Joseph W. bourke
Forum Replies Created
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Hi Rick –
Here’s my two cents – I take the “cut piece” to mean the edited piece, just what you’re thinking. By “master HD”, I’m guessing that they want you to master the output in Hi-def and send them the master, from which they will make distribution copies for whatever needs.
By “DVD screeners” they mean a DVD copy to be screened for, I would assume, approvals and changes. They want “burned in timecode”, which is the actual timecode of the edited piece running in a little window at the bottom of the screen, so that they can accurately reference any changes to your “cut piece”. That’s why they want the timecode on the “screener” to match the timecode on your edit master.
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
I would bring the clip into After Effects, then create a feathered mask and do a color correction to reduce the red. You could first try out whether this would work by playing with the clip in Premiere (without the mask). This will at least give you an idea of whether the process will work.
The right, time-consuming way, would be to rotoscope the mask in After Effects and do the color correction within the rotoscoped mask. This would no doubt blow out any profit you are making on the project. I assume there’s no chance to reshoot?
The other option, is to just let the reality of it go. Some people have red noses due to a wide variety of reasons: rosacea, stress, high blood pressure, etc.. If the content is good, maybe you can just live with it?
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
As with any technology which requires the user to bring some capabilities to it, there should be a disclaimer saying “Talent Not Included” on the masthead of the website.
It amazes me the number of people out there who just bought Final Cut Studio and are now editors, or those who bought a prosumer HD camera who are now Cinematographers (not even just Videographers, mind you).
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
Hi Mitch –
It almost sounds as if you might be encoding with a combination of fields, then encoding without fields, or even crossing the fields (using upper field first in one pass, then lower field first in the next). The other possibility is the quality you encode to from your “master” uncompressed file.
If you post some of the specs of these passes, it may be clear to someone on here with more knowledge than me (I might even come up with an answer…who knows?). Give the specs on your lossless format, then the specs on the encoded files. If you are doing anything in the DV realm (DV25 or DV50), you may find that what looks like absolute garbage played back on the computer looks fine when delivered to a playback system. You might also want to get down what you are delivering for (tape, playback system, NLE, etc.). These are all clues to the problem. Many times clips get trashed by either cropping (say from 720 x 486 to 720 x 480) so that the field order gets trashed. There’s too much to speculate on without the facts.
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
I believe that this is what the ADR (Automated Dialogue Replacement) phase of a project is for. Not to remove crossed dialogue from the track (which, to my knowledge, can’t be done without hurting the major voice in the track), but to replace the original with a higher quality studio recording of the voice. Check out this link:
https://en.wikipedia.org/wiki/Dubbing_(filmmaking)
That said, if all you’re getting is the second actor in areas where the other actor isn’t speaking, it’s simple: select the section where the second actor speaks, and use the “insert silence” function (I think it’s CTRL-T).
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
You need to convert the CDA to a .wav or other format understood by Premiere (see the import file list). Do a Google search on CDA to Wav and you’ll find a lot of rippers that will do the job.
I think you can even do it in the Windows Media Player these days.
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
This should get you started:
ftp://ftp.panasonic.com/pub/Panasonic/business/provideo/whitepapers/WP_Using_P2HD_with_Adobe_CS4.pdf
The most important thing to know is that you need the complete folder structure from the camera drive.
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
Hi Thomas –
I have done this with dozens of projects in 3ds Max. I have always had the best luck with Quicktime Motion JPEG-A files. Output your file from AE, create a material in Max that has the bitmap (Max treats video as a bitmap file). Setup your plane, or whatever you want your video to appear on (making sure your plane size somewhat matches your aspect ratio). Decide whether you want interlaced or non-interlaced footage. A good way around this is to export from Max at 60fps, then you can decide how to deal with it in AE.
The beauty of doing this in Max is that you can very easily change the footage, or adjust the timing (in the material editor) to give you proper in and out points. It’s much easier to deal with it in Max (once you’ve got the gist of it) than to try to cob it together in AE. I suppose you could export the camera information from Max (which works quite well by the way), but it’s really easier to do it all in Max. Good luck!
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
Here’s a good place to start:
https://www.planetaep.com/Particles_and_Text/
You can also get some smoke, sparks, and explosions (real) at:
Detonationfilms.com
The effects on Britain’s Got Talent look to me to be AE’s built in particle effects for the bursts, Particular, and a couple of real flame/smoke FX.
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com -
Hi Erik –
I’m sorry to say that I haven’t found a way to view duration, and no one has weighed in to help me here, other than Rob above. My workaround was to bring the VO I was working on in Soundbooth into Premiere CS4, and select it there, at which point the duration showed up in the program viewer, just like it should in any software with a timeline. If this feature got left out, I’m absolutely appalled (as I said earlier, I may have missed it somewhere, but it should be obvious and intuitive).
Was this software designed by someone who has never used a timeline before?
As far as the multi-track selection goes, it’s usually pretty standard to be able to select non-contiguous tracks by holding down the CTRL key (or Command on the Mac) while selecting them. As I haven’t worked yet in multi-track mode, I don’t know for sure. Barring any oversites on the design side, it should work. I have only been using Soundbooth thus far for trimming and adjusting raw voice-overs (taking out breaths, pauses, paper noise, etc.). I do my multi-track music and SFX in Premiere.
Joe Bourke
Creative Director / Multimedia Specialist
B&S Exhibits and Multimedia
bs-exhibits.com