[Jeffdriscoll]

I can only speak from experience in regards to 4:3 in 16:9 – when I’ve doen it before there’s been no problem with the footage other than the fact that it won’t fill the frame – it’ll be pillarboxed with black bars on either side, but since you’re looking to splitscreen them you won’t have a problem worrying about filling the frame when you add the second source.

[Jeffdriscoll]

Fantastic! This will seem to work for the effects that apply to every voice in a track.

Thanks – I think it’ll solve my problems.

Enjoy the rest of your night (depending on your time zone, I suppose?) and the rest of your holiday season!

[Jeffdriscoll]

OK – follow my train of logic:
-Deleted all instances of the DeNoiser on the two clips (there still are a couple other ones on there, but there’s no pop so it’s OK)
-Apply DeNoiser to the first clip, second clip runs fine (has the hiss, but no pops)
-Apply DeNoiser to the second clip, there’s a pop. This seems like a good time to mention that the pop isn’t always consistant, sometimes it’s more or less than others and *sometimes* it’s like the audio dampened and slowly comes out of it. I’ve decided that it must be something based on playback, but then there’s the problem of the fact that it renders with the pop. Even if I disable DeNoiser on the second clip there’s still a pop. Also important to note now then that on playback it seems sometimes that the results I’m getting are different each time, still as if there’s an issue on playback.
-Delete both DeNoiser instances, sounds fine.
-Apply DeNoiser to *just* the second clip* and there’s a pop again!
[there is DeNoiser on one other clip in this sequence, but it’s a stereo clip and in a different part of the timeline)
I have to wonder if this isn’t maybe something specific to that clip (the pop occurs anytime I stop the playback and start it again over this clip). But I brought in a clip from another sequence [although it is from the same source file] and it happened again.

“I’m sure this is going to be a workflow nightmare since you seem to be pretty far along in your project, but one thing to try would be nesting the clips (drag to new sequence) and applying the effect to that new sequence. That might mean isolating different scenes to different tracks and creating a new sequence for each track.”

I’m afraid I’m not following here. 🙁 I’m not sure how to apply an effect to a sequence?

I’ve been reading a lot online trying to research and I’ve found a lot of sources that suggest putting the clips on a submix and applying the effect to the submix. Now I’ve created a submix track, but I can’t figure out for the life of me how to do anything from here on out. [Maybe I’m just thick and not understanding things!]

THanks again for all your help Vincent

[Jeffdriscoll]

Hmm. Have experimented quickly, but I still find applying two denoisers gets me a better result, but the boost ability is going to be great to help pump out a little bit more sound out of the quieter tracks.

I’ll ask just one more question of your time: can you explain reverb effect? I’ve got sounds with a little bit of echo and I’m trying to dampen them down and while I’m moderately successful, it’s not great and I think part of it is because (as before…) I don’t really understand what each option is trying to give me. Is there a better tool to try and remove echo?

Thanks for all the help today.

[Jeffdriscoll]

Is there a good (man I’ll feel dumb if this is on Creative Cow somewhere) online source that explains – in rather laymens terms – what these filters mean & how to use them? I have no idea what half of these fancy words mean ;). I’m basically running on luck here, just tweaking sliders in a trial and error method until it “sounds better.”

[Jeffdriscoll]

^ Premiere Pro 2.0, forgot to include should it matter.

[Jeffdriscoll]

The problem with loading the original clip and changing it is that all the voices are in the same clip, so the entire clip doesn’t have the changes.

I’ll check out that paste attributes; thanks.

[Jeffdriscoll]

I e-mailed Robert Sheldon at Alfred Music Publishing who I know from a local group that he directions:

“from what I understand…reproduction of any published arrangement of a piece would fall under copyright protection. If the piece is PD but the arrangement is not, then the publisher should be contacted to obtain permission. Sometimes the publisher will provide permission gratis, but usually they require at least a minimum fee. The method used is typically 8 cents per piece (unless it is a very lengthy composition) times the number of CDs or DVDs sold. There is sometimes a minimum fee, like $500 for example, so if the total of the 8 cents X number of copies amounts to only $60 or so, you still have to pay the $500, but this depends on the publisher.”

[Jeffdriscoll]

Jumping back a little in the thread…

“I was under the assumption that if an orchestra is playing a piece of music that is the public domain, there shouldn’t be any issues. ”

In my limited knowledge of this stuff from a purely music perspective, if a band (speaking concert band, not rock) or an orchestra releases a CD they still have to get permission from the publisher of the music to use that. My understanding is that while the “melody” is public domain, it’s the arragnement – the parts, the chords, the instrumentation, the varaitions – that the band is playing where the hang up comes. I’m contacting someone I know in the music publishing world to see if he can shed any light on this. About a year ago, a concert band he conducts sold a Christmas CD with songs that you’d assume are public domain, but he still had to go through steps to secure rights to sell those tracks.

[Jeffdriscoll]

Well, what we ended up talking about was having clickable places on the map that opened a pop up window with the information in it. I think that’ll work just great.

We’re also going to have the JavaScript load various transparent overlays to accomplish my issue with layers. I think it’ll actually work… now I have to get the map made…