Kylee Pena
Forum Replies Created
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Sorry, I’m totally skipping steps in my explanation and I didn’t mean to 🙂 When you look at your sequence settings, what is your editing timebase? If you’re creating a new sequence by dragging a 60fps clip to the new sequence icon, then your editing timebase is likely 60fps.
So no, you’re not using the extra frames. You can try something like this: create a new sequence by going to file > new. In the settings, choose something like AVC Intra 100 1080P, with an editing timebase of 29.97 fps. Then drop a 60fps clip you want to do some slow motion effects on, and play around with remapping time — that allows you to have a clip that is regular speed then suddenly slows down (or the other way around). Here’s a good Adobe resource about time remapping because it’s kind of weird to do at first and I’ve always been really bad at explaining it.
But to be clear, you’re putting a 60fps clip onto a 30fps timeline, so you can use those extra frames for real slow motion. What you’re doing right now is putting a 60fps clip in a 60fps timeline, so when you slow it down, you’re decreasing the frame rate below the sequence’s timebase, which doesn’t give the best results.
Does that make more sense? Again, if what you’re doing is giving you acceptable results, that’s great. This is something to experiment with for sure.
blog: kyleesportfolio.com/blog
twitter: @kyl33t
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Okay, I guess I do have a question. Are you editing at 60fps or 30fps? When I read your post originally, I thought you mentioned editing at 30fps, but you only mention exporting it at 30fps.
If a vast majority of your footage is 60fps, usually that’s what you’d want to choose for your sequence’s frame rate. My first instinct is that the under-the-barrels camera is kind of low-fi and not use as much in the edit? Is that right? In that case, dropping that 30fps clip into a 60fps timeline will mean Premiere will try to write the extra frames. It might look funky. But it might not, if it’s the kind of camera I’m thinking of. You could also try to use a tool like Twixtor to convert that to 60fps if you wanted.
BUT I would really consider editing at 30fps so you can utilize the extra frames in the GoPro stuff for slow motion effects. Shane Ross wrote an article about GoPro workflows that mentions how you can use interpret footage which would probably be more helpful than me trying to describe it. That would be cool, and it might make your editing life easier. But if you’re not having any difficulties, you’re probably mostly doing everything right. Yay, internet!
blog: kyleesportfolio.com/blog
twitter: @kyl33t
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It mostly sounds like the editing part of your workflow is fine. Are you having issues that are causing you to ask for guidance, or are you just wondering if you’re doing it correctly? Because that part sounds fine to me so far.
If you’re looking for music, one resource that a lot of people use is incompetech.com. But you’ll hear those tracks everywhere. You might look into buying some music from Digital Juice (like Stacktraxx) or using Sonicfire Pro or something like that. Things you can put a little money into and get a bit more use from.
With the After Effects part, the process you describe (taking a shot into After Effects, doing the work, exporting it, and dropping it back in) is how we used to do it before Dynamic Link offered to do that process for us (and a lot of people still do it the long way because Dynamic Link has forsaken them, or their systems can’t handle it, or both). I still think that’s a solid way to do it (as long as you do those AE comps after your edit is locked), and I even used that method for a bunch of stuff this time last year, exporting shots from After Effects as ProRes files and importing those into Premiere.
In Premiere 2014, “render and replace” was introduced, which means you can send a shot with dynamic link from Premiere to After Effects, do the work, go back to Premiere, and “render and replace” the shot, so it’s playing a flattened version instead. It’s basically automating and simplifying the old-fashioned way, so that might work for your current system.
blog: kyleesportfolio.com/blog
twitter: @kyl33t
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Or maybe they’re put off by the number of posts that say things like this about them.
To answer the question as a designated young(er) person, I haven’t had cable in a couple of years. I have Hulu Plus, Netflix, Amazon Prime. I borrow HBO Go with HBO’s apparent blessing but I’ll subscribe when it’s available.
I don’t really care about the ads. Obviously on the surface, watching an ad while using a service I pay for seems stupid. But it’s just more about access to me. Netflix is cool and has no commercials but everything on it is a hundred years old. Hulu Plus has fresher content without the cable bill.
If I didn’t have access to these services, I would probably still not have cable anymore. I think I’m in the minority there, but I’m cheap and work a lot and I pretend to value things like “outside” and “books” while I read trash on the internet.
Sent from my iPhone
blog: kyleesportfolio.com/blog
twitter: @kyl33t
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Of course I’m still paying on my loans. My crappy first gig after school only paid me $12 an hour.
I would describe it to you further, but it’s probably best to stay a little more positive. I learned things and grew and after four years of waiting out the economy, I got the opportunity to leave. During those four years, I was also able to get my side work set up and do passion projects that really rounded my skills out as an editor.
blog: kyleesportfolio.com/blog
twitter: @kyl33t
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[Richard Herd] “Pay off the student loans. Then quit the current steady job.”
While it’s obviously important to get rid of debt quickly, if I stayed in my first steady job and never bought any gear until my student loans were paid off, I’d still be at that crappy gig with no end in sight. It seems short-sighted to put your life on hold until one thing is paid.
blog: kyleesportfolio.com/blog
twitter: @kyl33t
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You’re kind of describing me during my first year (plus three more years after that) out college, like almost exactly. It’s good that you recognize that you could become stagnant. Once I realized that I was the only video expert in the whole company and I could get away with doing less than what I found to be acceptable work, I actively challenged myself to learn something new with every project. So for some, I made myself try a new technique in After Effects. With others, I tried pitching a project in a style I’d never worked on before. That mostly worked to keep me engaged for like two years.
The thing that really kept me going was using the stable job with regular hours to explore stuff on my own time and figure out what I wanted to do next. I was able to do a lot of independent film work and become a much better editor. I also directed a couple of short films and found that I liked writing and directing, but really hated actually shooting. And I did some other jobs or volunteer work that were nothing like video production work just to see what it was like. I had a lot of time to develop business relationships with people that I still work with today, on mostly fun stuff.
So with all that time, I was reaffirmed in pursuing purely post production work, and that ended up becoming my sole focus in my down time and then my next job move. It could have easily gone another way.
However, being someone that has always been really unhealthily obsessed with a linear path to career success and happiness and junk (to the point of working myself to terrible health in college just because I HAD to graduate in FOUR YEARS or ELSE), I strongly urge you to follow the advice in this thread about chilling out and realizing there may be no clear path until it’s behind you. That will save you a lot of anguish about moving forward in your career.
blog: kyleesportfolio.com/blog
twitter: @kyl33t
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I had a similar thing happen to me when I worked a corporate job where I felt unchallenged — the desire to do something else, but the job creatively sapped me so much I couldn’t find the motivation to do anything. I didn’t seek to switch to a completely new line of work, but the sentiment is the same. What I found to help me was a passion project I could do at night that would give me purpose while also helping me practice and get new skills that would help get me out of my current situation.
The nice thing about having a job you can go to every day is that you have the financial stability to try different things in the evenings until you find something you can pursue. The thing I sucked at was having patience with myself through this stuff, so I hypocritically suggest you take all the time you have and put ti toward exploring things that might make you feel challenged.
I don’t have specific suggestions for life after graphic design so hopefully someone else can add onto this thread with that, but I do think there’s plenty of options.
blog: kyleesportfolio.com/blog
twitter: @kyl33t
demo: kyleewall.com -
I’m in northeast Atlanta if you’d like to get coffee sometime – email me.
blog: kyleesportfolio.com/blog
twitter: @kyl33t
demo: kyleewall.com -
The minimum age to have aYouTube account is 13.
I believe with a private YouTube channel, you have to add people to it by email address, so they can only see it when they log in. So yeah, they can’t just hand it out, for your reference.
Keep in mind that YouTube videos are very easily ripped and can be reposted. All video online is subject to republishing one way or another.
(Of course, I made plenty of online accounts when I was 12 and lied about being 13 but that was long before YouTube and online video. I really wanted to play Neopets and my parents didn’t understand the Internet.)
blog: kyleesportfolio.com/blog
twitter: @kyl33t
demo: kyleewall.com