Oliver Peters
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CML Zoom discussed from yesterday about this camera.
– Oliver
Oliver Peters – oliverpeters.com
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[Marc Wielage] “In truth, I think many broadcast channels are a little looser with what they will and won’t accept, but I treat levels like it’s still 1999 and try to err on the side of being conservative.”
Yep, good advice. The trouble is a general lack of consistency in whether they adhere to a default (looser) or a strict interpretation of levels standards. I find that some of the cable/streaming channels and channel groups appear to be more restrictive than the regular 3-letter broadcast networks. You’d think it would actually be the other way around.
– Oliver
Oliver Peters – oliverpeters.com
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I always use video levels, but that’s not cutting it here. I’m dealing with previously graded material as a test. Turning on broadcast safe and setting the restriction to 0-100 seems to work. But then you still have to add some soft clipping to get the right look. The issue at hand is chroma slightly dipping below zero, not anything at the top end.
– Oliver
Oliver Peters – oliverpeters.com
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PS: If you specifically mean this effect in Premiere (#1 in the YT video) –
then it works the same way whether applied to the clip or the track.
– Oliver
Oliver Peters – oliverpeters.com
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If you are using a denoise filter, you typically need have some empty audio (but not blank audio or complete silence) from the track there before the person speaks in order for the effect to properly process. Assuming you have that, then clip or track work the same. But t depends on the plug-in you are using. Some require rendering and others work in real-time.
– Oliver
Oliver Peters – oliverpeters.com
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They typically aren’t the same, because many de-noise audio plug-ins require some section without talking in order to calculate a noise print to remove that sound from under the dialogue. The better option is to send the audio clip to Audition and use its tools to clean up the track. Then bounce it out (processed and rendered) as a separate clip to use back in Premiere.
Other plug-ins like de-essers and so on on can probably be used on either clip or track. From a workflow standpoint, it’s best to group similar sounding clips onto separate tracks and then do all of your processing on the track, not individual clips. For example, A1 – SOT dialogue, A2 – VO, A3 – SFX, A4- music.
– Oliver
Oliver Peters – oliverpeters.com
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Walter – Thanks for the clear comparison.
– Oliver
Oliver Peters – oliverpeters.com
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What are the pros and cons versus using Fusion?
– Oliver
Oliver Peters – oliverpeters.com
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[Bill Davis] “it takes to support an outside codec once it becomes an official part of different companies offerings. It’s apparently not a trivial thing. He mentioned that’s why Apple leaves, for example, Canon MXF Codecs as something for Canon to develop and maintain.”
All true, yet somehow Adobe, Avid, and others manage to accomplish this even without the advantage of having control of the supporting video framework within the OS itself.
– Oliver
Oliver Peters – oliverpeters.com
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[Steve Connor] “so it’s probably only unsuable if you don’t run the beta”
Yes, that sounds correct. The clips did play well on my older MBP using the Blackmagic RAW Player app, which is likely not tapping into the full quality de-Bayer resolution. The current release version of Resolve (not the beta) won’t recognize the clips. Premiere was super-slow, even with the beta RAW support software installed. However, I would imagine it will take an Adobe update before that’s better optimized.
– Oliver
Oliver Peters – oliverpeters.com