[Lou Cannizzo]

Well dave,….we would have done that.

We need to close down the hwy and roads to do that for 1.

2nd. We need 1 million dollar liability insurance for the actors in the car.

3rd. We need Permission from the town of Albany.

Or

Shoot green screen an call it a day.

So basically,…no ideas to absorb shock?

[Lou Cannizzo]

DAVE And get that stinkin’ H.264 footage made by the 5D converted into a decent codec before you start cutting and doing effects.

Ok dave, now you’re scaring me. In the past i’ve worked with Canon XHA1 & 35 mil converted to proRes . Next Week, we will be using the 5D. When I said to the DP isn’t there a problem with the 5D on Linear programs or After effects? He replied, The entire School at NYU uses it and NO ONE complained.

So dave the old mighty & Wise,
What am i in for when this DP hands me the Flash card and says…”Quick ! Key this footage and email it back to me by tonight! ”

DAVE SAID” Vehicles rarely travel on silky-smooth roads in a straight line. The hit potholes, ruts, sewer grates and the like. They accelerate and decelerate.

That was my other issue.
When we brought the test footage back, it was VERY BUMPY. We had it on a tripod in the car.
So I tried 2 things.

1. I stablized the motion (which turn out to be a nightmare because I had nothing stable to track)”

2. I applied the motion of background to the interior of the car. So now the driver is moving to the background.

Since the background was bumpy. so was the driver and this was too hard on the eyes so I semi stablized it using PRODAD. I then tracked the stablish footage and applied that to the driver and got nice results.

SO my question to you is:
What ways would you go about keeping the 5D from Virbrating , jumpy up & down while filming? Any thoughts?

And did I mention that this is my first time with the 5D? So I have no Idea what to expect when importing into AE.

Thanks for your help,

[Lou Cannizzo]

Oops, I forgot to add Focal length.
So if the DP zooms in on the shot Is there a way to know how much he zoomed in? The camera will be the canon 5D

[Lou Cannizzo]

Hi, ok I think you guys are onto something.
But justto be clear, I am going to pick your brain.

1st. Camera height:
So let’s say the camera (5D) is set to 60″ from floor to nodal.
When filming the background, the camera has to be 60″ from ‘Outside ground” to nodal inside the car or truck?

2nd.
Vertical poles:
Are the poles for tilt angle?

If I understand you, this is what I would do:
Set the camera up & frame up my shot to film.
Measure the height from floor to nodal.

Measure the distance from Nodal to Vertical poles.
Place markers on pole so that when I look in the viewfinder, the markers are at the top & bottom of the frame.

Now, When filming the background, I have to re do all of the steps above?

Althought this sounds very mathematical, why do I get the feeling that I am in for a big suprise?

[Lou Cannizzo]

Hi guys,
thanks, I did figure it out after I posted. I pressed every keyboard button until I found it. 🙂

I guess I got spoiled from using Scratch, I can move my compare image anywhere I want. This allows me to overlap parts of the image that you can not get with a standard “Split or Wipe” view.

I don’t think it is possible, bummer…

[Lou Cannizzo]

thank you so much for the quick response.
That sounds like good news…(i hope)

[Lou Cannizzo]

HI Guys,
Thanks for the quick response,
Ok, Ill try to be a lttle less ambigious.
1st, the film is an NYU INDI. The Director is well aware that I have no history with sound, however he is royally screwed because his sound editor is in Prauge for 2 months. SO it’s has to be me or him. Trust me, you want me to do it 🙂

Now, Most of the film was shot in doors with a boom mike set 80% left and a wireless mic 80% right.

PROBLEMS:
the wirless had a lot of interfernce (static, pops)
and the boom picked up a lot of echo.

This is what was handed to me. :)~

I used Adobe Audition to remove what I could and blend the two sides to make 1 half way decent wav.
but the hiss or camera hum, don’t match between (some) clips.

I also have 30 seconds of quite noise in each room, before they started shooting. So I use that to mix over it.

2nd Problem:
I don’t have really good speakers so I am using a sony MDR-7506
headphones. When I play it on my ext speakers I hear COMPLETLY different sound than thru the Headphones. So I am mixing with them on

Is this recomended?

Lastly,
The only way I am trying to mix correctly is by listening to Pro movies. I inserted a movie ( Jaws, then Ironman) I then watched the phase anaylsis in Audition. I looked to see how it reacted to quite backgrounds then vocals.

So that’s why I asked, “where to mix the ambient sounds”

[Lou Cannizzo]

yeah, I thought so. However, I think if I select a work area on the timeline/ export media encoder/ then move the work area to the next clip/ export/ etc.. it will batch render that way too.
But again. it seems like a lot of work.
Is this how it’s done at the Big House studios?

For example, After the film is digitized & edited, doesn’t the scenes have to be sent to a DI process that deals with sequences?

Why can’t there be a way by adding a Marker on every cut. Then, the encoder knows where the cuts are and separate the clips(sort of like “scene detection”)

[Lou Cannizzo]

Hi,
wow, I had that same exact problem about a year ago. Can’t remember what it was or how I fixed it.

If I remember correctly, it has something to do with your preview files.
Heres some food for thought:
1. Have you changed your scratch disk drive or folder location?
2. have you messed around with project files relocating & having to Re-Link your missing footage?

I think it has something to do with that.
Your best bet is to clean out your preview folders.
and or try copying 1 small part of the timeline and pasting it into another new project. try to render and see if that worked.

[Lou Cannizzo]

That’s not true, you can use Mpeg in cs4, I use it all the time.
Here is your problem:
When you’re rendering out to “Mpeg” are you using the 3:2 pulldown?
I had the exact problem (If i am understanding you correctly)

Your problem is NOT with premiere’s import, it’s with the way you rendering it as an mpeg.

You need to make sure you’re not removing (pulldown)the extra frames.
If you select the wrong render settings, your encoder will remove the 6 frames per/sec giving you a 23.976 render.
then, if you try to add them back via Interpret footage, you are making a mess out the the footage.