Richard Herd
Forum Replies Created
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[Andy Neil] “I can use whichever one I need for the project.”
What’s your personal decision metric for deciding which app to use for a particular project?
Thanks!
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Slight disagreement, here. For me, I use quite a bit of AE in a sizzle reel. I’m not sure the best workflow (currently) for X into AE; it’d be nice if there was a dynamic link between X and AE.
The power of X, for me, is how the audio is embedded into the video. For sizzles this is basically unimportant since the audio is almost always a music track. There would be no need to play track tetris, which is for me the main thing X fixed.
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[Nikolas Bäurle] “especially when doing fast turnaround projects”
“fast turnaround projects” is a loaded term. Really, are there any projects that you can complete slowly (besides the screenplay I never seem to finish)?
Sure there are particular workflows more suited to a particular deliverable, but I’m unconvinced the term “fast turnaround projects” is the best way to describe it. They are all get it down fast and now.
For me, FCPX is best for projects where there are a lot of footage with sync sound, and where there is very little mograph.
For me, CS6 is best for :30s with lots of mograph, and a VO/music bed audio.
Moreover, when the client sends a bunch of CMYK graphic design and I have to unpack it into AE, then the NLE does not matter at all, and Premiere is a hub for aggregating assets from AE and Audition.
If everything, for me, was cutting, X wins hands down over Premiere. (I haven’t touched Avid since 2004, except for a trial version in 2010, and it was not for me at that time.) But it isn’t cutting only, for me, I need the full range of stuff. Turn around town is always, ASAP!
Currently, as the need crops up, I xml FCP7 into CS6, and it’s so far flawless.
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[Greg Sage] “I might be able to tap into that and straight to the projectors”
If you’re sending a video feed over cat5, and if my memory serves me, you’ll need some expensive equipment to (a) scale, (b) transmit, (c) receive, (d) scale. Might be easier to upload to youtube (setting proper permissions of course) and let the teachers click through on their smart boards.
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I taught High School Information Technology and Media for 3 years. I have curriculum, lesson plans, curriculum maps, documentation artifacts, budgets, grant requests, classroom rules. Whatever you want, but here’s the catch: It’s all stored on google drive, so I can share it with you if you want it. my gmail is richardmarkherd@gmail.com
You might also want to investigate Perkins. https://www2.ed.gov/offices/OVAE/CTE/perkins.html They have lots of money, especially for brand new programs, which they will fund 3 years of staff salaries (not a typical thing for a grant).
Equipment is difficult to wade through, so here’s a brief lessons learned. Creating a program means you will need 3 levels of course work: intro, middle, advanced. For my intro students, they used cheap panasonic camcorders and reasonably cheap tripods, all available light.Then they edited on FCPX and Premiere CS6. The kids hated Premiere. And actually, it was much faster for them on FCPX. One lesson called Pass the Salt was camera coverage lesson and the kids shot the same 15 second, 2-actor, dialogue from several angles: WS, MS, CU-1, CU-2, OTS-1, OTS-2, and then cut it together. It took 2 weeks in Premiere. 1 day in X. No kidding.
The middle class was mostly story oriented and since they knew their workflow, they had to form teams and make movies. That was a fun class.
The advanced class we used really fancy tripods and Canon XA10, very nice cameras, with shotgun mics. Then we busted out light meters and a 3-lamp Arri kit. I also used Mathematics standards from Common Core to teach asymptotes, an easy thing with lighting.
I had two dSLRs, which were mostly for yearbook photography, and although the computers had photoshop, the kids used iPhoto, because, they’re kids. We got into some photoshop in photography class, using scale and layout and such, one unit was special effects, where they would climb a blade of grass, and so on.
Edit: Premiere was on windows 7 64-bit, and X was on the cheapest iMacs.
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I open up two finder windows. I make a folder called Camera Archive. Then I make a folder in that folder called 20140213 (the date), then I copy everything exactly as it is on the card into the date folder.
Camera Archive\20140213\…
Inside this folder are three more folders, the ones I coped from the card:
– DCIM
– MISC
– privateIf there are other files in there, copy them too. Copy Everything! Do not change the folder structure. Literally, actually, drag and drop everything!
Open premiere. Go to the media browser and browse to the private folder. Wallah.
The camera archive needs to be exactly as it is on the SD card because there is metadata the computer looks at. It’s not for human consumption 🙂
The files your camera records are called Long GOP and they are h.264 probably AVCHD. Highly compressed files. Premiere needs the metadata to deal with the interpolation of the missing picture data. When you transcode to DNxHD or ApplePro Res 422, your graphics card makes the best possible guess to put the video into an intraframe codec. That process will take quite some time.
The text file you linked contains a lot of information. You should google that stuff and read up on it until you feel like you know it.
Start here:
Format: MPEG-4 https://mpeg.chiariglione.org/standards/mpeg-4
And here is a good site to read: https://lurkertech.com/lg/timecode/
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[Oliver Peters] “what’s causing the crackle”
Wow, There’s a lot of weeds to wade through to find a cause: hardware drivers on the audio i/o, maybe (idk)?
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Try CMD NumKeyPad+ and CMD NumKeyPad-
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Try panning track 1 left and track 2 right. Export as stereo.
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I can hear what they’re saying, pretty well.
Try this: Make duplicates of all your clips before you do this: https://tv.adobe.com/watch/learn-audition-cc/using-the-spectral-frequency-display-to-clean-up-your-audio/