James Barry
2
After Effects Coins
3
COW Coins
Forum Replies Created
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Your workflow sounds a bit wonky, but if the issue is that you cannot see an AE clip (dynamically linked) you could, for final export, right-click “RENDER AND REPLACE” the AE linked clip. Flatten it. But I wasn’t really clear on what sort of workflow and nesting you’re doing.
If your’e just exporting video clips with baked in logos/bugs and CTA/End Card, why don’t you just create those templates in After Effects and export them as Lossless with Alpha so they’re plug-and-play with any clip you put them over? If the graphics you’re tossing on are always the same placement, timing, etc, you don’t need for them to live as live editable AE dynamic links. And in the end you will also speed up your render times so that premiere doesn’t need to render all your AE links as it’s goes through your sequence.
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Without further details all I can give you is some random help. Here are a list of things to check in list of order to check them in.
– Check to see what your computer’s OS audio output is. In OSX option-click the speaker icon in the top right and be sure that the correct output is selected
– In Premiere go to Preferences>Audio Hardware and under “Default Output” select the correct output so that it matches the output of or operating system
– If you’re still not hearing play back, but your audio is registering on the audio meter, solo one of the audio tracks and then UN-solo that track.
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To be honest I think your issue is the Sennheiser AVX. We stopped using them in our studio and out in the field. The latency is such a headache. I get ease of use and setup is a huge selling point for people who don’t want to be bothered with scanning channels and such, but to me it’s totally not worth it. And IMO the audio quality from the capture isn’t as good either. The Sennheiser G3 system is much better. The only time latency comes into play with the G3 is when batteries start to die.
Sorry I don’t have much in the way of suggestions for post in so far as recommendations for hand syncing, to me that is an ok option but will still have some echoing if your’e mixing down both audio sources. Hard to hand sync audio in Premiere even with your sequence set to Audio Units instead of frames, just not what the software was made for IMO.
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For starters, I wouldn’t make your color matte 100% pure white because the white seamless you have behind the person on camera probably didn’t record as perfect white. So I would say your first step is using the “eyedropper” when selecting the color for your matte and selecting the color of the white background behind the person on camera. This will “match” your matte to the real world color of your white background.
Additionally I would also feather the mask you’re putting around your person to make sure the blend doesn’t have a “seam”
I would then nest the above stacked footage and color correct the nest so that whatever changes you make for the footage of the person is also reflected in the color matter.
Another thing to consider is that white surfaces are reflective. So if your person is moving in frame, the color of the white background in camera is going to change due to the changing color of the light getting reflected from it depending on how close the person is standing to the white background.
And finally, bit rate and codec may cause a shift in color blending since it’s trying to shrink the size of the video and may be eliminating some color channels to do that.
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Man, I honestly have not heard of that happening and seeing that response from the software. Any luck asking about this on the Adobe offical forum?
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Is the folder tree you’re using locally on your RAID an exact duplicate of the one on the SAN? I’m not familiar with using Team Projects, but I do currently work at a production studio with a SAN. And my team has found it best to make sure any external storage has an identical folder tree when moving projects. But if you’re saying that the media browser just flat out needs you to link every single clip individually because it can’t “find” them, that’s a horse of a different color.
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“I think where PluralEyes is really meant to be useful is for those who say shoot with a DSLR and record all audio to a secondary audio recorder for better quality, so they could have many dozens of video clips with audio, that need to be synced with all the secondary audio clips. That would be a nightmare to do manually!”
This is not true at all. I work at a major media company and we use Pluraleyes to sync footage on all of our multi-camera shoots. Shoots being shot on Canon C100 and C300 cameras set up with shotguns and wireless lavaliers recording directly into camera via XLR. Because of the amount we shoot, and the the amount of content we put out, hand sync’ing would be a nightmare.
As you said, right too for the right job.
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Investing in a copy of PluralEyes 4 would be handy if you generally work on projects of this length with audio files of that size. I find it reads and sync’s faster than Premiere’s built-in sync.
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What settings are you using to Sync? Are you using Audio>Mix Down?
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First things first, what version of premiere are you working in?
Without seeing your project the best I can do is give you some suggestions for a solution which may or may not work.
If this is just one long continuous video, it looks like live capture game play, and not multiple clips you might want to just export the entire video at real time with the timecode baked in without nesting it. Then pull that export into your project and speed up the sections where you’d like.
Alternatively, have you tried not nesting the timecode to the video and speeding each one up individually with the same settings?
Nesting certain things like text layers, and it appears timecode, can cause some bugs and issues. This type of nesting is generally better done in After Effects since that is more of a graphics based system rather than Premier which is an NLE.