David Sikes
Forum Replies Created
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Thank you so much for that information! When you say “plumbing problem” – do you mean the cables themselves? What should I look for when getting cables?
Thanks again.
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Thank you for the response! The ATEM Mini Pro input is an unbalanced input. I believe it’s a stereo feed, but I could be mistaken.
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It’s hard for me to overstate how big of a deal the increase in time remapping max % is for us. We work in sports, so speed ramping is practically a way of life for us.
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Thanks Dan! That’s exactly what I needed.
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[Shawn Miller] “You can’t D&D from AE to PPro though, you have to use the Media Browser or the import dialog to do that. 🙂
“Minor correction, Shawn—you can drag and drop a comp from AE to the Premiere project view, just not into the timeline.
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I ended up skipping the show at the Space & Rocket Center because of this—the dome is a pain to watch a normal movie on!
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Hey Todd. Thanks for the response. Another Huntsville guy here!
I totally get that much of that look comes from a lot of things outside of the camera. I’ve noticed that some cameras do tend to help out, however, more than others. So anything I can do to carry the look further, I’d like to pursue!
I’ll try to find a clip of what I’m looking for. It’s kinda a combination of things, so I’ll try to find just one that best expresses it.
Honestly, shooting this on film is really what I want to do. The look of 16mm is really what I want. But I have zero experience using film for moving images. I don’t have a clue how to even try it, rent what I need, etc. Any advice there? Recommendations? Willingness to help out a guy eager to learn in Huntsville? 😉
(btw, I’m the in-house video guy at Baron Services and do freelance work outside of that.)
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This doesn’t answer everything, but on Vimeo you can control where your video is embedded and lock it to certain domains, at least somewhat preventing them from being freely embedded anywhere.
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[Sam Graff] “(Lots of my shots have been scaled to new sizes. I have key-framed matted layers that track with movement, scaled layers, warp stabilized shots, etc…) “
Sorry, I missed that. Ignore my first recommendation.
Set To Frame Size might just be your best friend in this context. When I’ve done this, and had to reconnect 4K footage in a 1080 timeline, it was for me. It’s even a hotkey for me.
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I’ve done this before. Three solutions have worked for me in the past:
1) Scale your source footage to 1080. If you’re delivering to 1080, why not? If there are clips you’ve done substantial post-cropping in on, you can manually replace those clips with the 4k source material and just scale to taste.
2) Duplicate the sequence and change its settings to match the scale of your UHD footage. Make manual adjustments to effects and titles as necessary.
3) Replace everything. Select all your clips and use either Set to Frame Size or Scale to Frame Size. Not sure which one is better in this context.
No matter what, Premiere sucks at offline/online. It’s intended to work with footage natively. But there are times when that’s not ideal and you have to go through all of this. I wish they would develop a proper proxy workflow.