Angelo Lorenzo
Forum Replies Created
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I agree with Mike. Also, please tell us what features you would like as we can tell you if it’s already possible or if there is an alternate program. Premiere Pro’s SDK doesn’t allow plugins to control the program – for instance, you cannot use a plugin to create markers or move clips in your timeline. Plugins are limited to affecting the video signal.
You can also request a feature here https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
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Premiere, if I recall, stores/reads timecode for Audio as samples from midnight (I believe this is known as world clock rather than timecode and that’s how it’s also stored in BWF if I’m not mistaken) and the “timecode” you see is interpreted from two settings.
The first is that the source monitor, program monitor, and timeline, all allow you to right click and display timecode in a different manner.
In the bin, I believe the timecode calculation is based on the setting called “Indeterminate Media Base” under edit > preferences > media
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
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Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
In post 23.976 is read as 24fps timecode (I’ll save the history lesson). I digress.
1) Where is this caption file coming from?
2) I assume this caption file was generated from the reference video? Tell me about the format of this reference video. Was the reference video mistakenly exported at a different frame rate? Was the reference video given to a caption company on DVD? The latter would lead me to believe it may have been captioned at 25 or 29.97
3) Where are you seeing the mismatch from video and captions? Before export in your timeline, or afterwards in a video player?
4) Are you exporting 29.97 or 25? 23.976 is not a standardized for DVD. Some NTSC DVD players can take 29.97 material with pulldown and perform reverse pulldown for a progressive frame. I wonder if doing a frame rate conversion at the wrong place in the chain is screwing things up for you.——————–
Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
[Mike Smith] “or selectively to bring up the quiet parts of a lead instrument (or actor, or voice over) so that it’s consistently intelligible / audible over background sound”
Perhaps in two cases: multiband compressors or adding a gate before compression. Wideband compression lowers the signal level and it is the makeup gain that increases the perceived loudness. The makeup gain will also increase the noise floor.
You may be referring to how compression has the ability to move an element “forward” when mixed with other elements.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Convert all the footage to a smaller size (960×540 for instance) with heavy compression, have him/her send you the footage, you edit it and send back a project file, then connect it to the original HD files and paste the cut into an HD timeline.
Or FedEx a hard drive.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Do the non-graded pieces of material in each program look the same in each program? I ask because I wonder if you’re using some kind of project “calibration LUT” or a video format that Speedgrade may, through many reasons, display differently by default than Premiere.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
So what kind of slider? Something with skateboard wheels on 1/4″ tube is not the same as a solid original slider.
Generally, with the cheaper sliders there is less rigidity so you can’t avoid some inherent shake/vibration. As for a consistent speed… well that’s just being a good operator.
Depending on your setup it may help to load the sled’s base with some additional weight (small shot bags) as this will lower the center of gravity below the camera and help with instability.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
As others have stated, don’t particularly hope for great performance with full debayer quality RED footage without a RED Rocket. It may make more sense to conform to DPX when working in AE and in color correction to avoid the “render tax” each time you export. You can always return to the RAW if you need to dig additional detail out of a color grade from a poorly exposed clip or something of the like, but a neutral, well exposed, REDLog export to DPX should be fine in most instances.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Learn one effect: compression. This is one unit of the dynamics effect and the only one you should concentrate on for now.
A human hears volume as average audio power over time. Quick peaks don’t sound exceptionally loud but they limit how high you can raise volume before the signal starts clipping.
Compression tames these audio peaks (spikes). Compression has three controls, the first being threshold. Threshold simply means that below a certain volume, the compressor doesn’t affect the sound. Next, you have ratio. For every bit of sound that’s louder than the threshold, the compressor compresses the sound based on the ratio. A 3:1 ratio means that for every 3db rise in volume, the compressor limits that to a 1db rise; this “smooths” the volume peaks. Lastly there is makeup gain which increases the volume of the overall signal; since the peaks have been tamed, you can raise the overall signal without clipping.
Compression won’t sound like an “effect” but it’s there for volume dynamics control. It’s the difference between why a radio DJ sounds smooth and even vs a stage speaker that has a uncomfortably wide range of dynamics.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter -
Do you have Premiere Pro CC? If so then add the loudness radar to your master track’s audio effects.
You should be getting an average reading of -12 for dialog which means the “meat” of your volume is around there with spikes up to -6db. This may mean putting some semi aggressive compression (4:1 or so) on your dialog tracks. BG music you can mix to taste, try around -24db.
Broadcast material is mixed with a lower volume, but if this is internal or web then it’s worth mixing to the above levels as a guideline.
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Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Can your post production question fit in a tweet? Follow me on Twitter