Angelo Lorenzo
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– Turn on keyframing for Mask Path for each mask.
– Select both masks by selecting their names while holding ctrl (probably the command key on Mac).
– Just move them. If they’re selected together, they’ll move together.
That will get you what you want but to throw in my two cents, you’ll still need to fine-tune each pupil as you’ll be fighting the perspective as the camera as well. No one, hopefully, will be looking dead straight into the camera.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services.
Fallen Empire – The Blog
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There are slight differences. I would pick how much video ram you can afford (DDR5 is preferred) and then narrow the manufacturers from there. I’m no expert with every offering in every product line, but I went with EVGA as they do a gentle overclocking from the factory. I’ve not had any stability or heat issues with their offerings.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
Besides Mark’s take on things, I want to show you an approach that is simpler and a bit less tied to emotion.
Think of each scene as having a plot of it’s own: you have rising action or evidence, a climax or discovery, and falling action that takes you out of the scene. Some people may advise you to cut on the climax as it can have momentum into the next scene but consider some kind of falling action that introduces the complication of the next scene… it strings together causation and makes the edit flow.
You enter into each scene knowing nothing. You, as the editor have the script to know the goal of the scene and each bit should be a piece of evidence that moves towards that goal. You reveal more and more… that’s build up at the most base sense.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
You’re looking at a sidechain compressor for automatic ducking. A side chain compressor compresses one signal but is triggered by the amplitude of the second signal. It will compress the soundtrack as it’s triggered by the audio of the VO, for instance.
https://www.twistedlemon.nl/site/index.php?option=com_content&task=view&id=79&Itemid=60
And instructions how to use it within Premiere:
https://forums.creativecow.net/thread/3/884683Here are some free sidechain compressors that may function in a similar manner:
https://bedroomproducersblog.com/2010/11/10/bpb-freeware-studio-best-free-sidechain-compressor-vst-plugins/Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
I don’t believe so. I use Prelude to create subclips and for one music video I worked on we planned on slight slow motion. After we re-interpreted all of our footage, the subclips were all off.
If anyone knows a trick that I’m not aware of, I’d love to know.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
In Effects > Audio Effects, you should find “fill left” and “fill right”. These two effects will fill the other audio channel so you have a stereo wave that you can pan.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
It’s not brown noise, my educated guess is that it’s semi-transparent areas in your video.
In After Effects under the viewport you’ll see an icon of three circles, click it and select alpha. If you have your background turned off, you should see a black and white image of your matte and you’ll probably see the holes and rough edges.
Beyond all the details of processing greenscreen, the main pieces of advice I have is two-fold:
1. Whatever footage you’re converting from, convert to uncompressed. You don’t want to mangle footage with another round of compression; greenscreen footage is very sensitive to the issues that compression introduces.
2. Denoise your video with something like Neat Video. This issue seems to be some level of yellow noise which is similar enough to a green hue to cause some semi-transparent holes. Denoising also helps blend colors and will improve your key matte overall.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
First and foremost, yellow simply means “you may need to render this for real time playback if you get some stuttering but if it plays back fine then you’re all good”.
With that said, the goal isn’t always to get a green line, it’s overkill in some cases.
As a troubleshooting step I would try this first: lower the playback quality to something like 1/4th instead of full or 1/2.
What kind of footage are you importing in the first place? Do you have a single track of video or are you running 2 or 3, or are you using any effects currently?
What are your computer specs in terms of CPU and RAM?
Beyond that, I would get use to using a lot of hard drive space. Pre-rendered files, and offline copies of footage in a proper editing codec like ProRes or Avid DNxHD are the norm. It’s a trade off for better performance.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
Every situation is going to be different. Look at the room in your video and try to reverse engineer it.
Is the room small? Is it large? Does it have carpet and curtains against the walls or is it industrial with bare floors and walls?
These kinds of questions will help you figure out what kind of reverb to add to the scene.
Additionally, if a stereo revery doesn’t widen the music in the stereo field, you can delay one side of the stereo mix by 1-15ms. The center of a stereo mix is just the part of sound that you hear equally from both speakers, delaying one side just slightly will force your brain to consider them differently and it’ll feel “wider”.
In EQ, you may want to cut the mids around 1kHz. These frequencies are “presence” and when they’re strong, it gives us a sense that a sound is really close. Cut them and the sound is a bit more wide and hollow.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
It depends on the method you’re using. If you’re using methods that drop or blend frames but the program length is the same, then audio is FPS agnostic; you don’t have to touch audio except for maybe adjusting the levels for whatever the PAL standard broadcast level is, NTSC dialnorm is usually -24db with a peak of -10db.
I would assume this is the case, as the only conversion that uses a time stretch is film <-> PAL which is a subtle 24fps<->25fps.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services.