Chris Wright
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Audio Coin
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COW Coin
Forum Replies Created
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the Color Profile Converter won’t work unless you precomp it. also view-simulate might be on
there’s 16-235 and 0-255 rec.709. -
maybe frame blending is turned on? a check mark by the appropriate Frame Blending command and Enable Frame Blending button at the top of the Timeline panel. if both are off, then perhaps you just don’t notice the slight stutter from the frame mismatch. either way, maybe you used a lot of shutter blur on your project and it blends well or maybe it will be more noticable on the big screen.
The only way to be sure your dcp is good, is play it on the actual machine. it has lots of safeguards and is very very particular how you format your jpeg2000 files.
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you have to apply the effect whereas it pre-renders it on the timeline. your cpu is not fast enough for realtime playback.
In the Editor panel, Effects Rack, or Mixer, click the Pre-Render Track button .
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my opinion:
first get a foam cover for the mic if he hits hard consonants.“ranges from strong to very soft”
from your description, a multiband compressor should work perfectly. just make sure it is second to last in the chain.
first comes 10 band parametric equalizer to remove the excessive low end around 150hz and high end air conditioning.
then de-esser noise remover the sibilance and denoise pops like a bad record if he clips.
then multiband compressor focusing on the lower freqs from a booming voice.
finally, a RMS volume equalizer to round out the absolute volume changes across the whole speech so its radio/web/heaphone safe. -23db as floor should be good. talking should be around-10(+-5 compression), and not to exceed -1 headroom. -
effect-chorus has user defined groups and delayed echoes in audition. also you can try multiple layers of audio like a mixdown.
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call me crazy but it sounds like a simple feedback from the mic hearing the soundcard. Mute the speakers.
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1. is it true 1080i. That is 29.97i or 59.94 fields. You interpret top field and get a 29.97fps comp. See (3).
2. is it 3:2 interlaced pulldown or 29.97fps whole frames? that makes a big difference in the answer you get.
3:2 pulldown interpret footage makes it actually 23.976 then you timestretch(speed up video and audio 4%) at 0.95904 to get 25fps and conform size to PAL widescreen and PAL color management. Technically even the audio is mixed differently.3. if 29.97fps non-interlaced, terrenax, twixtor, FCP compressor, or even timewarp in AE. and leave audio alone.
https://helpx.adobe.com/after-effects/using/converting-movies.html#convert_dv_footage_from_pal_to_ntsc_using_pulldownhttps://helpx.adobe.com/after-effects/using/time-stretching-time-remapping.html
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you can slow down the footage or blend the frames, either way, it has to be 24fps for DCP, that’s the standard.
1. option 1 for 24fps slowdown. interpret 25fps footage as 25fps then place into 24fps comp.
to preserve audio synchronization but slightly lower the pitch, choose Layer > Time > Time Stretch, and then enter 96 in the Stretch Factor box. video and audio are both stretched2. option 2
Frame blendingWhen you time-stretch or time-remap a layer to a slower frame rate or to a rate lower than the frame rate of its composition, movement can appear jerky. This jerky appearance results because the layer now has fewer frames per second than the composition. Likewise, the same jerky appearance can occur when you time-stretch or time-remap a layer to a frame rate that is faster than the frame rate of its composition. To create smoother motion when you slow down or speed up a layer, use frame blending. Don’t apply frame blending unless the video of a layer has been re-timed—that is,https://helpx.adobe.com/after-effects/using/time-stretching-time-remapping.html
you can also use terranex for good frame blending or twixtor
: Can I Retime Video Without Changing Audio Pitch?
https://forums.creativecow.net/thread/2/956439#956459 -
“you should set the project color depth to 16 bpc or 32 bpc, at least for rendering for final output
The working color space should match the output color space that has the largest gamut. For example, if you plan to output to Adobe RGB and sRGB, then use Adobe RGB as your working color space, because Adobe RGB has a larger gamut and can therefore represent more saturated colors. To preserve over-range values, work in 32-bpc color for its high dynamic range.”and your simulate preview needs to be your color managed monitor which is usually sRGB or rec.709 depending on how you setup your calibration.
and a lot of web video is rec.709 not sRGB too, so your ouput profile may need to change. also, if the web player
doesn’t support color management, you can use utility color profile to burn in the correct 16-235 or 255 bits. -
I haven’t personally used it but you can always split the difference and get the ME2 Lavalier Microphone from the G3 for $140 if your existing wireless device functions adequately. or $229 Tram TR-50 which is step up.