Angelo Lorenzo
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The answer is most likely no. I suggest you upload the video and use YouTube’s annotation features. You can ‘pause’ the video on a menu and create link areas including time jumps or links to other videos. It’s a pretty powerful system when it’s not constantly used to spam links within videos.
Angelo Lorenzo
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The footage isn’t offline, but you see it mostly with precomps that have been shrunk and the tail or head doesn’t exist so that part is shaded with the gray lines.
Did you try and import from a FCP project or an EDL? If that had timecode markers with the added hour as is sometimes normal, your in and out points may be far shifted in each clip beyond where actual footage is.
Angelo Lorenzo
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The answer is kind of.
After Effects is very CPU hungry because it’s a compositing program. I’d assume you’re very aware HD footage needs to be watched via RAM preview?
When you “dynamic link” an After Effects comp, Premiere is still using After Effects to process that section regardless of if After Effects is running (Adobe runs a program called dynamiclinkmanager or something similar in the background, does all the “traffic control” for these processes). In other words, same system limitations.
A yellow bar in the timeline doesn’t always mean it will play without rendering. Your best solution is to preview render the yellow by going to Composition > Render Entire Work Area (I think it’s also shift+return). This renders red AND yellow areas in your timeline.
Also GPU acceleration is only available on some Nvidia graphics card for Premiere. You’ll be limited to using Premiere’s Mercury Engine in software only mode.
Angelo Lorenzo
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I would suggest, tentatively, a Plextor drive. Some of them do come with lightscribe and Plextor has, from the cd/dvd days, the reputation of burning discs that are less likely to be rejected from mastering houses. In recent times, they may be re-branding cheaper drives so take my suggestion with the caveat you may need to do some additional research before shelling out the ~$50 more they cost per-drive.
Angelo Lorenzo
https://filmsfor.us – Helping you sell your film online
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1. Shouldn’t make a difference. Regardless of the method, you’re transferring a file to your computer, not much different than using a thumb drive basically. There is no degradation in quality. Whatever you heard on Videoguys.com is misguided… it’s not like you’re capturing from tape.
2 & 3. Hard to say, I don’t watch consumer camera models and specs.
I would suggest, however, doing a few things to improve your key with the camera you have. Take these with a grain of salt as I haven’t seen a “before” so I don’t know if you’re lighting or exposing the green screen with any proper technique.
1. Light the green screen as evenly as you can. You can light it +/- 1 stop from whatever proper exposure is for your setup. This is assuming you have manual controls on the camera, you may not. In small spaces I underlight a little bit to reduce spill.
2. Garbage matte the majority of the greenscreen. There is no reason to crank up your key settings to remove a wrinkle in the corner and let it destroy the overall quality of your key.
3. Set one key to remove the majority of green around your subject. Use modest settings. Don’t worry about green fringing.
4. Add another Keylight effect and finesse it’s strength to remove the green fringe.
It won’t make a perfect key, but I have a feeling it’ll be much more acceptable. Pick a busier background and your subject’s edges will look a bit better too. Testing on solid colors can drive you nuts.
Angelo Lorenzo
https://filmsfor.us – Helping you sell your film online
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https://premierepro.wikia.com/wiki/Virtual_Studio_Technology
There is some troubleshooting stuff in this article that may be of use. The general consensus is that no matter what, some VST effects won’t work.
I suggest getting demos as I only use these plugins in Audition so I’m not sure of their performance Premiere Pro on Mac.
I like this as an all-in-one tool box
https://www.izotope.com/products/audio/alloy/PSP audio makes some good stuff but I don’t personally use it
https://www.pspaudioware.comAngelo Lorenzo
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Introducing different camera models into a single production will complicate your workflow at least twofold. It introduces the issue of needing to apply proper color timing to at least one camera, and probably both.
First, you need to bring your 5D to a proper flat profile: installing Technicolor Cinestyle
I’m not wholly familiar with the XF line but I assume Mr. Robert’s video settings are pretty flat as well. It’s “muddy” because it trades contrast for a more compressed, low contrast image with more shadow and highlight detail after baked in processing. As far as the noise, I would assume it’ll sink into the blacks as real color correction is applied; you’re seeing it now because the gamma curve of the camera is lifting the shadows.
Lastly, I suggest picking up https://www.amazon.com/Color-Correction-Handbook-Professional-Techniques/dp/0321713117 and downloading Magic Bullet Colorista Free https://www.redgiantsoftware.com/products/all/magic-bullet-colorista-free/
You’ll basically fuss with the color wheels until you can match representative samples from each camera. Save those as presets to apply to footage in the future. You edit your program, apply the color correction and export.
It’s a little more effort now, but this is one of the easier ways to manage it.
Angelo Lorenzo
https://filmsfor.us – Helping you sell your film online
Watch Steve Job’s Spirit Inside The iPhone 4S -
Did you export to a faster framerate? If you did so without frame blending, Premiere will duplicate frames. Without seeing exactly what you have, that would be my initial guess.
Angelo Lorenzo
https://filmsfor.us – Helping you sell your film online
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I’m not an expert in this area but I wonder two things: In Premiere, what are the scratch disks set to and is your RAID controller driver and firmware up to date?
It’s the only thing, in my mind, that’s unique in comparison to other systems that just have a ton of RAM in them (I’ve seen 24 gig systems handle just fine and no reason to believe that Windows 7 can’t manage double effectively).
Angelo Lorenzo
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1. 100% JPEG is fine. I’m not sure what you gain from zooming in further than 100 percent with full sized image files; of course it’s going to break up into pixels eventually regardless of compression at high magnification
2. Use After Effects. I’m sure there are plenty of prebuilt scripts to get your images into a slide show format, and the program is just better suited to move layers or a virtual camera than Premiere Pro is.
3. Use motion blur, not frame blending. Use it in After Effects and consider feathering the start and stops of your pans and zooms to make them feel more natural.
It sounds like you have a relatively good handle on AE and PPro, but if you’re not sure on certain things, feel free to follow up.
Angelo Lorenzo
https://filmsfor.us – Helping you sell your film online
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