wouldn’t put myself in a position where someone could tie me up in a legal case (whether justified or not).