Blaise Douros
Forum Replies Created
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Anything that outputs to XLR is compatible. Buy away!
You get what you pay for when it comes to wireless lavs; I like the Sennheiser G3 series–not crazy expensive but still quality performers.
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No clue. I’d hunt through the Premiere preferences and see if there’s some setting box clicked that is causing your media to be interpreted as 29.97 on import. Yeah, it’s a drag to interpret it every time, but if you can’t figure out the root cause, you’re only losing about 10 seconds on any given import.
Maybe it’s something in the camera. I dunno.
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Is it playing back at a higher speed than normal? What happens if you right click and Modify -> Interpret Footage -> 23.976 in the bin?
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Can you interpret the footage? I.E. Right click -> Modify -> Interpret Footage, enter a 59.94 framerate, hit OK. What happens when you do that?
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After Effects sees an image sequence as video just like any other video. Get the hyperlapse imported, color-corrected, stabilized, and flicker-reduced, then precomp it and do a 3D camera track. After Effects should do it with no problem, although it’s likely to be a loooooooong analysis time since, unless you downscale and render out an intermediate file, it will be very high resolution.
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Depends on the industry. I just delivered a project for a mobile jumbotron-type screen, and the specs were 60.00p at 720p. If you’re in the mobile event screen industry, then maybe that’s the industry standard!
Otherwise, for anything that’s going to show up on broadcast, 59.94/29.97/23.976 are the standard framerates.
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Glad to help. Keep practicing, and always try to look at your piece through the eyes of someone who’s never seen it before. You’ll get there!
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I’d cool it on the sound design a little, linger longer on your best shots and cut some of the filler.
It gets exhausting to watch after about thirty seconds of this pace, so you need to slow it down in the middle. Your hyperlapses (which look really good, by the way–why are you blowing past them so quickly? Give me more of those!) feel out of place with the frenetic cutting that you’ve created with the rest of your video, so an alternate way to give us a break would be to structure a few fast cuts to give us a sense of where we are, and then an important shot or two that stays with us longer to have a much greater impact.
You have a lot of hand-held jitter in your shots, which is also tiring for the viewer, especially when it comes in quick succession like this. You appear to have a tripod that you used for your hyperlapses; you need to use it more, especially when you’re using a longer focal length. Alternately, some judicious stabilization in your post process would help.
You don’t need a pro DSLR to make a pro video, but you DO need restraint, technique, and a laser focus on what you’re trying to accomplish. After watching this, I don’t know what the point of it was, other than “look how many shots from my trip can I pack into 2:30.” You also need to edit like a pro, pick music that sounds professional, and pay attention to your sound mix.
And finally, don’t fall in love with all of your footage so much that you can’t cut the stuff that isn’t important. You’ve got some good shots in here, maybe even some great ones in the hyperlapses, but the overall execution of the edit doesn’t live up to your headline. It could–you just need to pare it down.
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Hmm, I don’t think you’d specified in your original post that you knew how to do it in Premiere–if you had, I wouldn’t have been so dense as to tell you how! 🙂 I’m not…well, I won’t name names, but I’m not a person who is that pedantic. At least not on purpose.
What camera is your footage coming from? Does it support recording low-res proxy media that you could then re-conform later in post, so as not to create your proxies within Premiere? I guess I’m not clear enough on your workflow to understand why you can’t edit your master files. Why is editing MP4 files in Premiere a problem? Transcoding to H.264 is redundant, since MP4s are usually wrapping H.264 codecs anyway.
You mention that proxy media messes with your color, but you really shouldn’t be color grading proxy media anyway. At least the way they taught me, that should happen after you do your final conform to your original footage, and are ready to do a color pass on the source material.
Can you clear up the whole intended workflow, and why you’re using proxies of MP4 media in the first place? That may help me understand your question a little better.
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Right click on the footage in the bin and select Modify > Interpret Footage. In the dialogue box that opens, tell Premiere what frame rate you would prefer (and be sure to use the correct decimal 23.976, if you are not working on a true 24p project). Hit OK. Presto, your clip plays in Premiere as a frame-rate-converted clip.