Joseph W. bourke
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You might want to take a look on findsounds.com. By my search, there were 200 car revving sounds – free. By carefully mixing a couple of them, or even keyframing the volume in one of them, you can probably achieve what you want.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I think it may have something to do with keyframes in the files, and maybe just the fact that it’s temporal compression, although I’ve had good luck with most VOBs by just changing the file extension.
Here’s some troubleshooting info which may help you out:
https://premierepro.wikia.com/wiki/FAQ:How_do_I_import_VOB_files_/_edit_a_DVD%3F
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Hi Matthias –
I think Walter’s right. I can’t think of anything other than the Puppet Tool that might fill the bill, short of a 3D package like Max. I recently had very good results showing a computer cable being plugged into a USB port, and used the Puppet Tool. It took a bit of finagling, but the results were very good.
You won’t find the Puppet Tool very intuitive for what you want to do, so go through some PT tutorials before you get frustrated. Adobe TV is a good place to start.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Simple. Just bring your logo into AE, then play around with the Layer Styles on your logo layer, using emboss, shadows, etc., until you like what you see. Then, depending on whether you’re applying it in AE or PPro, play around with transparency and maybe various compositing modes until you like what you see. Do this with a couple of clips, one with lots of whites, one with lots of blacks, so you can be sure it will work on any clip. I say “maybe” on compositing modes, because you want this to be a brainless operation once you get what you like; compositing modes might have you fiddling around to get it “just right”, whereas transparency and layer styles will just work, every time, once you get it dialed in.
You could also do this in Photoshop, using styles, and get essentially the same results. The Adobe Exchange has a huge array of free layer styles for PS, one of which will do the trick without any fiddling around, but you won’t have learned anything because you’re using a preset. Have fun!
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
You’re absolutely right, Alex. As a large broadcast station competing in both the NH and Boston DMAs, we had to manage lots of assets, and once we commited to the AVIDs running on Unity servers (which I fought against, but lost the battle with engineering), the problems began. Yes…assets could be shared, and projects worked on concurrently, but the fact that we worked in three shifts, for the most part (daybreak, day, nightside) negated any advantage of working on the same projects concurrently.
Add to that the fact that the SAN system of shared storage (not workgroup storage) worked like a charm, as long as the organizational skills were there, and there was someone riding herd on those who wanted to just use no system (the “my_files”, “Jims_stuff” people), it worked waaay better than the Unity system, which was attached to three AVIDs (Promotions, Commercial Production, and Chronicle, a daily magazine format news show), never worked as promised. There were crashes, re-linking nightmares, slow software, arcane GUI, and frequent visits from the guys in Tewksbury, who would blame everything but their system (OS, hardware, Nepture not aligned correctly…). The AVID system, as our producers figured out, cut our productivity by roughly 30 to 40 percent. But it allowed shared projects…
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Hi Alex –
The files were stored on at least two servers, and a tape backup system deployed on one of our NLEs (Edit* systems at first, transitioning to AVIDs on a Unity system – but don’t get me started on that). The rundown of workstations was more or less this. My Paintbox, (which ran Photoshop, Illustrator, Combustion, and 3DSMax – this was pre-CS at the time), and three graphics machines (running TypeDeko, Photoshop, Illustrator). These were connected to the Graphics Server, which contained all of my elements and master files (.aep, .psd, .ai, .max, .avi, .mov formats, among others), plus all of the day to day newscast elements which were used live, at one point from TypeDeko sequences triggered by the CG Ops, then automatically from the switcher, triggered by the TD or Director during the newscasts, then from a MOS system, directly linked to the AP scripting software, which allowed the producers to preview graphics before air time.
The Graphics server had a tape backup system, which, in my 14 years there, was actually used to restore once, and it didn’t work, since engineering hadn’t configured it correctly, and never saw fit to test it before deploying it. Luckily we didn’t lose everything, and I had a backup of the backup on another server, because I suspected all was not right with the tape system. Anyway – I’m getting wordy here, but it was quite a system, and my file management structure (common sense, really) allowed all of our shifts to access necessary materials for the newscasts without phone calls or emails.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Even though there is currently no workgroup implementation in which users can actually share and work on projects concurrently, there is a workaround using Adobe Bridge, a very powerful file management package that comes with the various CS versions.
I used it, as art director at a broadcast station to manage hundreds of thousands of files – QT movies, AE projects, stills, audio, and on-air elements – on a daily basis. The only key to making it work was organization (none of this “my stuff”, “Judy’s Projects” and other crap that so many people use). Every project was named just what the project was (“Conversation_with_the_Candidates”, “News_Opens_20010”, etc.). And all files were appended with a numbering system which allowed you to see just which After Effects project, for example, was the latest one worked on. Then when approvals (our internal clients were News, Promotions, and Sales) and changes came through, I would simply add “REV1”, “REV2”, “FINAL” to the project file, so that anyone, on any shift, could fine the necessary materials needed without a phone call or email, or countless minutes searching the stupid “my stuff” folders. It required constant policing, since many of our graphics people were fresh out of school, and didn’t have the foggiest idea why you would want an intuitive, easy to use system for thousands of files, but it worked like a charm.
By using the Collect Files feature in After Effects, and the Manage Project feature in Premiere, we could share an entire project seamlessly using Bridge on our Networks. As a matter of fact, this system worked way better than the AVID Unity system for our five NLE’s which constantly crashed (although it did allow workgroup sharing, when it worked), and was re-linking all the time, and losing projects and elements. I found that AVID promised everything, and then, when it didn’t work, made you buy a 15 thousand dollar solution, or blamed it on the hardware or the OS. Just my take on it, from experience.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Hi Mark –
You don’t say in your post whether the banding is in your original T2i footage, or whether it’s being introduced in post (which I assume it is). If it’s not in the original image, you may want to change the color bit-depth settings in your AE project, if that’s what you’re using. You have the option of using 8, 16, or 32bpc (bits per channel), and this can have a great effect in reducing gradient banding. Check out this info from Adobe:
https://help.adobe.com/en_US/AfterEffects/9.0/WS81984DEB-D195-4822-9A06-EA0D00A0ECC7.html
If you look at Todd Kopriva’s info at the bottom (and you’re using CS5), there’s specific info on reducing gradient banding in his link.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Hi Luis –
You may want to take a look at Camtasia for the Mac. Although recently released for the Mac platform (I think it’s on its’ second version now), it is a very powerful and intuitive package.
I produce training videos for a client’s use on the web and on handheld devices, and my workflow has changed over the first five or so projects.
Initially, I would read along with the script, and roughly time my screen movements with the mouse to hit the rough read of the script. Then after a couple of rehearsals, I would record it with Camtasia, which gives you the ability to track mouse movements, and then automatically add zooms to the critical screen real estate. I would then have to do a lot of dissolves and edits to time it exactly to the VO in Premiere Pro – a lot of work, and once in a while I would have to go back and recapture in Camtasia to get it exact.
Over time, I have found that it’s WAY better to produce the final, approved script in the recording studio, convert the .wav file to .mp3, then play it back on the computer which contains the client software and Camtasia. It takes several rehearsal to get the timing right, but when I bring it into Premiere Pro for the final edit, to add graphics, music, and titles, there is no editing necessary for the screen capture segment – it matches the VO perfectly.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Andy –
Be very careful working with local artists. They sometimes get stars in their eyes and the gleam of your money in their head. We once licensed (in writing) a local acoustic guitarist to use his music cut for the open of a show on local cable.
Within weeks of the music bed being used, and signed off on by the guitarist, he instituted a frivolous 100 thousand dollar lawsuit against us, which cost us thousand of dollars to have thrown out of court.
Your best bet is licensed music. I regularly use Stock20 (20 bucks a cut – quite a bit of good music) and Pond5 (price varies, but mostly under 50 to 100 bucks) which has a wide array of music.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com