John Heiser
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All good suggestions. I may not be inside again until next month, but I may be able to communicate through the chaplain’s office. Will update when I have more info. Thanks!
John Heiser
Senior Editor
o2 ideas
Birmingham -
If the discussion is basically a Q&A, you might get away with manually editing the responses. It might be easier, though, to keep all the mics active and keyframe the track volume.
Or you could try keeping all the mics active and adding a gate (Dynamics effect) to each track in the Audio Track Mixer. The default attack time probably will work, and you can set the release time to something longer and gentler. The threshold level will be key – you don’t want the gate to open when the guy next to the mic starts speaking. This method, if it works, will also enable you to make edits to the conversation without having to adjust keyframes.
John Heiser
Senior Editor
o2 ideas
Birmingham -
Why not just export an XML of your project and do a test import in Resolve?
Scroll down this page to the XML section:
https://helpx.adobe.com/premiere-pro/using/exporting-projects-applications.html
and give it a go.John Heiser
Senior Editor
o2 ideas
Birmingham -
Exported video looks like it does on your timeline. If you shot log and add a technical LUT to make it look better while you edit, that LUT will be applied on export and show up in the resulting file. If you’re handing a project off to a colorist for finishing, there are a few ways to do that:
– Strip all your color effects from your sequence and export a single PR4444 file (and, I think, an EDL might help). Your colorist will cut the file at each shot (the EDL can help with that) and apply a grade, and send a graded file back to you.
– Pack up the entire project onto a hard drive, export an XML file, and send both to your colorist. He/she will then have the original media to work from. To make that package smaller, you can use Project Manager on a copy of the project to cull out media you didn’t use (keep the original).Those are absurdly simplified explanations of a process that can go wrong quickly if you don’t know what you’re doing. I suggest you ask your colorist what his/her preference is; a good one who’s not interested in unnecessary work cleaning up a poorly-prepared project will be able to guide you so you give them what they need. So use a good one with some experience who can do that.
John Heiser
Senior Editor
o2 ideas
Birmingham -
That’s good info, Todd.
John Heiser
Senior Editor
o2 ideas
Birmingham -
This is the same net effect of a submix track, except that if your all your tracks combined to levels exceeding -0dB, you’d get some nasty artifacts. Pulling back the master fader of your nest fixes that, of course.
One advantage to using the nest method is your Audio Track Mixer has fewer faders – just one for the nested sequence vs. keeping all the faders for your SFX tracks plus adding one for the submix. The disadvantage of the nest is that you have to step in and out of the nest to adjust individual clip or track levels, whereas the submix method keeps everything out where you can easily get to it.
John Heiser
Senior Editor
o2 ideas
Birmingham -
Olivier,
There’s no such thing as “23.97 NTSC.” People misuse “NTSC” as a synonym for anything made in the US, as well as using “PAL” for anything made in Europe. These are inaccurate.
Broadcast frame rates in the US are based on our 60Hz electricity. Early TV technology established 30 fps but interlaced from 60 fields per second. That’s where the “i” comes from, and it persists today. But motion pictures are (generally) shot at 24fps. Putting 24fps material on 30-frame TV requires some manipulation of frames in order to play it in real time; this is called “pulldown.”
The decimal-place frame rates came into use when TV went full color; in order to get all the signals timed together and be compatible (color TV had to still be viewable on a black-and-white set), the overall frame rate was adjusted to 29.97. This meant the frame rate adding pulldown to 24-frame material had to actually be 23.976. 24-frame footage shot today for American TV is actually 23.976 fps.
“29.97i” and “59.94i” are, I think, able to be used interchangeably. Both refer to the same number of frames per second. (There is also 59.94p, used in a 1280×720 frame on some US channels, including ESPN, Fox and ABC.)
European electricity is, I think, 50Hz instead of 60Hz, so substitute “25i” for 29.97i and “50i” for 59.94i.
24fps is not “the same” as 25fps – they’re just close.
John Heiser
Senior Editor
o2 ideas
Birmingham -
Can you post your system specs – CPU, GPU (probably irrelevant), other hardware? That sounds like a sound card issue.
John Heiser
Senior Editor
o2 ideas
Birmingham -
The Voice Over Record function in the timeline (doesn’t use the Capture function) puts clips only in the root of the Project Panel. I just did a test and that’s where it went, regardless of what bin I had selected.
https://helpx.adobe.com/premiere-pro/using/recording-audio.html
I suppose you could use Capture to grab audio-only from whatever hardware you’re using to get the mic into the system – hadn’t thought of that. Typically that hardware is a capture device like something from BMD or AJA which, if you have a mic attached to that, would work fine and allow you to choose the bin for the clip.
John Heiser
Senior Editor
o2 ideas
Birmingham -
Sequence presets are really just a convenience and don’t have any effect on exports. An Arri preset isn’t functionally different than a DSLR preset. The presets are present as a convenience to help you match frame size and frame rate to a camera or delivery format.
The Video Previews file format setting can help with smart rendering, though. For example, I set my previews to QuickTime ProRes HQ, since that’s usually my mastering format, and I render red-line sections (or the whole timeline) prior to exporting a “Match Sequence – Use Previews” master file. Smart Rendering saves time by bypassing having to render effects again, using the preview files to compile the output movie.
Shane’s comment below is correct – for sending to a colorist, export to a “mezzanine” format with a codec such as ProRes 4444 or DNxHR.
John Heiser
Senior Editor
o2 ideas
Birmingham