[Mario Mattei]

Brilliant.

I’m glad I took the time to write to these forums.

As a photographer I help others like this. As a filmmaker I get to receive b/c I don’t have much to offer yet–hah, hah. When I can, though, I too will “pay it forward”.

shine though, bro,
Mario

[Mario Mattei]

Jon,

Thanks a lot for this. Just the advice I was seeking. Something I wouldn’t have thought of.

To be sure I understand you…

Option 1.
Export the main sequence using “same as sequence” tick box.
Import the outputted file into a new Prem project to a timeline/sequence that is 360p, for example.
Then export again using “same as sequence”.

–well, if I had the 1080p file I wouldn’t need the small 360p. I thought exporting to a smaller dimension would decrease render time. But your logic makes sense. It’s more to crunch.

Option 2. (which seems the best)
Within my project make a new sequence that’s 360p (ok, did that)
Put in the original edit via nesting (ok, not working… I copy pasted the main 1080p timeline stuff to the 360p sequence. It’s just a small frame with huge videos that didn’t scale down. Whether or not I nest the videos in the timeline, doesn’t matter.)

–in theory this makes sense to me. could you explain it step by step?

BTW, I’m exporting in Media Encoder as I write this. I used “same as sequence” and it appears to be almost twice as fast as the small, super compressed video. I don’t understand your solutions, but your principals and logic have changed the way I think about exporting. Thanks for this and for any further assistance. There are still many good humans out there and you’re one of them!

peace,
Mario

[Mario Mattei]

You mean at 1080p 23fps? I could try it but seems like the ultra compressed and basically ruined version shouldn’t have taken over an hour to export.

Should I move the project to my iMac?

[Mario Mattei]

I don’t have MRQ enabled.

[Mario Mattei]

No, I have not enabled ‘max render quality’.

[Mario Mattei]

That’s it? That’s what I”m doing (line out, with a monitoring jack, to mic-in on 5D) and I get no audio recored. I wonder if the cable is bad. I do hear audio in the monitoring jack (it’s a y-cable). This is so strange that it doesn’t work. I thought my 5d or zoom settings were wrong. But it sounds like the settings are for fine tuning the levels not for getting it to simply work.

[Mario Mattei]

Yeah, we’ll be recording audio separately for professional stuff. But sometime I’m out alone in villages getting b-roll, probably with ambience. I know I could get a boom and attach it to the zoom, too. Would make my low-profile rig bulkier, but could work indeed. Also just for around the house with my family I want to easily just capture some video. Since I know it can be done, I’m frustrated I can’t do it. Seems soooo elementary!

Thanks for responding. I’m curious what your thoughts are on the above. I’m a still photographer just entering motion and learning a lot.

[Mario Mattei]

On my budget I’m just happy to not have to use the 5D’s native audio in a run and gun situation, or for ambience. I have done separate audio, but I’d like to get this option working for certain situations, like around the house with my kids, etc.

I did wonder if I could boom the h4 on one of my light stands as a make shift solution until my budget increases. I’m obviously coming from a still photogy background 🙂

I am actually right in the middle of deciding how to spend $600 to $700 — on wireless lav’s or a basic boom kit. Or is the h4 enough? I live in Turkey and am doing some micro-documentary work in villages.

Any wisdom and advice is much appreciated by this rookie!

Thanks for responding.

Mario

[Mario Mattei]

Todd,

Thanks for the advice. If I’m also getting a threaded varied ND filter that’ll cover 2 to 8 stops, do you think I even need the mattebox? I’m doing documentary work and could spend the $900 on something else. But if a mattebox will be best, I’ll go for it!