Angelo Lorenzo
Forum Replies Created
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Correct, keeping mono tracks centered will split them to the master stereo track evenly.
Doubling mono tracks doesn’t make sense from a workflow stand point because it’s more steps for the same result and because you’re mixing two waves into one so you’re adding amplitude to the signal… not a terrible thing, you just have to compensate for it, but still another step.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
If you haven’t already, set Premiere to treat stereo tracks as two mono. You can bring them into track pairs, panning one left and the other right, without much hassle.
Panning left and right is, in a very basic sense, a fader between both speakers. Pan to the center and both speakers play the sound at the same volume, pan to the right and the right speaker plays more signal while the left fades out and so on.
Even though you’re panning hard left and right, your center is the audible signal that both speakers have in common. There should be no phase issues working like this… at least no phase issues out of the ordinary. You’ll have some level of phasing when you use two or more mics at the same time. https://www.uaudio.com/blog/understanding-audio-phase/ If you hear stereo issues (and, really programs like ProTools or Adobe Audition are more suited for this as they have phase tools) then it can be adjusted by slight delays or other tricks.
Premiere works similar to a mixing console. You have a master bus or mix. If you have a mono channel, it can live as mono as the bus will pump it to each speaker in equal amounts. If you pair it with another copy, not only is it redundant, you’re also mixing each side in phase which will lead to higher amplitude.
Since your lav and boom are mono I would let them live as mono sources. You can then pan your mono channels back and forth with keyframes depending on who is speaking and so on.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
You need to tell us much more detail:
-What is the framerate of your video
-What is the framerate of your timeline
-What is the framerate of your rendered video
-How do you know the video file is longer? What program is playing the video?
-How serious is the discrepancy? Is it a second longer or thirty?That’s the details worth knowing right off the bat.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
Use the media browser window in Premiere to import any file format that uses spanned clips.
I assume the issue arises because you drag your files straight into the project bin?
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
They are mostly used interchangeably in context.
In a more formal sense rendering is creating a new product from many different files, or from applying effects and so forth. Transcoding, on the other hand, is used more so to reference a straight conversion, for example going from a camera codec to an editing codec.
Transcoding can also happen during rendering, taking your camera original format and transcoding them to a final file suitable for delivery.
There is also preview rendering where Premiere will render out a low quality file to allow you to preview effects and such in the timeline.
In terms of rendering out a long sequence in chunks or as one long render… it depends on your workflow. Lets say you have three 30 minute chunks… you’ll need to render each chunk then render the final file where the chunks are married together. If you have a faster system and a fairly straight forward edit with little or no special effects, it’s usually less of a headache to render out the one long file than try to track a bunch of intermediate chunks through the process.
In terms of reading material… I learned from speaking to people and a lot of self-guided research. I can’t say I’ve come across one concise book or resource that covers everything worth knowing as a shooter/editor.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
I think it’s a little more complicated than that. I’d be more apt to think it’s some custom software/hardware.
Why? There is a constant line of sight with the paint roller. It makes me think that there is a sensor when the roller is being rolled, and that it’s also being motion tracked (IR light source/camera maybe). You’re then tracking a 2D plane; the wall basically.
With my limited knowledge, street art like this usually comes from people with programming and microcontroller experience. Doesn’t seem like an unusual stretch.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
Get ready for a lot of work. Basically you’ll want to rotoscope the girl out of the second shot… or rather, you’re creating a rotoscope mask so a color effect doesn’t change the girl’s clothing.
You can do the above in After Effects or, with a little more effort, in Speedgrade. What you’ll want to do, in the very basic sense, is apply a Hue/Saturation/Brightness to shift the blue to brown. Plugins like Colorista with it’s secondary color selection (allows you to just select the families of blue color for instance) should be able to help you with the adjustment with a little more finesse then applying the effect globally.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
Not going to happen with After Effects or Premiere, at least in any way I can see.
Do what you can, try 60fps and work knowing the images are in “slow motion”, export out straight images instead of a video file and then feed it to something like FFMPEG for the final render. You might be able to get away with a frame rate that high.
As to why you would want to, the bottleneck will be your display/projector.
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
Is this your playback rate or are you trying to make highspeed footage slow motion? I assume the latter?
Angelo Lorenzo
Fallen Empire – Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services. -
It might be worth breaking the project down and pre-rendering elements that you use often within the video.
I agree that multiprocessing just doesn’t get along with some projects. I have a few plugins that will instantly crash any multiprocess render, for instance. It’s tough.
Angelo Lorenzo
Fallen Empire – Digital Production Services