Blaise Douros
Forum Replies Created
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You’ve layered one transition over the top of another, which means that it’s highly likely that the ghost frame is just a frame from one of the two tracks that goes beyond your edit point, and is being revealed during the transition. Collapse the two clips onto the same track, use a single transition between them, and you’ll be able to better finesse the point at which the first clip is no longer visible.
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Bring your exported final file into a new sequence in Premiere. Right-Click on the clip in the timeline, and select Speed/Duration: set the new length, and check the box “Maintain Audio Pitch.” Export a new copy, and you’re done.
Alternately, you can bring the original 9 minute final sequence into a new sequence as a clip, and doing the same procedure–I’ve never tried it this way, but it should be possible, theoretically. You won’t be able to watch it in realtime, but you won’t have to double export.
Don’t expect it to be flawless–there are better speed-to-pitch algorithms than Premiere’s, but most of them would require painstaking roundtrips to dedicated audio apps. It’ll be good enough.
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If there’s major contrast between the subject and the screen, a luma matte might also be possible. Can you post a screen grab so we can see what you’re working with?
In practice, I find Difference Mattes to be unreliable in almost all situations, because as soon as the camera shakes a little, you’re hosed–every single pixel will be slightly different than the source frame.
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Yep, shooting in Slog variants definitely opens up some possibilities! Here’s a link to Sony’s technical LUTs for Slog2 and 3: https://pro.sony/en_GB/support-resources/software/mpengb00000997
You can use the Slog LUTs as a starting point for getting footage back into a more usable color space after shooting that way to preserve dynamic range. It’ll take some practice to learn how to shoot well with that color, and a little experimentation in the color correction process, but the end results can be really great!
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Nothing cheeky about a followup question! The best monitor is something you already have available–but if you don’t have anything, I hear great things about SmallHD. I tend to be in situations where I can’t carry extra weight or a complicated rig, so I don’t use any third-party monitors.
XAVC-S is plenty for what most people are doing, especially if it’s hobby work. Be careful with your exposure (because it doesn’t have a ton of room for color grading) and you’ll be fine. Sunsets are tough because they have a lot of variation in brightness level (foreground dark, background direct sunlight), and close color gradients which can lead to banding or clipping. Shooting in a log color space (like SLog2) can help, as long as you’re not cranking up the ISO.
Make sure your greenscreen is evenly lit and that there is good separation between you and the greenscreen–doing those things will really help you pull a clean key.
Thanks for the kind words on my work–I do try to find interesting ways to do things, and the outdoor industry is pretty friendly towards new concepts, so I’m fortunate compared to a lot of corporate video folks!
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The RX10-series are actually great, if you don’t need the interchangeable lenses. I have used an RX10-II as a C-cam to an FS7 and A7III, and it holds up pretty well. It is not amazing in low light, but has fully manual settings, and you can add the Sony K1M or K2M to it, which gets you XLR audio.
The XAVC-S codec is pretty good as 8-bit codecs go; you’re not going to get a better codec in an A7 (which uses the same codec), so stick with what you’ve got, learn to wring everything out of it that you can, and when someone wants to hire you, use the money towards a higher-end camera. And in fact, you’ll see more production value if you invest in things like lights and audio gear–if your video sounds good, and is well-lit, that can make up for a LOT of other deficiencies.
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There’s no way to copy-paste an effect, certainly not in CS5.5. Your best bet is to duplicate the sequence with the effect chain you like, and then copy the timeline media into the dupe sequence.
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Interesting to learn that Compressor seems to do okay when converting VFR media to ProRes, but Adobe Media Encoder can’t handle the same conversion, despite supporting the same export format.
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That makes sense; coming from a system that operates that way, I can see how this would be frustrating. I think it’s a lot more useful for projects that DON’T consist of long multicam clips–basically, it keeps only the “ins” and leaves the “outs.”
One possibility that you might consider–if the idea is to reduce your overall storage footprint, you might consider working with Premiere’s proxy workflow, which would allow you to edit with, and then REALLY easily delete, lighter-weight proxies in an edit-friendly codec. Premiere makes it incredibly easy to relink to camera originals for final project export, and automatically remove proxies. It wouldn’t necessarily solve your archiving problem, but if it came to that, you could use the method I outlined in my original post for archiving projects.