Blaise Douros
Forum Replies Created
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You could do a full stabilizing pass with Position and Rotation, and then just delete the Position keyframes.
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Edit: oops, I double-posted.
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Roger, couldn’t you do this in Premiere by duplicating the Stereo track, doing a Modify > Audio Channels with two left channels on one instance and two right channels on the other, panning appropriately, and then applying the Invert effect to the offending channel? Just curious. I hate roundtripping if I don’t have to.
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Sounds like a feature request for Sony, because as far as I know, there’s no feature that allows markers to be set in real time. In any case, the MXF format (the FS7’s native video wrapper) doesn’t allow embedded markers; that’s why the camera produces those XMP sidecar files. .MOV allows this, so you’d have to be shooting to a Quicktime wrapper.
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Why not just interpret the footage to 25p and 50p in your bins, and edit it on a 25p timeline? Premiere can handle it without a problem, and then you don’t have to screw around with dealing with the changes to timing that would occur when you conform after the final export. You’d just edit to the existing broadcast spec.
You might need to export your final audio from the conformed clips for a pitch shift pass through Audition, since the sound will be slowed down: I think you’d need to pitch it up by around 4%. If it’s not noticeable, though, you could just leave it. You’d want to do that separately from any music, which you wouldn’t want to change.
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Perhaps you could point out to me where I claimed that zooming in would make the blur “stronger.” I didn’t go into exactly what physics are involved, just that it would produce the desired result: a background that appears more blurred. I’m perfectly aware of why and how this works, but it is irrelevant to the discussion. “Why” it works is less important to OP than “whether” it works.
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Yes, you’d need to go longer than 90mm if you were going to go that route. 200mm would probably be about the maximum usable focal length.
Overexposing the background is sub-optimal–human eyes are programmed to look at bright areas first, so you can end up distracting from your subject.
One other old trick that used to be more prevalent in the days before large-sensor cameras were widely available was to get a fog machine in the room to fake falloff–the further back, the more foggy, so it was a way to make the background look out of focus even though it really wasn’t.
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1. Use a longer lens, zoomed in, with the camera positioned farther away. That’ll create a more blurred background, and also a narrower field of view, limiting the amount of background clutter.
2. Use a wider lens, and move closer. That will fill the frame with your subject, and make the background appear physically smaller in frame.I also like Warren’s suggestion of killing background lights.
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Sorry, I didn’t mean to imply that I was flippantly suggesting that EVERYTHING should change–just the part where you use Save As vs duplicating in the Finder. That’s as much a workflow change as any other change!
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Sounds like you need to change your workflow. I would suggest, instead of using the Save As command, you go to the finder, do a Command-D (duplicate) on the file, and then rename it in the Finder before opening it in AE.
I would imagine it’s some kind of file indexing problem that is way above our pay grade to understand. So if you create the new file before the second instance of AE is even open, that could remove some of the potential conflicts with media caches and naming from the original source file carrying over.