Max Prum
Forum Replies Created
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Yeah i think that was the problem, I was ingesting footage 14:1 in a 23.976 NTSC format and then switching up to 1080p/23.976 for editing. The audio I ingested at 23.976 had this problem but when I ingested at the higher resolution project type it came in normally. Thats wierd because they are both supposed to be 24 FPS? but thats it. Thanks.
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Yeah that is no big deal for one or two people but I wish we did not have to rely on everyone remembering to do that every time.
The other idea is that Avid defaults to using the first volume alphabetically so we could make our renders volume start with AAA or something. But then we would have to change the file paths for all our render files and either migrate them or re-render. Which is doable but annoying.
Is there any better way? maybe not…
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There is a flicker removal effect in After Effect. It doesn’t to the job perfectly or fix extreme cases but it does help.
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ok so sorry to just narrate my learning process on this board but I tried making the mass subtractive, then putting the blur on another layer below and then creating a third layer scaling it up to 105% and blurring that. This looks pretty good with this particular shot. But if anyone has a better way I would still like to hear it.
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update, I discovered that if i expand the later slightly beyond the limits of the composition the problem is solved, I guess because we are no longer seeing the edge of the video recieve blur and be mixed with the background. But I would rather not do this. Is there a way to trick after effects into thinking the video is bigger than it is without actually blowing it up?
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Ahh I ultimately did this by clicking around until i hit the little box that converted it to a 3d Warp and then switching the key frames in the “crop” field. Either way seems unnecessarily complex. Thanks I think your way is simpler and better.
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Ugh your right. I finally (after about 12 hours) isolated the problem as a balky firewire port and a slow drive. It really shouldn’t have taken so long but I was so focused on thinking it was something I was doing wrong with the settings.
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REEL numbers! thank you. You are a hero.
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We use the Af-100 along with the NanoFlash from Convergent Design. This allows us to capture directly into Pro Res and control the bit rate. (can also go straight into DnxHD if your using Avid). These devices are great but they are very expensive. I think AJA makes a similar cheaper device, but i believe there was a good reason we went with the Nanoflash although i can’t recall exactly what that was.