Mark Suszko
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Apple Final Cut Pro X Coins
15
COW Coins
2
Premiere Pro Coins
4
Apple Motion Coins
Forum Replies Created
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Is there any other footage of this person online as stock, and if so, what are THEY charging?
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This might be a job for the new content-aware fill feature…
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Eyes layer on top, And check the blend mode and opacity.
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Todd’s given you your best two answers, I think, until someone comes up with a spray-on/squeegee-on/peel-off liquid ND filter material. Maybe I should work on that idea… hmmm… or a bunch of extra wide felt tip markers…
I’d vote for going with HMI’s and just cranking up the interior levels with bounces or a bank of diffusion.
I have one other trick I have used a few times, but never in a room that big. And it requires the camera be absolutely locked-off. You shoot the event, exposing for the interior, then you shoot a plate exposed for the exterior, and composite the two in post. A variation would be to plaster chroma green posterboard over all the windows and replace that later.
If you have the money, you might look into what they call “darknet” fabrics, intended for invisible projection screens on stage, they also work something like bobinnette or sharkstooth scrims.. They can come in super widths. Instead of cutting this to fit the windows, I’d hang it from framing materials or a temporary grid, in front of the windows. Lets you re-use it for other purposes later. My go-to for such stuff has always been Rosebrand in New York. Check this link out, maybe it will stimulate some other ideas…
https://www.rosebrand.com/subcategory773/darknet-fabrics.aspx
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Back in the before-time, when God was just an intern and puppies were the oldest animal, I was messaged that the IT supervisor had a problem and could I come see him… I had to justify my “intensive” use of the network’s resources. This was when most of the people in the system not running COBOL on punch-card-driven mainframes were running Wangnet on 486 processor PC’s – many of them didn’t even run sound cards then, because, why would you need sound to do word processing and spreadsheets? I was at that time, rendering out Lightwave animations with an early Crystal TOPAS TARGA board. Which the IT guy was unaware of. How was it that I needed SO MUCH storage, and so much data capacity?
So I dump a stack of 60 floppies on the IT guy’s desk. I pick one up and say:
“…this will -just barely – hold thirty frames of my animation – one SECOND of DV video, at broadcast quality. This is what -one minute- of video looks like (pointing to stack of 60 floppies). We make programs from thirty seconds to an hour long. That’s our work product. And there are four more guys like me, making this stuff, five days a week. You may want to figure this into your archive system design needs.”
“Oh.”
Later, when we started seeking real NLE systems in earnest, they couldn’t understand why a commodity Lenovo like everybody else gets, wasn’t good enough, and besides the then- exotic CD drive, why I would need an additional DVD drive in it – did I plan to slack off work all day, watching movies?
“No… making them. …That’s why I need a DVD burner/reader: for QC checks and production.”
“Oh.”
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Do you see it on youtube at your end, or is this only something the client is experiencing? If the latter, I’d put it down to a bad connection or problems in the client’s computer like not enough RAM.
The classic reason for audio drift is a mis-match between the video codec’s audio sample rate, and the sample rate of the actual audio you out into the thing. So I would experiment with re-rendering and uploading an unlisted version that used a different codec as source.
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While I’m an FCPX devotee and an Apple fan, I wanted to point out that the workflow of creating templated effects and graphics and publishing them to FCPX can be mirrored, more or less, by doing those things in AfterEffects and Premiere with dynamic linking. So I don’t know that that particular argument is all that strong.
I’m working with both, these days, and maybe it’s because I’m less experienced in the Premiere world, but I find the workflows in FCPX and Motion much more simple and intuitive. I prefer it. I’m a surgeon with those tools. Many things I’m doing in Prem and AE seem like they take a lot more steps and menu trips to do.
But the bean counters have the last word on things here; they won’t listen to us and they hate dealing with Apple, and I anticipate the day is coming when the IT staff yank all of our iMacs and tell us to get over it and use Premiere/AE exclusively. That will not be fun.
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Honestly, to me, going 24 frames is a waste of time for this stuff usually, for shooting a band performance live on stage. Shooting a “narrative” type music video, with a script, locations, and all – that would make more sense to shoot 24, but even then, I might not.
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Regarding the drunks in the audience, you’ll just have to recruit a semi-sober person to be a “roadie” and stand by the mic stand with the cheap gopro 4k on it and guard it. If only for one particular number. High-mounted cams near the ceiling or added to the light tree/grid are less likely to be interfered with by patrons, and if you put them up early enough, nobody coming in will notice them. Especially if planted in the lights.
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This is not my band, it was a recent shot of us goofing around in our monthly club meeting, saying “goodbye” to a recently-passed member; all the camera “moves” are faked from fixed-position 2K or 4k GoPro knock-offs, hanging from the lamps, sitting on the table, or perched atop the pac man game cabinet in the background… the camera shake was added in post for giggles. It’s not *great* video, but it shows how more available angles can make any performance look better…