Blaise Douros
Forum Replies Created
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Sounds like the framerate of the projector was out of sync with the camera. There would be no way to solve that. Taking video of a projection is a losing proposition.
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Hmm…I know there’s a block of code in every video file, the indexing information, that allows the software to know where the encoding starts and stops, and that if that isn’t present, most programs won’t be able to read the file. And usually, that indexing is the last thing written to the card–so that’s usually what’s missing if the battery gets pulled mid-shot.
Try VLC to see if you can look at anything–it’s less dependent on those. Avidemux might be able to salvage and re-transcode the file for you: https://www.videohelp.com/software/AviDemux
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There’s no flicker in this footage. Sounds like you might have a problem on your machine.
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I was being a smartass, because there was insufficient information in your post to do anything else.
If it was all recorded onto a single mono channel, then you’re hosed. There is no way to screw around with selectively boosting certain frequencies without affecting the other voice. Don’t let CSI fool you into believing that kind of thing is possible.
The rest of the folks on this thread are pointing you in the right direction; if there’s a file out there that has the voices on two separate channels, you need to find it. If they’re on the left and right channels of a stereo audio track, that works too; just make two copies, and make one copy play only the left channel and one only the right channel; then you can level them separately.
And also, yes,you need to choose something other than After Effects for this. AE is for VISUAL effects. Premiere would be ideal to work this out.
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…using the volume and gain controls?
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Some people will tell you about how 4K 8-bit 4:2:0 downscaled to HD has the same amount of color information as 10-bit 4:2:2 HD. While this is true, there are multiple transcoding steps that have to be undertaken exactly the right way, and it’s a pain to get it right.
With that said: I have a Sony FS7, and I generally deliver HD for web. I almost always shoot HD 10-bit 4:2:2 for the extra color; the amount of detail in 100 mbps 10-bit 4:2:2 HD is so much greater than the 24 mbps h.264 that DSLRs shoot, that you can get away with quite a bit of upscaling without a noticeable loss in quality.
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This is caused by using Optical Flow as your time interpolation method for speed changes. Premiere is basically trying to morph between frames, which only works well for slow movements. Switch to Frame Sampling or Frame Blending, and this problem will go away.
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[Herb Sevush] ” Multicam works on the lowest enabled track. If you want it to work on track 2, make sure track 1 is disabled and track 2 is enabled.”
Huh. I never knew that. Mostly because I don’t understand why anyone would think to design it that way.
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As far as I know, you can only use Multicam View in track 1. Maybe there’s a way I’m not familiar with, but I’m pretty sure this is how it works.
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You need to forget about generating any raindrops in After Effects–the VC tutorial is designed to simulate droplets on glass. I would suggest taking high-speed photography of the water splash you want, either against black or against green screen, and compositing it into your scene using the 3D camera tracker.
After Effects can’t build fully 3D water simulations, so you’ll need to fake it with 2.5D sprites. You might be able to make a particle simulator work for low-detail stuff, but for any closeups where you really need it to look like water, an actual shot of a water droplet is going to work better. It’ll take time to build the scene, but I think it could be done.
Think of it like combining your shot with a parallax photo treatment (look it up if you don’t know how to do this).