Angelo Lorenzo
Forum Replies Created
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It looks like the rendering process is mixing up or shifting YUV values.
What codec/container is the original footage in?
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There are two colors for green work: Chromakey (really bright) and Digital (a bit darker).
It’s not going to matter too much if it’s a shade or two off, it just has to illuminate evenly and have a matte finish.
Ideally, you’d want to slightly clip the green channel with chromakey green, but if you can get a color close and save $30-40 a gallon on paint, it should be ok for basic green screen stuff like interviews, etc.
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I suggest following Brian’s advice. I picked up a $100 nVidia GT240 and hacked it for Premiere. I don’t need to render any basic effects (luma curves etc) on 1080p footage in my timeline and my final renderings have sped up by at least 3x.
My Computer:
AMD Phenom x4 (2.8gHz)
8gigs RAM
nVidia GT240 with 1gig DDR3 vRAM -
Use Adobe Media Encoder and use some of the presets listed under Mpeg2 – DVD
This will spit out a separate video and audio file that you can drag onto the Encore timeline without cross conversion.
Irregardless, you can tweak settings for encoding, they should ideally fit into DVD video specs. More reading https://en.wikipedia.org/wiki/Dvd_video
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Get a cheap pc card (cardbus) firewire adapter. Most laptops, unless they’re super slim, will have a pc card slot and it should run you around $20-30.
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It could be a combination of things.
What camera are your source files coming from? What format are you importing into your timelines (codec and container)? What format is your timeline set to?
What are your computer specs?
Do you have all the patches for CS4? There are a few, that version took a while to ‘settle down’
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I agree with the other poster. I would suggest right clicking the 60p footage once it’s in a 30p timeline and turning off frame blending. This will drop frames instead of trying to blend every pair of frames together which creates artifacts.
I prefer turning off blending for any footage that will play at faster than normal speed.
Cheers!
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Totally understood. This is basically just some ballpark figures in case we’re asked for them. We’re presenting the show to one of the “big four” agencies in LA, and they we’re pretty confident they’ll like it and bring it to the attention of those willing to buy it. If it goes to pilot, we’ll be hiring a true line producer and music supervisor.
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Not surprised. Luckily we’re hinging on using lesser known songs as well as remixes and covers to curtail the majority of licensing costs.
I have contacts at a few of the larger indie record labels, I just need to make some phone calls on Monday.
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I wanted to use some kind of tracking data to match the camera shake and perspective distortion, but the parallax is so great in the shot from tilting the camera up I thought using a planar tracker would produce some more useful data.
After thinking about it, I may just use the tracking data to control a camera in a precomp to get the right perspective on the contrail before inserting it into the scene. I don’t know if it’ll work but it seems logical.
I’m a cinematographer by trade, but I thought I could figure this out before we actually shoot it in two weeks… figure out our limitations.