John-michael Seng-wheeler
Forum Replies Created
-
I have no idea about the transcoding with sync sound… that doesn’t make any sense to me. They must have some specific workflow that they use. I personally would never transcode except for offline, and those would still be independent of the audio. (I shoot with a 788T. Far better preamps then any other portable mixer or recorder, and 96kHz to boot!)
The only real reason for the Lockit box that I know of is because the Alexa loses TC sync if the power source is removed. With the Lockit you no-longer have to worry about remembering to rejam. Also, technically, the Alexa drifts rather a lot. The manual says 8 hours is the longest you should run without rejaming, which is not very good compared to the lockit box. They may feel this isn’t actuate enough and so want you to use the box. There is no other reason that I know of to use one.
-
Ah yes, the wonderful “Unknown error”
Try:
1) Restart the computer.1) get rid of the unusual characters in the file name, just use A-Z 0-9, (you have a couple spaces an a “Č”)
2) Try rendering just part of the sequence.
3) try rendering another project.
4) get rid of any really large images in the sequence. (you can delete them completely and if that fixes it then you can put
5) Copy the entire contents of your finished sequence to a new project. (this may not copy everything, so check your project carefully afterwards. (CS3 didn’t copy transitions, CS5 does. I skipped CS4 so I dont know what it does.))
6) Try a reinstall of the whole program.
These are just general troubleshooting tips… Anyone else feel free to chime in. (Especially if you’ve edited GoPro footage)
-
Should have said “No fields (progressive scan)” Rather then “none” I edited my first post.
-
Ok, What this camera is recording is 24Psf. That means that the camera records 24p in a 60i signal using a 2:3 pulldown.
When you lood the footage into Premiere (or AE) you need to right click the clips (you can select all of them at once) and click “Modify>Interpret Footage” Under “Field order” select ” conform to no fields (progressive scan).
From now one the footage should behave exactly like true 24p footage.
JM
-
I’ve swapped P2 footage for stuff with only 2 tracks, though not the other way around like you’re trying to do.
How are you swapping the files? Are you useing replace media or making the files offline and then linking to the new files? Which ever you’re useing you should try the other.
The real problem is that premiere isn’t really made for an offline/online workflow… adobe’s philosophy is online all the way. AVID would do this best. I aggre though, his AVCHD footage sould work much better. P2 is just plain funny to work with sometimes.
-
[Gabriel Sanchez] ” premiere cannot do this because the original files have 4 mono channels.”
What do you mean by “cannot”? Is premiere giving you an error message?
Why are you editing this offline anyway? Your computer would appear more then capable of an On-line edit.
-
If it’s not there you can use “Make Offline” and then “Link Media” to achieve the same result. If the original files are in the same folder structure as the proxies, you may be able to relink batches of files at once. (seems to be hit or miss… I managed it with HDV footage but not with P2.)
-
You shouldn’t be comparing how the video looks on YouTube/Vimeo to how it looks in QuickTime on your computer cause QuickTime isn’t playing back the file correctly it never has, and it never will. FCP editors have been dealing with this Gamma problem since the beginning. The problem is QuickTime.
Where else is QuickTime entering into this project? You aren’t perhaps editing ProRes files are you?
If you have VLC you sould try playing back the files in that. If they look dark there, then they’ll look dark once they’re uploaded.
If you can’t find the source of the gamma shift then you’ll need to just lift the levels to compensate and test the videos in VLC.
-
If you really want to make your video look wider without cropping then the easiest would be to nest your finished sequence in another sequence, go to the motion settings of the nested sequence, unlock the aspect ratio lock and decrease the vertical percentage.
This will squish the video exactly as you were doing in FCP, though without a generation loss from rendering.
-
Try exporting your sequence as an H.264 with a .mp4 (NOT .mov) extension, and upload that.
If it looks right on Vimeo then what you’re experiencing is the dreaded Quicktime gamma shift.