Angelo Mike
Forum Replies Created
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No, I turned off Microsoft updates a while ago.
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[John Rofrano] “Audio Buses allow you to route your audio track to a bus that you can then add FX to. For example, if I route 3 audio tracks to the same bus and I add Reverb to the bus, all 3 tracks now have Reverb AND they are controlled by the same FX instance so if I tweak the parameters, all 3 tracks get the same tweak.
Now imaging if there were Video Buses and I could create a bus and add color correction to it and then assign certain tracks to that bus. Then all of the tracks would instantly have the same color correction. If I change the color correction on the bus, it is likewise reflected in all 3 tracks.
It would be an awesome way manage video FX’s more efficiently just like we do with audio FX. The same would be true for gain. You could bring several tracks up from black just by routing them to the same video bus and adjusting the opacity on the bus. No NLE has anything like this and there are lots of uses for it.”
So, isn’t the feature we all found out about a video bus? What’s the difference between what you said and the master video bus? That you can’t control which tracks go on the master video bus? Because you don’t have to use the very top track for this to work. You can put it two or ten tracks down. Yeah, you can’t merely assign which tracks go to the bus, but you can change effects for any video track underneath the sort of master track.
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What is a video bus?
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I thought that may have been the case. Thanks.
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Ok, why can’t I get this feature fully working? I drag a plugin (Color Curves) to the top track, I see it listed the way that video shows with a small space for keyframes, I adjust the lines, yet I see no changes.
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Apparently, it’s been around since well before Vegas 10.
https://forums.creativecow.net/archivepost/24/14946
This is the first time I’m learning about it as well.
I think at this point we know how to promote Vegas better than Sony does.
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I might try that, though I’ve never seen anyone else recommend that. If my computer blows up, I’m blaming you.
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For some reason on one group of these events, the fades that are left over from the crossfades are still on the events. Is there a way to automate removing these?
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Thanks. Now, what I’m wondering is, how would I keep the vertical resolution high if I crop it (not scale it down) to 1920×1080? Or is that always lost when cropping? I wonder how feature films do it. David Fincher crops from Red cameras to 2.39 instead of scaling down the 4K image, and I know he’s concerned with every pixel on screen. An FS700 isn’t a Red, and I’ll be shooting on EF (with a metabones speed boost adapter) and EF S lenses. But I’m still trying to figure this out.
It wouldn’t be much of an issue if I was just putting this online, but I’d like to shoot a project for festivals and maybe 2K resolution, though that’s not a priority with all the other technical stuff I’ll be dealing with.
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The FS-700 does shoot 4K.
https://nofilmschool.com/2013/06/sony-fs700-4k-footage-upgrade-cost-convergent-design/