[Ryan Holmes]

Not sure about others here, but if I have speed changes on a timeline I bake those into the clip before going to Resolve (providing adequate handles as well upon baking). I’ve seen things get squirrelly too many times when you start trying to translate speed changes from one app to another.

And yes, it’s a pain in the butt. However, it’s less pain that in/out points being off, things getting misrendered, or having to rebuild your edit after the fact.

Your mileage may vary….

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

You’ll need to download the manual and see if the camera is capable of outputting a clean signal over HDMI. A “clean signal” means that the camera sends out only the image and not additional information like time/date stamp, battery info, etc. Many of Canon’s cameras do not output a clean signal. Some do however. But you’ll need to look through the manual or go through the settings on the camera to see if there’s an option to turn that off.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Steve Doubledark] “Then, bring in the more in-depth explanations and again do it by showing real-life examples rather than feeding dry “to achieve this, you do this” information.”

Steve, I’m sympathetic to the “simplest approach” idea, but you have to realize that color correction is very difficult. Any are where a person can specialize is never a simple field! 🙂 DaVinci is a highly complex software and the training listed above is actually a highly simplified form already. Ripple, Lynda, Tao of Color, fxphd, etc. are all highly knowledgable places to start your learning. No one solution will teach you everything you need or want to know. It takes years to learn all the different ways of doing things. I’ve been working as a colorist for almost 8 years now and there’s still new tricks I learn…sometimes from the above mentioned training.

Many of the above listed solutions will let you download footage and do a “grade along” as you learn. It just takes time to learn and practice. And you can always learn a lot by taking your own footage and practicing on that. It will make you a better cameraman when you start to learn how the footage works within the computer.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

Yes, the picture style you select will impact both video and stills.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

If you’re trying to cover the most amount of devices a mp4 using the h.264 codec is compatible on the all iOS devices and the majority of Android devices (as well as Windows Phone). The “gotcha” area typically is the “level” you set when you encode (see more info at Wikipedia. Older iOS devices don’t support the higher levels (and keep in mind that there are now 8 years worth of iOS devices). Current iPhone 6 models support mp4’s up to High Profile Level 4.2 (see the Apple specs page for more specifics).

At a certain point you’ll need to decide where your cutoff is because you can’t support every device unless you go the multi-format route. If you (or your client) is content covering the last 3 years worth of devices, no problem.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

Some questions:
(1) What are the settings you’re encoding to (changing frame rates may cause a lack of sync…going from 23.976 to 29.97 or mixing up sample rates)?
(2) Does this happen on other machines or just one?
(3) Does this sync problem happen regardless of what format you export – m2v, avi, mov, mp4, etc? So anything you export goes out of sync?
(4) You have verified that everything is in sync within Premiere on your timeline (I assume so, but just want to eliminate that as the problem! 🙂

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

Todd – I wouldn’t recommend using a T5i (or any DSLR based) camera to record long form sporting events. They just aren’t made for that. Shooting stills – fine. Short video clips – alright. But long form events like sports, weddings, or corporate functions they just don’t do well. Two reasons for this:

(1) The FAT32 file format of the camera
(2) The 29:59 limit (to avoid being taxed as a video camera when shipped to various parts of the world)
(3) Multiple lenses needed

So while you’re camera can theoretically record for about 30 minutes, in reality it may be much lower as the file format on your SD card (formatted by the camera) is FAT32. And FAT32 has a file size limit of 4GB. That limit means you may only get about 12 minutes of continuous recording before you’ll have to manually restart the recording process (12 minutes is an estimate based on 45Mbps data rate while recording video…the T5i may record lower at a lower data rate than this, but my Canon camera experience usually averages about this data rate for video).

I would recommend getting a camcorder of some sort for this, especially for the ability to have a wide and zoom lens all in the same package (something like a Canon VIXIA HF10 or Panasonic HC-V750 or similar). While 18mm on a T5i is plenty wide, 55mm is not a very close zoom if you need to get tighter on the action (deepening on your vantage point). You really don’t want to be switching lenses while at a game, and many times you can’t if you’re in the middle of a shot.

Just some things to consider…

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

What codec is she exporting with (h.264, jpeg200, Uncompressed, etc)? mp4 is a container and inside that container goes a codec.

Often times when a video is played back on a computer with audio, but black video it’s because the system doesn’t have the appropriate codec installed to decode the video (but it does have the audio codecs so it decodes that and plays back what it can…in this case just the audio).

To be able to really help we’d need to know all the settings she’s using. It would also help to know what the original media is (container, codec, frame rate, etc). Also exact system specs could reveal other problems.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

Just a 90 minute best quality DVD preset in AME. Make sure that the settings are set to NTSC (not PAL) when you encode the assets and burn the disc.

And remember that NTSC= 29.97 fps.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

Kathie – if you shot 720×576 why did you not set your timeline in Premiere to 720×576? Generally speaking, you want to edit with the same settings that you shot at….that introduces the fewest amount of problems.

You shot 720×576 and are outputting to 768×480. 720 pixels won’t fill 768 pixels! 🙂 In order to make the footage fill the frame size you are going to have to distort it (which is sounds like you did by adjusting the effect controls for the clip.

I would recommend adjusting your sequence settings in PPro. So they should read:
Timebase: 25fps
Frame Size – 720×576
Pixel Aspect Ratio – D1/DV PAL (1.0940)
Fields – No Fields (Progressive Scan)
Display Format – 30 fps Drop-Frame Timecode

Provided you aren’t going to some special display, you’re output setting in Media Encoder should look the same. Unless you are specifically need 768×480 as your resolution then you should change this in Premiere Pro (create a new sequence with correct settings and copy/paste your media from your other timeline into it). If you need 768×480 for a particular reason, then we can work to accommodate that. However, that resolution is non-standard and won’t comply with broadcast or web delivery (YouTube/Vimeo) or DVD. It is a completely non-standard format.

Hopefully we can work this out for you so you can get your project finished!

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost