Chris Wright
1
Audio Coin
1
COW Coin
Forum Replies Created
-
the portable field recorders from foztex are cinema quality sound.
a cheaper alternative is tascam.
the cheaper zoom models have horrible floor noise. better is h5/h6 or Sony XLR-K2M Audio Adapter
whatever you decide, make sure that it has low db noise level, uncompressed wave PCM
the less unbalanced cables you use, the better.
get used to pluraleyes for syncing if you want professional DSLR sound. -
did you try re-encoding with handbrake with constant framerate? I know you tried it with the obs software, but I don’t think obs creates premiere compatible files.
-
here’s two more ways.
1. right click, nest and they appear in project, then cmd + m queue
2. make subclip and queue -
try fiddling with window’s gui size stuff.
https://www.danantonielli.com/adobe-app-scaling-on-high-dpi-displays-fix/
https://www.windowscentral.com/how-make-text-apps-bigger-windows-10 -
are you saying it doesn’t show at all or it does, just not very responsive?
most h.264 stuff isn’t stopped by hard disk speed but rather cpu. since you don’t have cc 2017 proxy features, you could go full offline and transcode in prelude to dnxhd/hr.
premiere cs6 offline editing.
https://helpx.adobe.com/premiere-pro/using/create-clips-offline-editing.html -
prolly your hard drive. jpeg2000 isn’t exactly small bitrate wise > 100MB/sec. also, is your cpu ok?
-
whoooweee, that’s all…..
well adobe has different ways to approach color correction. I recommend looking up master clip effects, scopes, lumetri, luts,
https://www.retooled.net/?p=1647
https://library.creativecow.net/biscardi_walter/adobe-premiere-pro-color-me-happy/1the basic idea is to neutralize all clips first, then they all match, then you can creative grade and it all matches with just one adjustment layer!
master clips make reusing the same clips easy.
https://tv.adobe.com/watch/creative-cloud-for-video/master-clip-effects/if you want to use lumetri, be careful if you have ire <1 or >99.
lumetri bug
https://forums.adobe.com/message/9267294#9267294I’m sure others will post better links. video tutorials are pretty helpful if you know what you’re looking for.
-
if its not 2:3:2:3 telecine reverse pulldown
or 2:3:3:2 advanced pulldown,
it could be that crazy 2:2:2:4 stuff which only cinema tools compressor could understand. we’ll need sample footage to see. -
1. if you shot 29.97p in 60i then its prolly psf(progressive segmented fields)
import into a progressive 29.97p sequence. each field is time temporally same.
https://www.provideocoalition.com/psf8217s_missing_workflow_part_7_adobe_premiere_pro_cs5-5-x/2. if you shot 24p in a 60i wrapper, then its prolly reverse telecine 3:2 pulldown.
drop it into a 24p progressive sequence and premiere should detelecine it automatically. -
hmmm, try fiddling with window’s gui size stuff, might be a glitch.
https://www.danantonielli.com/adobe-app-scaling-on-high-dpi-displays-fix/
https://www.windowscentral.com/how-make-text-apps-bigger-windows-10