Colin Morris
Forum Replies Created
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Hi,
You need to set up a workflow of plug in chains(multiple plug ins in a specific order)
The problem is that the requirements can change depending on the source audio being used.
That’s why I suggested a lesson with an audio engineer using your own equipment. You can then get an idea of what is needed. Commercial recordings and soundtracks are mixed by multiple professional engineers (tracking, mixing, mastering) so it is not easy to get the same mix doing it yourself.
I would try lynda.com for some basic things first.Colin Mendez Morris
ArsMusica
http://www.arsmusica.ca -
Hi Katerina,
Matching the loudness of a commercial CD is not as simple as using a plug in. It involves both mixing and mastering the audio. One of the things you can do is get an audio engineer to come to your editing space and set up some plugins in Vegas for you. If you give he/she some examples of your work, the engineer can set up some basic mixing methods and templates that would cover most situations. It really depends on where the final product will be played (Youtube, Vimeo, DVD, Bluray) and what the budget is.Colin Mendez Morris
ArsMusica
http://www.arsmusica.ca -
I have noticed similar things with a client channel I manage. We plan to move our existing clients, and all new clients to Vimeo. A few have already expressed interest in the Vimeo plus and Pro. Just goes to show there is no free lunch!
Colin Mendez Morris
ArsMusica
http://www.arsmusica.ca -
The biggest surprise was that workflow was a much bigger issue then we first anticipated. SVP was great because it can take almost any camera footage without an intermediate codec. When we first looked 5 years ago, we really looked hard different cams. After using a JVC HD7 we realized that it suited our workflow perfectly. We shoot 80% live concerts and 20% music videos so the 5 hour recording time, and that each native JVC file of 17 mins could be archived on a single data DVD worked for us. When we looked at something for low light with interchangeable lenses, we looked hard at DSLRs and the Black Magic CC. After doing a rough survey we realized that Black Magic Cinema Cam users in our area were not using RAW at all. We were seriously looking at the BMCC for its latitude, RAW etc, but realized the pain of a RAW workflow with short SSD recording capacity was not worth it. Most of our client work was going to Vimeo or Youtube . We didn’t have a week to grade each project. The recording time limitations of the DSLRs and the form factor also did not work well for us. We went with Sony NEX-VG10/20 and an NEX-5 as a B cam. We bought an adapter and a whack of old Minolta lenses on EBAY, so we have the ability to do some low light shallow DOF shots with long recording times. In the long run, taking the test footage through the workflow in detail really put things into perspective. Even simple things like render times for a cameras codec can make you thing differently if cam X takes 40% longer.
Colin Mendez Morris
ArsMusica
http://www.arsmusica.ca -
I have found that a lot of hotel systems compress the signal to distribute it to as many rooms as possible. I regularly do rough cuts in hotel rooms and go HDMI from laptop to the TV. My footage usually looks way better than the hotel channels. The best HD I get is at home with an HD antenna.
Colin Mendez Morris
ArsMusica
http://www.arsmusica.ca -
Hi Rick,
I own a few different Sony prosumer cameras (NEX)and have not noticed an over crisp look compared to my JVC’s etc. When I bought my last cam I took an SD card to a dealer and shot a test chart, outside in parking lot, under tungsten etc with 5 different cameras. I then loaded all footage in SVP and checked on a calibrated monitor, then rendered to different delivery codecs. We found a few surprises that would have really given us headaches down the road. Hope this helps.Colin Mendez Morris
ArsMusica
http://www.arsmusica.ca -
I have used a tablet via HDMI as a director monitor. Not calibrated, so was only good for showing how shot was framed. There are some cool ipad apps that show things like timecode, color bars, storyboards, shotlists,etc. With all the iphone filmmakers around I guess there is more demand then with android for the time being. We probably use it most to show demos at client meetings.
Colin Mendez Morris
ArsMusica
http://www.arsmusica.ca -
Whoops -I meant Stephen with the highest quality.
Colin Mendez Morris
ArsMusica
http://www.arsmusica.ca -
Kudos to Graham and Stephen for some solid advice. I have recently used the “youtube 720” preset in Vegas 12 with great results. I mainly shoot live jazz and classical music, and post a lot to youtube. One thing I can point out is that sometimes the client will view from a less than optimal internet connection (like a smartphone) My cameras shoot at 1080i, but I find that 720p is a good compromise for both posting to youtube and providing an mp4 because of the reduced file size. Graham is totally correct in keeping things as high quality as possible. I have just found that when you are putting up client views on youtube, 1080 may be too big for the client’s system/connection. (I have even done 2 renders-one low res, one high res) Good luck this weekend.
Colin Mendez Morris
ArsMusica
http://www.arsmusica.ca -
Hi Will- The workflow I have used for BMCC RAW is to grade the footage in Davinci first, then bring it into SVP in a format that suits the output needed.(Internet, widescreen, cinema,etc) The RAW image is quite flat and DaVinci is really optimized to grade it into the proper look very efficiently. Usually, I won’t shoot a project with a BMCC in Raw unless the budget allows for a 3rd party colorist who works with Davinci a lot.
If the budget can’t handle the colorist, I will shoot with a camera that has a good basic “look” like an FS-100, NEX-VG30 or a DSLR. You can get fantastic looks with the BMCC, and the 4K I have seen looks amazing,but the workflow is best when you can use different software tools.Colin Mendez Morris
ArsMusica
http://www.arsmusica.ca