Chris Wright
1
Audio Coin
1
COW Coin
Forum Replies Created
-
whenever you can’t find the problem, you can find out which frame it dies on by rendering a high quality image sequence. usually its around an effect that it doesn’t like. this way you don’t waste time starting from scratch. actually, I can’t imagine anyone rendering a big project not using an image sequence. you’re just asking for pain.
-
Gigabyte H370M D3H $90 no overclocking support though. get a cheaper case too, but get more fans inside it as the SSD’s get really hot, yes they really do.
-
if you’re not overclocking why get a K
or a z mobo? save a couple hundred here.what can the 960 evo do that the 860 can’t?
0.02 sec less in audio pka creation maybe…600W psu for one gfx card, lol? there’s also much
cheaper name brand ones.4x 16gb G.skill $650 not $850
asus gfx 1060 6GB $289
ram is retard expensive right now. you may not see much difference
unless heavy ram previews in AE. if you don’t like the preview length, add some more ram.there. now your bill is half, lol.
-
This is the order I do my audio for film. I put effects in order of non destructive.
1. dc offset – offset power errors affects dynamic range so this goes first, a critical pre-alignment step
2. match volume – normalize ‘peak amplitude’ everything to -6db to see serious errors easier like clipping, offsets, phasing etc.
3. declip – run declip effect, remove buzzing with dynamics processing, notch filter the rest.
4. equalize – run parametric equalizer to reduce wind, hiss via freq cut, give vocal clarity ‘D’ curve
5. phase correct – once tracks layed, detect any phasing errors
6. noise removal – declick, de-reverb, remove hiss, wind, learn sound model/noise reduction, all else healing brush
7. studio reverb – to add vocal weight
8. RMS -23db audio – to roughly match vocals begin basic audio editing with levels(vocals center and 12db higher than music, etc.)
9. compression – multiband compress sfx: 4:1, vocals 2:1 db to give pleasing db range. always 2nd to last step because any other processes affect dynamic range. It should soft limit for you. hard limits are audible and not recommended.
10. quality control – match loudness ITU-R BS.1770-3 -23 LUFS film, -16LUFS youtube – for standard -
square pixels? par?
-
the reason this camera looks good is the dynamic range.
@14:02, its almost 2 stops better than the gh5 with both roughly at the same native iso.
and this is in a tiny mp4 file. so your data storage requirements for very nice images is very cheap.
I’m talking close to cinematic quality here. the color science pushes the limit so the sky doesn’t get banding.
I actually tried breaking it myself with hue splits, excessive saturation and snow highlight recovery. holds very, very well. there is nothing even close in its price bracket right now.https://www.youtube.com/watch?v=T_DxD0TCmRk&t=609s
-
try digital anarchy flickerfree and neatvideo trials. only thing better than that is hardware boxes or special restoration programs.
-
podcasts don’t care about broadcast legal luma values. but anyway, if the scopes say 16-235 and it still looks funny, then its the shadows you need to work with.
-
even 16bpc and max depth will get clipped to 12,10 bit with prores, but 8 bit and max depth unchecked, all prores will clip to 8bpc no matter what.
-
the free converter could be using more delta frame and thus smaller file size. the smaller file size may also be improving disk read speed in playback. also, there’s a good balance between resolution and bitrate. low res and high bitrate can sometimes look better than high res with low bitrate. this is called the bits/pixel ratio. handbrake makes good mpeg4 files and has presets too.