Angelo Lorenzo
Forum Replies Created
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Youtube doesn’t care to the point where they are policing the issue personally; far too much video gets uploaded for it to be screened like that. They only look at a video that has been flagged by users or claimed by the copyright holder. Youtube has these tools:
https://www.youtube.com/t/copyright_owners
https://www.youtube.com/t/dmca_policy
https://www.youtube.com/cvp_app
https://www.youtube.com/t/contentidYou can certainly include whatever info in file metadata you like, in my experience YouTube doesn’t show any indication to the end user that they care about it. Their documentation strictly concentrates on their metadata: the title, description, and keywords you fill out on their site.
Angelo Lorenzo
Fallen Empire – Digital Production Services -
I’m fairly certain you can’t unless I’m missing some aspect of Audition that I’ve never had to use.
With that being said… it doesn’t give you an advantage logically. Once that signal hits your sound cards A/D converter, all internal processing is basically the same. It’s not like using an analog compressor or a digital compressor with high quality A/D/A.
The only advantage is if you’re capturing at 24/48000 and your session is at 8/44100… but at that point, just adjust your settings to match your capture quality.
Angelo Lorenzo
Fallen Empire – Digital Production Services -
If it’s what I think it is, it’s par for the course when it comes to editing audio. When you make a cut and join two pieces of audio, their waveforms usually don’t match up; the jump in amplitude or frequency causes that click.
The only perfect way to cut audio is to cut on the exact sample where each waveform passes the zero mark in the waveform, not the crest or trough. This is overkill, and entirely too time consuming unless you’re creating audio loops or high end studio mixes.
The more practical thing to do is to finish off the mix with a little two frame crossfade on each clip. Clears the problem right up.
Angelo Lorenzo
Fallen Empire – Digital Production Services -
Youtube and other sites use, in really basic terms, audio fingerprints to determine copyright status. These fingerprints are submitted by major labels and enforced because Youtube abides by their wishes. It’s highly doubtful that your video will be stripped of music if you use a Creative Commons track, the exception being if the author complains directly.
If your music is under Creative Commons, follow their license and post credits in the details section of the video. So far as I can tell, Youtube does not use any XMP metadata to fill out video title, description, etc. I can only assume it strips file metadata. I can’t speak for other video sites.
In terms of handing off the video to clients, as your next question suggests, they should be given a copy of all licenses and releases pertaining to the video and they should understand that creative commons music needs to be credited unless they want to purchase royalty free music.
Angelo Lorenzo
Fallen Empire – Digital Production Services -
You should post this in the FFMPEG forum, this program has nothing to do with Premiere.
With that being said, the -f switch is forcing the video to the mpegts container which is an MPEG2 transport stream. Your extension, for all intent and purpose, should be .ts or .m2ts
It’s just a container, you can always remux as needed to MOV for instance.
Angelo Lorenzo
Fallen Empire – Digital Production Services -
Beyond what Todd mentions, you can use Avid DNxHD, it’s an intermediate codec limited to 1920×1080.
https://avid.force.com/pkb/articles/en_US/Download/en423319
Download their codec and it’ll appear as a codec under quicktime both in Redcine X and Adobe programs. In the codec options, you’ll notice a lot of size and framerate settings; concentrate on the number in the setting name like 220 or 175, this is mbps (Avid DNxHD 220 is like running ProRes HQ) as Quicktime will override anything in terms of frame rate, interlaced/progressive, and so on. Set RGB or 709 as color dictates.
There are some advantages, like editing on a laptop or easier hand-offs to other editors, and so on.
If you’re really technically inclined, you can look at this https://www.fallenempiredigital.com/blog/2012/06/06/encoding-apple-prores-on-a-windows-pc-with-redcine-x-pro-and-ffmpeg/
Angelo Lorenzo
Fallen Empire – Digital Production Services -
After Effects projects need to be “collected” separately and there is a command in After Effects File menu to do so. Dynamic links will have to be relinked in either case; the process is still slightly cumbersome.
In terms of your media cache, this folder is strictly for temp files. CFA files are conformed audio: audio that’s been converted to an uncompressed format that Premiere can play back with really low overhead. PEK files are audio peak files… basically small files that represent and display the sound waves in Premiere. Both kinds of files can be deleted if space is at a premium; Premiere will recreate them as needed. It’s the same process as when you see “conforming” in the lower corner when you load new media.
Angelo Lorenzo
Fallen Empire – Digital Production Services -
While f/stops are a simple ratio of the iris size to focal length, t/stops are calibrated “light transmission” stops. T/stops take into account the amount of light lost in lens design.
In other words, a t/stop of t/2.8 will transmit the same amount of light as a “perfect” lens at f/2.8. This may mean the actual aperture might be slightly larger to account for the loss of light (we’re talking 1/10-2/10 of a stop or a similarly small difference for modern lenses).
While not that critical in a single lens, it does come in wildly in handy if you think of a set of prime lenses. Every lens set to the same t/stop has the same exposure which aids in exposure consistency.
t/stops are calibrated during construction.
Angelo Lorenzo
Fallen Empire – Digital Production Services -
You know, I’m not super familiar with Cineform. I have it on my system since I’ve had to use it as a delivery format for a few film festivals so you’re probably better off looking around the Cineform site for that. If all else fails, I would consider it an 8 bit codec in 4:2:2 YCbCr color which is middle of the road for an intermediate.
Angelo Lorenzo
Fallen Empire – Digital Production Services -
It really depends. I will say I think you have your wires crossed in thinking it will take less disk space. You’ll need a set of “offline” files which, depending on the codec can be just as big as your original files, if not larger in some cases. Of course, if you transcode some low bitrate 720p offline files and then store the camera originals on another drive on your bookshelf, then yes it does take up less space and is easier to deal with if your system is a laptop or older desktop.
In terms of audio, yes and no. No in the sense that you don’t work with offline files since audio is hardly processor or disk intensive. Unless you’re delivering a final product, work with uncompressed audio. Yes in the sense that on some productions the audio in your NLE won’t be used, but you’d be creating a full mix in something like ProTools or Adobe Audition and then marrying that with the final image at the end of the process.
As far as applying a LUT during conversion, that’s an Avid-centric question and I don’t primarily use that NLE.
Angelo Lorenzo
Fallen Empire – Digital Production Services