Austin Reeves
Forum Replies Created
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So I am sitting here working on a project that includes 3 different cameras. They are:
RED Weapon Helium S35 (4ch Audio)
Sony FS7 (8ch Audio)
OSMO X5 Pro (1ch Stereo Audio)As others have said you have to match the Audio Settings. Because I shoot a lot of stuff in true 2.40 aspect, I bypassed all the presets in media encoder and built my own QT h264 proxy presets and duplicated them, one for each audio setup. KEEP IN MIND IF PREMIERE BRINGS IN AUDIO AS A STEREO FILE, YOU MUST DUPLICATE THAT IN THE PROXY. For the FS7 I have one proxy setup for 8ch, and the RED has one setup for 4ch. All have not only autoconnected after Media Encoder finsihed, I have since moved the files and reattached them. All seemlessly and have spot checked files 20+ mins into a take and they are all frame accurate to audio and video.
I hope this helps!
Austin Reeves
Cinematographer
austinreeves.com -
I also wanted to chime in with Walter as I believe his advice is very solid.
Before:
Back up your project file elsewhere JUST IN CASE. Since you’re going to be disconnecting media you want to have an easy way to “go back.”
AE:
- Drag all raw files into your project bin.
- Highlight all those files and drag to the New Sequence icon and create a sequence for each file (which will be created at the frame size and rate of the original media). Importantly this will name each sequence the name of the original raw clip.
- In the sequence for your first raw clip, apply the Noise Reduction effect and set it as you’d like.
- Copy that effect and paste it into the clip on each sequence of all your raw clip sequences.
- Optionally you can add in some noise back to the clip as well to improve the final product as you mentioned.
Pick 1 of the 2 options below:
- Highlight one sequence and drag it to the RENDER QUEUE (or use the menu option). Set the render location for a new folder such as \Denoised RAW. Then drag the rest of your sequences down. (Reason for this is all new sequences added will default to the render location of the previously set file. Just saves you doing it a hundred times)
or
- Add all sequences to the render queue and on the rollout menu option next to OUTPUT TO: where the filename is set (little down arrow), click the arrow and choose CUSTOM. Paste something like this into the popup box: [compName]-DENOISE.[fileextension]
- That will add the “-DENOISE” to all your original raw filename, allowing you to keep them in the same folder but know which is the original. Note you must do this for each sequence output one by one.
- Now just render. Remember Denoising is an extremely intensive process. It will take some time. I also recommend enabling Multi-processing for this process as the memory overhead isn’t that bad.
Premiere
- Once all the renders are done, as Walter said, you can set your media OFFLINE by highlighting the source files in Premiere and then right-clicking, choosing MAKE OFFLINE. I personally would do this after saving my project to something new like ” Denoised.prproj”
- Optionally you can now in the search box above your project bin type “OFFLINE” which will give you all your offline media nice and neat.
- Highlight the files and right click, choosing LINK MEDIA
- In the pop-up window, click LOCATE
- A window similar to Media Browser will pop up, note you may want to uncheck “Display Only Exact Name Matches” at the bottom if you added the DENOISE to the filename as I mentioned above. Otherwise it will only show exact name matches.
- Locate your denoised clip and click OK. Depending on the option you chose above you may need to locate each raw denoised clip one at a time or it may link them all immediately to the new path.
At this point you should be done. Your timeline should perform as it did before and your camera raw files show be denoised and you can continue to edit and tweak as you see fit. Hopefully this makes the whole process a little more clear. And for everyone else, please feel free to point out if i made a mistake anywhere in this or if you recommend another process.
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Austin Reeves
AR&C
https://www.austinreeves.com
Production & Post-Production Services
Washington, DC -
You created your 3D sky scraper in AE? In OF you can set the source of your flare to be from a light. If you have multiple lights there is a setting to isolate flares to only come from lights with a certain name. Position the light in your 3D scene. You can also set the flare to be obscured by “walls” of your skyscraper. This should yield far better results than any kind of post animation camera tracking.
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Austin Reeves
AR&C
https://www.austinreeves.com
Production & Post-Production Services
Washington, DC -
Edward thank you! I didn’t realize exporting the object would bake the warp! I’ll try that today.
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Austin Reeves
AR&C
https://www.austinreeves.com
Production & Post-Production Services
Washington, DC -
Un unrelated issue, but something thats got me stumped as well (may or may not be intended behavoir in other words)
Let me see if I can set the scene:
Flat disc (lathe object somewhat like a donut)
Logo Object (AI paths extruded) sitting ontop of the disc
Logo object parented to Null at center of disc allowing me to use rotation of null to orbit the Logo object around the lathed ring.
All works great.Apply Warp to Logo Object to bend it to the radius of the lathe ring works, but the warp does not following the parenting setup of its parent track. The warp stays at its location causing odd behavior as the the object its applied to rotates around. There seems to be no way to parent the warp to the null.
This may be intended behavior, just wanted to pass it along in case.
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Austin Reeves
AR&C
https://www.austinreeves.com
Production & Post-Production Services
Washington, DC -
ProAnimator 7.0.1 AE & Standalone
Mac OS 10.9.3
AE CC 12.2.1.5Thanks Matt for the quick response! I looked on the Zax site but couldn’t see what the current release is and if there is an update.
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Austin Reeves
AR&C
https://www.austinreeves.com
Production & Post-Production Services
Washington, DC -
Thanks, you and I came to the same solution actually. I just rendered using 5×5 and applying a Fast Blur @ 0.6 and the same basic result as doing it in software. Not a big deal, I just wanted to pass it along to you guys. I’ll also shoot you the project if you care to look at it, but sounds like its known issue at this point.
Thanks again for you guys being so quick to reply.
-Austin
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I just wanted to follow up and say thank you. Purchased v6 and was able to render the project very quickly. In addition the temporary Auth. Code for the software was a great touch over when I last bought 5. Being under the deadline I was in, the ability to immediately buy, install, and render was quite nice.
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Austin Reeves
AR&C
https://www.austinreeves.com
Production & Post-Production Services
Washington, DC -
Thanks for the quick reply. I actually think I miss spoke and grabbed 5.1.0. However I didn’t know about the cache issue.
That said, I was planning on grabbing the v6 demo tonight and give it a shot. Thanks again, I’m sure that’s the issue and I’ll try and follow up to confirm everything is well!
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Austin Reeves
AR&C
https://www.austinreeves.com
Production & Post-Production Services
Washington, DC -
I’m not sure it will help in your particular project, but if possible try rendering elements as separate passes. For example if you had a Title Text casting shadows on a background model…
Render:
1. Title Text (toggle others off)
2. Background (toggle others off)
3. Background Shadows (others off and replace background material with Shadow Catcher)The idea being you reassemble the image in AE once the renders are done just as you would composite a 3D render from multiple render passes. I’ve used this process to do extremely complicated and high-res renders with projects that would bring a system normally to a crushing halt and actually expedited the overall render process.
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Austin Reeves
AR&C
https://www.austinreeves.com
Production & Post-Production Services
Washington, DC