Ryan Elder
Forum Replies Created
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Okay thanks, I did just that actually :). What format should I render it out of AE in? If I do it in a AVI file, Premiere has trouble playing it on the time, as it keeps pausing, but I want the highest quality possible too of course.
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Well I just typed out the credits in the title box. Sorry I am just not how else to describe it. I typed them all out and spaced them all out to my liking, and then I told the program that I wanted the credits to start on the roll, by clicking on the checkbox, that asks if you want them too.
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Well I don’t know how the audio programs works, and thought the program would accept the movie at whatever frame rate it was in. I didn’t know that the program would add frames to the movie possibly. I don’t know how these audio programs which is why I wanted someone more experienced to do the audio who uses a program. So I didn’t specify a framerate at first cause I thought the program would accept whatever framerate the movie was originally in.
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Oh okay, well according to the composer, the software changed the framerate from 23.976 to 25 fps, but he did not catch it until later it seems.
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He uses logic pro x. He talked to me more about why the sync is off.
The program imported the movie and converted the 23.976 movie, into 25 fps it turns out. The program did this by default he said.
Is it possible to tell the program that you made a mistake and for it to convert back from 25 fps to 23.976 fps and the music will convert back with it, time sync wise?
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Okay thanks, but can you change it in the program before exporting, and retain better quality? Like let’s say you create tune with a virtual instrument from scratch. Can you tell the program later what bit and khz you want it to be, or does the program decide that for you and there is no turning back in the sequence before you have even created it?
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Okay thanks. I was told by some others that no one will notice such a small quality difference, but will they?
Also, what if instead of converting, what if the composer just went back to his original timeline in the music program, and took all the music and copied it, and pasted it into a new 24bit/48khz time? Since the music was created in his program from scratch, will copying it pasting it into a new timeline, recreate it in 24fps/48 khz therefore?
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I guess I figure since I don’t have the budget to get mics for every actor, and they have to share booms, that I might as well do it old school, before lavs came along, but is it possible to do it old school and still be good?
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Okay thanks, but for our budgets, we only have two boom mics, especially with multiple actors. Should we just live with the wetness like Paths of Glory did? Or what did they do before the lav mic age?
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Okay thanks. I just find myself with the same dilemma is that in real locations, the mastershot is going to be wet compared to the shots where you can get the mic closer. What if the director wants to use a lot of the mastershot, cause it shows a lot of the actors blocking, compared to closer shots, what then? Is it possible to get rid of really wet dialogue on a real location as oppose to a specifically built sound stage?