Lance Lewis
Forum Replies Created
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Winston,
1. While you could use the hyperdeck studio HD Pro to do replays, it will have some limitations because it’s really not designed to do that. Here’s what you could do. You take your Aux out from your ATEM TV Studio Pro and bring that into your Hyperdeck. Take the output from your Hyperdeck and bring that into your ATEM TV Studio Pro (let’s assume this in on input 8). Set the Aux output to be a clean feed (this will give you a program output stripped of any overlay graphics)
When a play is about to start, hit record on the hyperdeck. When the play is over, hit stop on the hyperdeck. Then put the hyperdeck into playback mode and cue the spot on the clip. Hit play on the hyperdeck and that will be coming in on Input 8. Cut to input 8 to display the replay. Dress it up even more with an upstream key with a graphic of “REPLAY” OR something like that.
Not elegant, super clunky….but it should work.
NOTE: There are designated replay appliances that you can purchase (BMD does not sell a dedicated replay machine at this time). Google “Sports Replays System”.
2. This can be done in photoshop. Google “Photoshop Plugin for ATEM Software”
3. I don’t know of anyone doing in person training as a dedicated position, but often you can find local companies that are willing to provide consulting. Check to see if there is a local videographer’s association. If that doesn’t work try calling or emailing local companies. If that doesn’t work, I’d be happy to talk to you over the phone! (I run an event video production company and do mobile set ups all the time. While I don’t cover sporting events, I am somewhat familiar with the needs. I am also a reseller for Blackmagic Design)
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In addition to what has already been said. If you are looking to use a camera that only has an HDMI output…as mentioned you will need to convert that to HDSDI if you need to go any type of real distance. HDSDI is super reliable all the way up to 360 feet with the right cables. But that means you will have to use some type of converter to get from HDMI to HDSDI. Atomos, Blackmagic Design, and Decimator make these as well as some other brands. However, I would highly, highly recommend the Decimator MX as it cost about the same as the other two but can do soooo much more. I have all three brands and wish I had only bought the decimators.
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James,
What is the format of the video that you are trying to import? Have you tried importing other videos of other formats and/or resolutions?
Not sure if this is part of the issue or not, but I would try to import several other video files and see if any work. If it’s only one that doesn’t import, than you can at least narrow down that it’s a problem with that one. I have had “funny” problems on occassion over the years with certain files. I suspect, that in my case, the files were located on severly fragmented and mostly full drives. Saving two a new drive solved the problem.
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Most likely what is going on is that another track is interfering with the ability to ripple edit. Lock all other tracks (audio and video) that you don’t want to move and the ripple edit option should be available again.
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I am not sure if I am following you correctly on this one or not. But it sounds like you are saying that you had a wireless mic plugged into this camera that captured the woman speaking into your microphone. Depending on the camera settings available (i am not familiar with this camera) it may have been set to only capture audio from the wireless mic, so when it wasn’t being used, you will hear nothing. But again, I am not sure if that is what you are saying or not.
It is possible to sync without sound though. Couple things to look for that will make your job much easier:
1. Is there any flashes from someone taking a picture? If so, super easy: because a flash is only going to span 3 frames, with the brightest part of the flash being exactly 1 frame only.
2. In the dance video, look for a jump or clap (not for the sound, but for the speed). These motions happen quickly and are easier to identify the exact frame. Although your cameras will be at two different angles or two different focal lengths (or both) you can still identify the point at which the hands first come together (a clap) or the point at which the first foot touches the ground (in a jump). It is a little tricky especially if one camera is on a wide shot, but it’s definetly doable. Once you think you have it right, check and double check yourself until you are confident.
3. Look for any other quick movement. A hand swinging, something that quickly reverses direction, a stomp. Anything that happens definetively in one frame will serve as a good syncing point.
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Try placing all your files directly on your mac (although it would be best if none of your files are on the system drive). You could even try running an external usb or firewire drive instead of a network drive. I realize that your scratch disc is set to your mac drive, however make sure that the box labelled, “save previews next to the original when possible” is unchecked. Make sure that your mac has enough space on the drive that contains the OS.
Not sure if these will solve your problem as there are a lot of unknowns here: your computer specs, space available on your mac, network speed of sustained througput (not burst), version of premiere you are using, are you editing HD or SD, etc…but try the above and see if any of it makes a difference.
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William,
I find it easiest to sync off of audio when using two different camera shots (close up and wide). Here’s what I do:
1. I put my wide track on the first line and then I listen to the audio. Let’s say someone says, “Welcome to the 29th annual YMCA dance review” I would hit stop right after review. Then I put a clip marker on this clip. Then I do the same thing with the close up video (either in the clip window…or if I do it in the timeline window than I turn off any other audio of course. Then I line these two markers up. This gets me close (I’m pretty consistent, so this usually gets me within 2 frames…sometimes I get lucky and nail it).
2. Now I expand the audio tracks for both cameras. I make them bigger as well so I can see the wave forms much better. I then use the audio wave forms to get the sync perfect. When you are syncing off of camera audio, the sound will contain a lot of ambient sound, so I look for a very clear cut point in the audio. You will have to zoom all the way in on your timeline as well because you will be moving your track just a few frames to make it perfect.
As far as keeping the two tracks in sync, this is easy: After cutting your first dance number, just do a fade to black at the same time that the theater did there fade to black, or when the group left the stage. Now cut out the footage that you are not going to use. Once both cameras have had the “dead time” cut out you will have a big blank spot on your timeline. Just do a ripple edit (right click your timeline, and ripple edit). The deadspace will be taken out. Again I am leaving out a few things here such as placing a title in between numbers…but it’s the same idea.
By the way, for the method of cutting that I described in my previous post, I just leave the entire wide shot on the line (minus the dead spots of course). The close ups are on the track above that, so really, I am only cutting the close ups away. There are many ways to skin the cat though.
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Victor,
I have used fraps for online video game capture as well. What version of Premiere are you using and what are the specs of your computer?
Lance
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All you need is a miniDV camera…any cheapo camera will work. Hook your camera up via firewire and (as long as your computer can handle smooth playback of your video) play your timeline. Of course you will have to make sure that you have the settings checked to play to external device (this is called something slightly different I believe in the various versions of premiere). When you see that you have correctly gotten the video to play on your camera…just record it onto a miniDV tape right inside the camera.
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Bill,
I do this kind of thing all the time (usually use three cameras though).
I have found it to be a tad more time consuming to use the multicam feature when only using two cameras. For two cameras (and even sometimes three) here is the workflow that I use.
1. Place camera that contains wide shot on track 1. Place camera that contains close up shots on track 2. Sync cameras.
2. Place additional audio on timeline if you have any. Sync audio to above tracks. (check multiple points on timeline to verify that everything is in sync and stays in sync as you will want to correct this before starting any editing)
3. From this point it’s relatively simply to start cutting away the footage that is no good. In our case, the wide shot is nearly 100% good. So we focus on the close up camera. I just start cutting away the footage that I don’t want (because it was no good…or because it makes more sense to be on the wide shot at that moment).
I don’t know how much you are into editing, so I am leaving a bunch of stuff out here. The reason that I don’t like using multicam for a dance recital is because with multicam, I have to watch the footage twice (once to make the switches and once to fine tune the exact moment of the switches… e.g. you switch to camera 2 anticapting a pan, but camera 2 starts the pan right when the group condenses on center…better off staying with camera 1). With the above method, I watch the footage only once. However, I am manually doing work the multicam would do. We have found it’s a little less time consuming to do it this way.
When I cut weddings, I always use multicam. Much easier to see what all three cameras are doing at one moment in time. With dance recital, especially a two camera shoot, I have a really good idea of what both cameras are already doing.
Again, I am leaving a lot of stuff out here in regards to how my company produces dance recitals. If you want to know more about any of that, feel free to ask.