[Mark Suszko]

Thanks, John!

[Mark Suszko]

Hmmm… I’m not in front of my FCPX right now. How about you make a duplicate track, and in the color correction controls, you move all the pucks for mids, blacks, whites to green, then drop the saturation to nothing. Play with the pucks /wheels some more until TLAR. Now composite that track and play with blend modes and opacity. If it works, come back and let me know.

[Mark Suszko]

Hey Noam;

Another way to get your transcripts, sans tentacles, is to export a low-rez of the whole timeline to YouTube, marked as “unlisted”, and let their AI transcribe it for you in a few minutes. Download the transcript, erase the YouTube, apply the transcript to whatever other process you need. If the audio is clean and clear, the quality level is pretty good.

[Mark Suszko]

When I was in college, 35-odd years ago I wrote a paper about the then current state of the art of Capacitative and Laser video disks and compared them to video played from computer hard drives. In my paper, prognosticating ahead, I suggested that one day these optical disks could store an entire gigabyte… or even more! And when they could, they would supplant video tape for TV viewing. My professor, who later became the Communications Department Head, red-lined it and noted along the margins his comments that it was “unsubstantiated and highly unlikely”, and gave the paper a B-minus. I keep that paper around somewhere for laughs.

[Mark Suszko]

I think every editor is secretly ashamed of some part of their past year’s reel. We keep learning how to do things better or differently, and when we go back a year, or five, looking at past work, we see things that make us cringe, or wish for a second chance to do something differently… even if nobody else watching see them. That’s good, though. It means we’re still striving, still unsatisfied.

[Mark Suszko]

“Share” Semantically, for me, means an export customized to a particular deliverable.

“Export”, – unless you opt for a different transcoding in the export dialogue – sends a flattened copy of the work product on the timeline, in whatever codec it currently is using.

[Mark Suszko]

Glitch in the Matrix?

Or are you shooting 24 frames per second? Maybe with additional shutter effects? I’m going to guess this only happens standing against the bright window background?

[Mark Suszko]

Well, a parabolic might, but that’s not in my range. I don’t need 100 percent isolation of the vocal; just enough rejection of the ambient that the vocal is prominent.

[Mark Suszko]

I know I’m asking for a unicorn. The shooting situation prohibits lavs or stick mics on stands, so it has to be a shotgun.

I know and use real, professional shotgun mics in my day job but can’t apply those to this after-hours “hobby” stuff we’re shooting. Also, I’m lending gear out to amateurs so even if a “proper” shotgun was in my budget, I probably wouldn’t be loaning that out to these folks.

So, given the parameters of the shoot, I need an affordable low-end solution that can help pick out the vocals above the instrument. Isolating the vocals in post is a lot of work and generally unproductive.

Appreciate any specific suggestions.

[Mark Suszko]

Tell me if I’m wrong, but in both Premiere Procc and FCPX, you can set up batch rendering to multiple file outputs. In Adobe Media Encoder, you can have it simultaneously be cranking out the ProRes 422 master AND the youtube video for upload, and this is also possible to set up in FCPX. Or am I wrong?

Sure, you likely take a performance hit but I’m guessing getting both done at once is still a bit faster than rendering them out sequentially? Tell me if I’m off base here; I can take it.