Mike Smith
1
COW Coin
Forum Replies Created
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Contract as early as possible – before starting ideally. Are you sure you do not already have a verbal contract – the discounted rate you agreed plus a credit in return for the work done? You need to negotiate with care and sensitivity. But leaving things until later rarely works well if there is something to share out.
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I’m not entirely clear what it is that you are trying to achieve here.
As I think Blaise tried to explain, the audio sampling frequency for your audio is normally unaffected by video frame rate considerations.
Your editing software will try to play video at the rate indicated in the video file or the rate you ask it to. It will try to play the audio using the sampling frequency indicated in the audio file – or at another speed if you ask it to. If you try to synchronise audio with video from dslrs this will probably work very well, unless you are going for very long takes where you might (or might not), as Blaise indicated, see a gradual “drift” out of sync over a long period. This is not likely to be much of a problem in most editing situations.
If you are having trouble with this then the background here might help:
https://www.sheldonbrown.com/synchronize-video.html
https://www.videomaker.com/article/c4/14524-digital-audio-sampling
https://larryjordan.com/articles/audio-sync-drift/
https://en.wikipedia.org/wiki/Sampling_(signal_processing) -
Well if you don’t want to talk to a lawyer then maybe youtube’s takedown processes might help you ?
https://support.google.com/youtube/answer/2807622?hl=en-GB -
You probably know there are lots of reviews available of this camera for professional video, including this one by Philip Bloom. https://www.eoshd.com/2014/07/great-depth-review-panasonic-gh4-philip-bloom/ The site (EOSHD) is also a useful resource
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Your mastered audio is your key sync reference point. You’ll want to make that a master track and align the other audio to that – bearing in mind takles will differ in expression and timing, and the sync will be far from exact. All your non-master sound is reference only. And you need to pick the best footage to present your band as it wants to be seen aligned with the master audio – which is not necessarily always the footage that synced to a particlular part of the original performances, depending on your cutting approach, as you’ll know from watching other “live” performance videos.
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When in video mode cameras will capture at much lower resolution – mostly in HD Video – 1920×1080,or around 2 megapixels – and some in variants of 4K , which might be 4096 x 2160 (roughly 8 megapixels) or 3840 X 2160.
Most stills cameras will offer you a choice of jpeg compression quality settings, and many offer RAW images too.
In video mode, most cameras will compress heavily – usually into a fairly “lossy” (lots of picture information is discarded) codec optimised for motion pictures and small file sizes.
So a good 4K camera using a high-quality codec in decent light might give you stills you are happy with, and if so that’s great for you. (In fact some current compact cams from Panasonic offer exactly that as an option – capture 4K video and scroll through it to choose and save out 8 megapixels stills.)
For many uses, and many photographers, better quality will be a preferred choice. Bigger prints, usually, to look good require plenty of detail – and more is captured in a higher-definition picture.
In video mode, your choice of shutter speed is very constrained, compared to the full range of a stills camera – so if you want long exposures for motion effects or for low light, that can be an issue. Similarly f you want fast shutter speeds to capture moving objects cleanly or to minimize camera shake type blur, that is more or less off the table in your video files too.
Onto compression: big images can contain a lot of data, and to make files usably small compression is almost always used. For stills consumption, jpg compression is standard. Optimised for still images, this offers a range of quality settings -from fairly grotty but very small files to pretty decent for many uses. Many better still cameras will also allow a near-uncompressed RAW image to be captured for later image editing – the route to the best results, in many circumstances.
In video mode. the compression codecs offered are, unsurprisingly, geared to the needs of moving images – so sharpness is not a top priority, and detail loss not apparent when an image flicks by in a fraction of a second is a whole lot more noticeable once you’ve frame-grabbed your video to produce your still. Of course you can bypass that with really good compression codecs – as on the GH4 – or by sending out uncompressed video to a high quality hard disc recorder. You’d still have the smaller frame sizes and the more restricted choice of shutter speed, though.
https://www.photoshopessentials.com/essentials/jpeg-compression/
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Yes, you could use video files from your camera in that way if you’re happy with the video resolution and compression.
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Quicktime player issue? Have you opened in PPro and checked the actual levels in the file that way? Or open in Audition, which will let you see what the audio level is in your file.
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Another Windows option to consider might be Edius
https://www.grassvalley.com/products/edius_pro_8