Richard Herd
Forum Replies Created
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Audition is great and the sending to it is cool. There is an issue to manage: when Premiere sends the clips to Audition, it re-writes the audio’s timecode based on where the audio is in the sequence. In the old final cut pro 7 and sound track pro workflow there is an option to conform the mix in STP with the Sequence in FCP7. That is not the case with Premiere/Audition round tripping.
Here’s an example. I edited a 13 minute industrial full of talking heads against a green screen. The footage was from 10 different shooters and different mics, and so on. Audition was great at making all the audio sound the same with various effects and sends and bussing and so on. It was a complicated mix. Sent the stereo pair to Premiere and exported for client review and there were changes. Oh boy. Not cool. I had to clip out some audio, which meant the picture changed, and there is no good way to conform the picture and audio, and because the mix was so complicated, I couldn’t redo it, and because the timecode was rewritten, I couldn’t just link it back up. So I ended up keeping a handwritten edit decision list and manually match the two. Fortunately, there were few changes, but had there been a total re-edit, it would have been time suck. I told Dennis from Adobe about this, and I hope they are fixing it, or have fixed it.
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5. sync-locking relationship…
How is that different than a compound clip?
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[Andrew Kimery] “Who says you have to use CC from now until the day you die? “
A: This guy, and then for quite some time after that. You can save money 🙂 https://www.wimp.com/numbersinfinity/
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I assumed it was dSLR.
Before we can get a dSLR to look filmic, we have to know what a film camera does. That’s why I posted the above math. The next price point and form factor in cameras have setting to let you control the capture more like a film camera. One issue out of our control on dSLR is the video aliasing. They are stuck at 4:2:0. Additionally, we are stuck with the dynamic range. For way more detail on those topics, check out this article: https://library.creativecow.net/galt_john/John_Galt_2K_4K_Truth_About_Pixels/1
That means the thing we can control is the motion blur, which was the emotional content of the shot’s artifice, the image itself (and not the subject). Right there it’s already complicated. Sometimes that content of the format is referred to as “grain structure,” or “gain,” or “blur.” Really there’s no good way to describe it except that article I linked above.
With regard to dSLR capture versus film capture, the thing the dSLRs do not have, but a film camera has is the shutter angle. Here is the best video on that topic: https://www.youtube.com/watch?v=dGYbcvcyBkw
Here’s what happening: shooting on 60fps with a very fast shutter will create the “Saving Private Ryan” look, where we can see each piece of sand during an explosion. The technique was also used on “Hurt Locker” and many other instances. Anyway, when 60fps footage has a shutter speed greater than 1/120 (1/60 * 1/2), there is very little motion blur, if any, on the image, and when that footage is interpreted by Premiere, it creates a funky looking effect. Mr. Galt above does a decent enough job explaining why our psychology considers it funky.
If you feel you need to shoot 60fps to get the footage to look how you want it, then by all means, shoot 60fps. Going from 24 to 60 means the computer interpolates and or duplicates missing frames, but going from 60 to 24 means you are speeding up playback. Right off that bat, that will look better — assuming you’ve set the shutter properly.
Note: this does not even touch lenses!
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Let’s cut right to it: What camera are you shooting with?
This thread has a lot of ambiguities that need fixing.
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Can you force a validation?
Suppose I’m going on a remote shoot and I want Prelude as my DIT. Connected to wifi at the airport, validate the apps, close up and fly.
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[Sean Winn] ” I’ve shot 60 for slo mo “
Are you familiar with over cranked footage? In order to have actual slow motion, you need to have a camera that shoots over cranked. Calling it “over cranked” is an historical term from when film cameras were hand cranked. If you cranked it too fast then it created slow motion (and wasted some film), when played back at 24fps. If it was under cranked, it created a funny sped up effect, when played back at 24fps.
To state the obvious, to make an exposure, a normal still camera needs three things: (1) ISO, (2) Aperture, (3) Shutter speed.
In motion capture, the shutter speed is a product of the shutter angle and the shutter rate (Rate * Angle = shutter speed). Panasonic cameras call the Shutter Angle Synchro Scan.
A few examples:
Frame Rate=1/24
Shutter Angle (which is a circle) = 180/360 = 1/21/24 * 1/2 = Shutter Speed = 1/48
Frame Rate = 1/60
Shutter Angle = 180/360 = 1/21/60 * 1/2 = Shutter Speed = 1/120
Many motion cameras, especially dSLR, have a shutter speed adjustment on their motion capture, a dial that allows you to change from 1/24 to 1/60 and so on, pretty painlessly — but it is not over cranked!
Let’s do the math:
Frame Rate = 1/24 (aka 24p)
Shutter angle = a/360
Shutter Speed = 1/60Solve for a:
(1/24) * ( a/360) = 1/60
(24)*1/24 * (a/360) = 1/60 * (24)
(360) * (a/360) = 24/60 (360)
a=144
By now, it can be seen that adjusting the shutter speed does not over crank the camera; what happens? The shutter angle changes, in this case to 144 degree. It’s an acute angle and prevents some motion blur, which will make it easier for Premiere (or any NLE) to interpolate the missing frames.
One last detail since many people are looking for the “film look”: film cameras shoot sync sound at 1/24, with a 180 degree shutter, which when calculated means the shutter is 1/48.
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[Paul Stretton] “I come from FCP7 where this was not the case”
I recall it working exactly the same way in FCP7.
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[Franz Bieberkopf] “I am not following then.”
Yes, we agree, then!
[Franz Bieberkopf] “”not faster” than what?”
I don’t know. That’s why I asked!
https://www.youtube.com/watch?v=kTcRRaXV-fg