Bouke Vahl
4
Apple Final Cut Pro X Coins
8
COW Coins
Forum Replies Created
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Try fresh user settings, and/or go into the interface settings and fiddle around with the fonts.
(It looks more to an OS font problem than an Avid problem, but that’s just a hunch.)Bouke
http://www.videotoolshed.com -
Well Todd,
You are perfectly right. (I know the company, and I also know that their CC output needs patching in some circomstances, hence I wrote software for that.)BUT, at one buck a minute, a full feature will set you back say, 90 bucks?
And you expect perfect (shortened) translation and perfect timing for that?That’s impossible. For a pro subtitler, a full feature will take a full day, and that is if there is a script to begin with.
Of course, if your only aim is to get captions as cheap as possible, it works.
But you get what you pay for, and that is the lowest quality possible.
(At a price that can’t be beaten, but again, why do you spare no money on making your movie beautiful and then be a cheap ass to get it across on the 8% (that is a BIG number) of people who need subs or CC?)Bouke
http://www.videotoolshed.com -
Meanwhile I’ve made an instruction video showing how easy it is to work with my software.
(When you are done, exporting to a lot of formats is a breeze. Creating good text and timing is where the work is.)EDIT, this link should work.
https://www.youtube.com/watch?v=Bb83VoEnLqA&feature=youtu.beBouke
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First of all, DO NOT do this in Premiere, or any other NLE.
It is slow, and your methods of exporting / reformatting / checking are limited.Now, Captions (or Closed Caption) are generally for the deaf and hard hearing. So, not only is the dialogue written, important sound effects is also noted. The position and color of the captions indicate the speaker.
You can turn them on / off, the information is send with the video, and the TV sets overlays them.
Due to backwards compatibility, they are still ugly, have very limited space (as you have noticed) and then there is the problem that you need to know the load time to be sure they will appear. (Long technical story.)
To preview captions in Premiere, you need a card that supports that, and a monitor that supports that, and they have to be turned on. Can be a hassle, and as stated earlier, they need load time, so they don’t always appear when you jump around.Subtitles are just to translate the spoken content. They are generally white, and have no more than two lines.
They are NOT always burned in. It depends on the broadcaster.
Most of the time you have to supply a separate file to the broadcaster, who will add the subtitles on the fly while broadcasting. (So your master is clean, but the end user receives them burned in.)
But eg Netflix sends them as metadata, and the Netflix player will overlay them if the end user turns them on.Then you have to learn about timing / read speed. You cannot simply translate everything and put it on screen.
(It will be too much to read in too little time.)
Depending on the languages, you need to shorten the text by 1/3 on average. That is often a challenge, and you end up re-writing parts of the text / re-arranging sentences. (People have tendency to talk very sloppy, if you read subtitles without the movie it always looks weird.)
This is hard work, and you will be doing a lot of revisiting.Now, a feature film easily has 1000 subtitles. So you need a way or creating them that is fast.
I strongly suggest using a dedicated editor, and I recommend this:
https://www.videotoolshed.com/product/subbits-subtitler/
(But that might have to do with the fact that I’m the creator of the software.)Bouke
http://www.videotoolshed.com -
My trick is to use a chroma key, key the shot to itself. Then stack a de-saturate filter (LUT is a bit overkill) on the top image (order is important, key has to be applied before de-saturate.)
Bouke
http://www.videotoolshed.com -
Set a keyframe a few seconds before the end, and set the position of the end key frame to the same loc.
Bouke
http://www.videotoolshed.com -
No major broadcaster will make any major adjustments without telling you.
(Except a few that use software I made, but that is set to only do +/- 3dB changes.)Low level is anything lower than the target level minus the tolerance, otherwise it would be out of spec.
(In Europe that’s lower than -24, since it’s -23 LUFS +/- 1LU)The reason broadcasters won’t touch it is simple.
Commercials are paid, often very expensive.
If something else than delivered is aired, the add agency will refuse to pay and demand a re-run.
(In the tape days most agencies recorded all their bought airtime to look for dropouts etc, then refuse to pay if that happened.)
Then, if your video levels are off, clipping might occur and again, the broadcast won’t match the source.This is why QC is VERY rigid on commercials, and the broadcaster will simply reject the spot if it’s out of spec.
Perhaps a few small / local broadcasters do things manually, I would always include a warning letter along with the spots.
Your work probably can’t reach -23 without a re-mix, I would not worry, if there is a problem, it will simply be rejected and someone has to fight to get it aired, although it is in spec.
Bouke
http://www.videotoolshed.com -
Not really.
It highly depends on the kind of footage and the application that does the relinking.
If you want to relink in Resolve, and you have footage with an UMID, you can do pretty much anything at any stage, since Resolve looks at the metadata inside the file.
But, some footage relies on sidecar XML files, and if that is the case sometimes renaming will mess things up.Having said this, renaming footage is normally only done for stock, AE renders and alike.
For camera originals, changing the Name (or comment, or whatever entry) in the bin is way more practical.Bouke
http://www.videotoolshed.com -
How exactly are you thinking this could work?
If you have to remove 6 frames every second, what do you think will happen?Why is it so important to have 23.976 output? 23.976 is invented to go to 24 for old fashioned 35mm (obsolete now), and to speed up to 25 for broadcast in Europe, and (with addded pulldown) to broadcast in NTSC countries.
Now, is your project going to be broadasted all over the world? If not, stick at 29.97, add NORMAL pulldown to the 23.976 and de-interlace the output if you are going to the web.
Bouke
http://www.videotoolshed.com -
This might do the trick:
https://www.videotoolshed.com/other/mp4-to-qt/
Try before you buy!
Bouke
http://www.videotoolshed.com