[Mads Nybo jørgensen]

Hey Rob,

I am very excited about this.

Being able to process Topaz inside Davinci is going to hopefully save a lot of time + keep the source footage in its native format. Without doing the external processing first, before editing.

Atb
Mads

[Mads Nybo jørgensen]

Hey Andrew,

Have you tried “Warp Stabilize” effect in Premiere Pro?

It might be difficult for it to deal with as it is stop and start.
But you can use different settings on the PPro effect and see if any of them works best for you.

Alternative as you suggest is to jump on to After Effects.
There is a number of ways that you can fix it, up to the extreme of rotoscoping the man walking, and reinsert the rest as a clean plate, where you then recreate the zoom inside AE.

At some point you might ask yourself this, which is often the case:
Are you the only one who notices the jitter in the Zoom?
If so, let it go.

Have to admit that I had to watch the video a few times to spot the actual problem. Not least as Vimeo is often not the best for playback.
If you still have access to the permorfer and the location, you could also go reshoot it.

Hope that this helps.
Mads

[Mads Nybo jørgensen]

Yes, Dallas, that is correct.

Everything in your “chain” needs to be running to the same sync, which is why it is called sync.

Do keep in mind, that some manufacturer will differ on whether they call it 25fps or 50fps, same with 29.97fps and 59.94fps, but the rate of sync behaves the same as the FPS are divisible.

However, once you go outside of that in an environment where all the kit are synced together, then you end up with a black screen.

There is ZERO point changing framerates on the Vision Mixer, if can not do the same on the cameras. Unless you are doing a cross-conversion from camera to mixer – but the cost of that setup, you might as well change all of the gear out for newer models.

Atb
Mads

[Mads Nybo jørgensen]

Hey Robert,

Do you have any more technical information on how the footage was shot, and on which camera (lens)?

Andy Ford has made a tutorial, which does use the PPro that you might have problems with, but might be worth a watch:
https://youtu.be/A_onLbgaU7Q?si=HL2Gj7Se2PXjlkUK

The alternative is Mocha Pro over at BorisFX, which you can try out for free, do a monthly rental on, or purchase outright.

Atb
Mads

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[Mads Nybo jørgensen]

Hey Dallas,

In the early days HD you would have needed a tri-sync generator to operate in 24fps (23.98FPS).

Looking at the specifications for the Panasonic AW-HS50 switcher, as far as I can see, there are some of the connectors that will not support 23.98fps.

But it can be a number of issues in your chain, from your cameras not supporting it, to audio not being able to sync to it. And, even the monitor might not be able to display it.

I suspect that it was installed as a “turn-key” system, not intended to change frame rates on.

The real question is:
Why do you want to change the frame-rate?

If anything, going 23.98fps will give you less “data” to work with in the edit, and a higher chance of strobing and motion jitter.

Atb
Mads

[Mads Nybo jørgensen]

Hey Kent,

You make a good point.

I kind of always thought of the projects mentioned here as being short-term and one off. In which case a basic control and playback system might be the way to go.

Where as if is a long-term install, with a budget, then digital signage is certainly an option.

However, digital signage comes in many flavours, and will still need someone who can connect the boxes together and do the programming. Some SMART TVs will already have the software included. However, if you are running multiple screens showing different content, then it will need a network of devices with a “head-end” to control it from.

Good news is that if any one of the devices falls out, then with the right system software it can alert people on-site, or engineers by remote.

In short: Digital Signage is a dark art in itself. And often the “manufacturer” in the past has promised functionality, that isn’t there on the day. Or worse, there is no operating manual, and you have to guess how it works.

In a distant past I have had good experiences with Revel Digital – they do some clever stuff, including push notifications when people approach the screen + more:
https://www.reveldigital.com/solutions

If you have a good budget, then it might be worth contact Vizrt:
https://www.vizrt.com/products/viz-multiplay/
(Tricaster is one of their other products, which I have recommended to clients in the past)

Even BlackMagic is in on that game, you just got to scroll down the page to find it:
https://www.blackmagicdesign.com/uk/products/hyperdeckstudio/workflow

There are soo many ways to approach a Digital-Signage set-up. whether within one location, city-wide or globally. And, then if it just playback of sound and “standard” video, you can simplify the process without going overboard.

Next time you are out and about, keep an eye out for digital signage systems – they are everywhere, often disguised by using PowerPoint slides made with Comic-Sans font…
But the technology that drives those, are likely to be closest to what you want – don’t be afraid to ask those digital signage owners how they do it, or who set it up for them. They might just direct you to the local genius, who can save you time, and who will be happy to do it together with you just for the thrill of getting away from Comic-Sans.

Hope that this helps?

Atb
Mads

reveldigital.com

RevelDigital - Digital Signage Solutions

RevelDigital - Digital Signage Solutions

[Mads Nybo jørgensen]

Some really good advice above.
I know of one broadcaster at the moment telling in-house and external providers not to update Mac OS as it will potentially stop the way FCPX works for them.

I’ve currently got a “discussion” going on Twitter (X) with Adobe Support. They want me to dissable all plug-ins (that has worked on previous versions of PPro), as this potentially will stop the “out of memory” error on exporting from PPro (on a 128GB Ram system).. 😳🧐😱

Back in the old days of Linear Suites, one manufacturer would often blame another, if there was sync issues or similar.

Adobe is no better in that regard.

As others are saying: Do not update in the middle of a big project.
More to the point: If it ain’t broke, do NOT fix it!

Should add:
Do NOT forget that if you are a single user (freelancer/SME), Adobe has killed the cloud for video products in Creative Cloud. So do NOT save your projects in that local-only-folder, if your Mac suddenly dies. Instead have it on an external drive or shared folder with a true Cloud provider (OneDrive, Google Drive, iCloud all could work for you).

Atb
Mads

[Mads Nybo jørgensen]

Hey Tim,

Adding to Jim’s suggestions, you need to have the end in mind.

As in what technology will you be using to play this back with, and how are the videos distributed.
As such it is not rocket science, but there can be some surprises waiting for you in terms of syncing the monitors, and local isolated playback from individual boxes, versus all coming out of one point of distribution (server).

Personally, I’m not sure that I would use FCPX for this kind of job. Not least as Apple at the best of times makes it difficult to lock tracks. Where as on other more old fashioned “linear” NLE’s you can have 30 vertical videos on 30 video tracks on a 30-split screen (or 10 split screen), with nested tracks running in each of those. You will need a fairly high spec computer with a serious hard-disc with speed and space to make that happen.

If the 10 screens are not connected, you could also just have 10 timelines, with 3 nested tracks in each. But you still need to find out what the playout format is?

Going big, and potentially a hazard on a smaller system, will allow you to time forexample interviews, and when they appear on different screens across the whole installation. Are there specific points in the installation where the audio is changing from low to high volume.

Motions graphics is another one where you can have themes travelling across the screens.

Again, it really depends on having the end in mind.

For a project that size is there a director and/or producer attached?
Or are you on your own?

3 vertical timelines simultaniously, I’m sure that FCPX can handle that. But these kind of of projects tends to grow. And being able to lock your videos and tracks in place, and not allow FCPX to move your footage around, will save you time. Yes, I know that there is work-arounds on FCPX, but incoparison to the obvious where you drop onto a specific track in the timeline, and can quickly apply the right frame to it, is a must for speed of editing, delivery and revisions.

Start with the end in mind, and work your way back from there, and it will all fall into place for you.

Sounds exciting – go have fun!

Atb
Mads

[Mads Nybo jørgensen]

Hey Chuck,

Good question.

It really depends on where you are going to use it, and how much processing will be done down the line.

I’ve worked on projects where up to 18 different camera crews was working in multiple locations, for a one off documentary. That was a quick turn-around project, so it was shot for broadcast.
But if your project is intended to go into a cinema style presentation, then the grader likes the idea of having more “room” to work with.

There is no right answer to that, except if the project has budgetted for a colourist, then that is the person to ask.

I know that this might be unhelpful as it is not a clear answer.

But it is about time and money + how far does your footage travel, both in distance and amount of people in the Post-Production chain, before it emerges as a finished product.

Atb
Mads

[Mads Nybo jørgensen]

Hey Neil,

“need to export a video to share with our AV vendor, to play at a conference.”

As Rob suggested above, nothing matters until you know what your AV Vendor is doing.

No point in exporting out a 4K ProRes, if vendor is MPeg2 with a HD projector.
They will find a way to ruin the look and feel of your project.
And no, they won’t do that on purpose, but if they are managing stage, PA/Audio, microphones, PowerPoint, nervous end-client, celebrity presenters and so forth, you are the least of their worries, until rehearsels (if any)…

Also, the definition of a “large” screen, can mean a lot of different things:
Is it a large OLED TV (maybe multiple TVs spread across several rooms), Video wall, projection (front or back)?
In other words, you have no chance of controlling that unless the vendor was working directly for you.

Get specs ASAP for delivery format(s).
That includes a Master-Spec for your clients’ library (if agreed – could be ProRes master), and the file format for play-out on the night.
Do not be surprised if the AV vendor takes your file, and (down) converts it to something they like the file name of, but will look horrible on the night (think 4K interlaced, to 720P – potential worst case, but if you don’t ask…).

Sorry, sounds harsh, but not intended to be.
I’ve worked both as a projectionist, at large events employed by the AV vendor, and delivered Post-Production for large scale projections.

In short: AV Vendor will tell you what they need – if they can’t, your client is either indecisive, or they have found a supplier that was “to good to be true” 🙂

Atb
Mads