Jon Doughtie
Forum Replies Created
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Certainly going to add this approach to my toolbox. It may work better than another approach, depending on what you shoot.
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Part of the decision depends on your work, and the additional software/plug-ins you use. Some companies still make goodies for Mac-only. If you are swimming deep in the Mac-only plug-in and additional software ocean, you would want to research PC options to replace those.
If that doesn’t describe the way you are using your system currently, then choosing becomes a bit simpler.
When we transitioned to Adobe, we were placed on PC’s (our company is almost an almost completely PC universe.)
They have worked great for us. They spec’d the machines well, and factored in the kind of work we do.
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A great deal of what I do is short-form, so I tend to use the first option. Also, I started in the linear editing days. So while I am doing my initial rough cut, there’s still a lot of “previous shot/this shot/next shot” in my thought process.
For long form I will sometimes choose different workflows, depending on the material. But I will still go back through the timeline on the rough cut with that linear thinking.
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Also what file type are you exporting? If highly compressed, like MP4, or h.264 codec, try another format and see if the audio issue disappears.
Also try exporting using Media Encoder.
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Most folks start be creating a timeline that has settings matching what they need for their final deliverable product. Drop your footage in and Premiere will handle the frame rates.
If you get any objectionable artifacts you can address those on a casy-by-case basis.
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I use this bitrate calculator – https://www.videohelp.com/calc.htm.
My workflow would be to render a master file or files. Then I would render DVD MPEG’s at the settings recommended by the calculator. Then author in Encore, as opposed to going straight from Premiere.
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What Blaise said.
All things being equal, most video recording formats just don’t have the “maneuvering room”.
Video isn’t stills in RAW. Apples and Buicks. They’re just different, and video requires we do more homework up front (before and during shoot) so we still have some hair left during and after post.
Been shooting video for decades. Never regretted white balancing in the field.
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I have run into this on the timeline too. My solution is to use Audition to modify the clip.
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Looks like two FX. One is a slight push-in. Could be a simple FX zoom-in on the shot. Then it cuts to a brief bit of slo-mo. Nothing too exotic.
Not the following shot starts in slo-mo, then comes back up to full speed again.
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Super-Tight Junk Mattes is an old technique, but it often works.
Skip the rotoscoping, and have far fewer pixels to process for key. Worth a try.
And at least 4:2:2 colorspace will help, for sure.
https://www.youtube.com/watch?v=-UdeEEppEIA
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