Michael Sacci
1
COW Coin
Forum Replies Created
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Your post is a little confusing. Are you saving that the after placing audio at the end of the music you audio is out of sync earlier in the program?
What are the specs of your sequence and those new audio files.
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I would export the sequence out as a new clip to lock all the video sections in place with the master audio. Much cleaner to then use this for your editing clip.
THis is a workflow issue so there doesn’t have to be a right or wrong, just does it work for you, I like creating a new master clip because it is the safest way to deal with it IMO.
I don’t think this is a limitation in PP, FCP couldn’t merge multi clips to an audio source either.
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I too have been able to get good-to-great results with compressor doing the downconvert. (not sure I would say it is as good as the HD original though.)
But I have also used the Kona 3 to do the downconvert also. But you need a 2 system setup. I go out the MacPro via the Kona 3 into a MBP with a SD Io. This gives the best results and it is down in real time.
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You turn off all the camera audio and export a solid clip with the new video and master audio. Of course you can trim any dead space in the audio without video.
If you want to merge clips and audio you need to be stoping and starting the audio with the camera. Also consider using a clapper of some kind and syncing is even quicker.
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First you have to learn how to author DVDs.
Does this DVD flow from one question/answer to the next or is the viewer clicking on a menu and only one question is being answered at a time?
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It will require a little work but it is not too bad.
Lay your solid audio in Tracks 3 and 4 and turn on the wave form. (thinking that is an option in PP)
Then listen to the clip and find the rough spot in the full audio and give the video and camera audio (to a1 and a2) then use match up the waveforms between camera and H1 audio. To get it perfect I listen to all 4 tracks and move the video w/ camera audio back and forth until there is no echo, when they blend it is in sync. Do that for each clip. You should be able to fly through this.
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People are not normally using 11 or 12mm lenses for shallow depth of field. Unless the focused subject is extremely close to the lens it is hard to shallow dof. Constant apertures are a most in video since you really don’t have shutter speed to work with to balance exposure so you have to change ISO or use a Variable ND filter.
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You can use any Canon EOS lens on the T2i, the IS lens are great for video.
Nikon manual lenses just need a Nikon to EOS adapter.
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It is easier to down rez then up rez.
If you drop a SD graphic into a HD sequence it will not look that good when it goes back to SD. Makes no sense to do it that way. I would edit in HD with placeholders for the AE graphics. When finished I would drop that sequence into a SD sequence (make sure it is widescreen) and replace the graphics.
Also SD video is never square pixels, you need to make the par widescreen (1.2)
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especially since the cameras cannot record more than 4 gb at a time. Of course more cards mean more things to lose.
You really have to have a DIT on major shoot or any real shoot. You have to be dumping to a computer and checking. Until you have the files on a drive (2 really) you don’t have anything.
Tapeless has cost a lot of people a lot of money. I lost $15K because I had an innocent camera setting wrong and the files on the Firestore where unless, I lost 2 comedy shows that I filmed on a cruise ship. Had to pay to reshot the entire thing.