Blaise Douros
Forum Replies Created
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I agree with Steve here. No picture profile is going to be as good as sitting down with the two cameras for an hour and shooting a color chip. A lot of people think that there’s a software solution to this kind of thing, when the reality is that a skilled operator is the solution to almost everything!
I would probably base your setup on the t2i’s image, since it is the less-capable of the two. You should be able to grade the A7sII footage to look like the t2i, but you will NEVER get the t2i to measure up to the A7sII’s picture.
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It’s a multicam sequence? Then do this: in the clip bins, right-click the multicam sequence and select Open In Timeline from the contextual menu. It will open up the multicam sequence in a timeline, and you can recover any plugin settings.
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Why do that when there’s an easier way?
Just select the video whose effects you want to copy, and hit Ctrl-C. Then highlight the videos you want to add the effect to, Right Click, and select “Paste Attributes.” Then select which effects from the original video you want to apply.
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Yeah, that’s what I’ve done. I would like to not have to use a stereo track, though; I would prefer Premiere handle the audio correctly!
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Not that it’s helpful, but I had a similar issue recently with a photo-parallax comp that I built. No video in it, so no framerates to mismatch; I scrubbed the keyframes until they bled but couldn’t figure it out.
However, when I did my final output from Premiere (in the timeline it was edited into), checking the “Use Highest Quality” button in the media export window seemed to make it go away. I can’t guarantee it’ll work, but…try it, I guess?
I second the motion blur suggestion, though–it would help make the motion you’ve got more natural.
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You’re definitely not going to see any magic with the frame blending method, but…you never know.
Would your budget support renting some Blackmagic Micro Cinema Cameras? Or even buying a few less, to be used more judiciously? They are smaller and cheaper than A7S, though with lenses…
I’ve never used one so can’t comment on them, but I remember thinking when they were released that they’d be a good solution for getting a better action camera look.
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I created the multicam sequence the usual way (selecting the multicam sequence drop-down contextual menu after highlighting the clips in the order I’d like them to appear), which is then imported to a standard timeline via “New Timeline From Clip.” I’m only mastering to stereo (or trying to, anyway).
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Yes, I’ve used that in the past, as well as enabling Channel 2 and using the Channel 1 audio as the source for Channel 2. Not working in this case–I tried to use the Fill R with L plugin and got nothing, even on an Adaptive track.
I mean, this isn’t hard. I work in Digital Performer for music composition, and it’s simple and intuitive: if it’s a mono audio signal, it creates a mono track, and it’s panned to the center, even in a stereo project. Why anyone would ever want a mono signal locked into a single pan position, un-editable, is completely beyond me.
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Unhelpfully, I have never been able to find a guide to controlling shutter speed on GoPros. I wish they would just add a “professional mode” to their dang smartphone app.
I’ve used the ND filter trick on GoPros when shooting aerials; it’s extremely effective for that. How many stops of ND are you putting on it? I’ve found that I need at least two stops to get pleasing motion blur with aerials, so you might need more than that with the camera pointed at the sky. Maybe a two-stop combined with a graduated filter to really knock the sky down?
One (extremely non-optimal) solution would be to shoot at 59.94, and enable frame blending on a 23.98 or 29.97 timeline; you get a motion-blur-like effect from the frame blending which helps to soften the stutter.
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I’ll second the motion for doing it all silhouetted. It sounds like the character exists primarily to direct the action occurring in the city…so why not expose for the exterior light and keep the skyline in frame, keeping the focus outside the room where the action is actually occurring, leaving her only as a dark foreground presence. Could be an interesting, stylized approach to the character/scene.
If you hate the look, you can always open up a bit and bring some bounce fill for the foreground.