Blaise Douros
Forum Replies Created
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Thanks Kevin–I don’t have any audio devices (besides headphones) or webcams attached. One other thing that seemed to reverse the issue was unmuting the audio while only one track had sound present (a music bed, while I had removed the video clip audio).
If it’s significant at all, the music was an MP3 file at 44.1K, while the clip audio is 48K. Perhaps a bug involving the sample rate when I try to mute/unmute with mixed sample rate media…?
I’m on a Late 2013 iMac, 3.4GHz Core i5, 32 GB RAM, GeForce GTX 775M 2 GB, Yosemite 10.10.3. Latest version of PP.
Offtopic, but I’m also noticing that this version of PP seems to be hungrier for RAM than the last 2014 release. I’ve gotten pretty regular slowdowns and application “pause” windows for out-of-memory notices, and a glance at the system monitor shows PP maxing out my RAM pretty fast. Editing a sequence with bog-standard 24 mbps h.264 HD media from DSLR and Canon XA20, with a few Dynamic Linked titles from AE that have been render-and-replaced to ProRes, some Warp Stabilizer here and there, Fast Color Corrector. Only other apps running are Firefox (2-4 windows) and Outlook. For whatever that info is worth.
Thanks for being quick to monitor this forum, as always!
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I am having a similar issue, except that mine automatically mutes the track whenever I hit play. I ran into this last week, and solved it by moving all my audio tracks down by one, making the problem track empty. I then deleted the track. It solved it until this morning, when the issue has cropped up again.
Interestingly, I unmuted the track, saved my project and re-opened, and when it re-opened, the track was already muted, despite the fact that I had saved it otherwise.
Perhaps one of the Adobe folks can comment as to whether others have been seeing this problem?
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Aaron, there is no such thing as “a C100 Canon lens.” Can you clarify?
A C100 will be marginally better than a DSLR for wedding, but frankly you will still have to focus manually to get fast results, and it won’t be any easier on a Super-35 sensor than on APS-C crop sensor; the difference is academic. I don’t think the OP has the skillz or experience to be able to effectively pull focus–if he had that kind of experience, he wouldn’t be asking what he needs. What he needs is a video camera, plain and simple. The Canon XA or XF series are great for event work, as is the new Sony X70.
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The bad news is that you’re going to have to mask her out. The good news is that the Rotobrush tool was absolutely MADE for this kind of thing. Look up some tutorials on how to use it–it’s not hard, but it’s not intuitive either.
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Contact the DJ, find out what outputs he has. It will be either XLR or 1/4″ (guitar cable). Then use the correct cable to plug into the inputs in your H4n.
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But tungsten with color gels = no particular color cast, meaning it looks as new-school as you need it to 🙂
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Since this is a first gig, I’m going to give you a piece of advice that you may not know yet: audio cannot be fixed in post.
Let me repeat: DO NOT make the mistake of thinking you can clean up the audio in post. You absolutely, positively, no arguments, cannot remove HVAC and echo in post. Noise reduction plugins screw up the quality of the audio that remains, and don’t get me started on echo. Did I mention you can’t fix audio in post? 🙂
However, you can minimize it with very careful setup. Don’t have your mic mounted on the camera. You’ll want to put your shotgun mic on a downward-facing boom, and hang it over the head of your talent, slightly in front of them, with the mic angled toward their mouths. That mic needs to be as close as possible to the subject, so it should be inches outside of the visible frame. Don’t just put it kinda close and call it a day–dip the mic into frame, and back it out slowly until you can’t see it.
This will not get rid of the HVAC and echo completely, but the closer the mic is to the subject, the louder he/she will be in relation to those contaminants, which means the contaminants will be practically inaudible.
If you have subjects of differing heights, adjust the framing and mic position to suit them. I know this sounds like a pain, but five extra minutes on set will save you HOURS of frustration in post. I’ve been working in video on and off for fifteen years, and have tried a lot of things to fix bad audio. None of ’em work!
Good luck on the gig. I can’t offer any specific advice on the FCP workflow (I’m a Premiere user) but generally, I would run the footage through the conversion before syncing, and do the sync afterward. I don’t know how you would be able to sync and transcode individual clips, so in my mind, you would end up with one big long video file with no references to individual clip names, which to me, is a pain.
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Yeah, I think roto is going to be the trick here. One of the other things that After Effects’ tracker is capable of is tracking position, rotation, and scale. If you track the scaling of character one, and then apply that scaling to a tracked, stabilized, and rotoscoped character two, you should be golden.
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Again, specify your transcode settings. If your program is transcoding it to 29.97 from a 59.94 source, then that’s probably the problem.
Also, that particular camera does have a 59.94p setting in addition to 59.94i. Double check which one was set–this looks like two progressive frames blended together. I don’t see any interlacing on your still frame you’ve uploaded.
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Yeah, but OP has roughly a $300 budget. That’s about 1/2 of a single decent LED light. Sure you can pick up some of the crappy ones on Amazon or eBay, but half of those lights use PWM to control brightness, which makes them functionally useless when dimmed. Plus, the cheap lights use cheap LEDs, so their color rendition is AWFUL. Take it from me–I used to work for a manufacturer of portable LED video lights for underwater shooters, and even the relatively high-end LEDs we used in those lights STILL didn’t look that good–lots of colors in the spectrum just didn’t look right under them. So unless you’re spending eight grand on an LED kit, you’ve got crappy-looking light that you can’t dim.