Ryan Holmes
3
COW Coins
Forum Replies Created
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For Internet delivery you want to de-interlace your footage. Since people viewing your material on YouTube will all be using progressive scan screen (laptops, phones, tablets, etc). Stick with what the preset has because interlaced footage on YouTube tends to look terrible, imho, and you need to de-interlace that content for web delivery.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
Use Adobe Prelude for Logging and Ingesting. Adobe reads XDCAM files natively, there’s technically no need to Log & Transfer like in the Final Cut 7 days unless you’re wanting to rewrap your files as DNxHD or ProRes for other reasons.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
Sounds like you may have a corrupt Premier project on your hands. So when it sends out the XML for AME it’s gnarling stuff up. Try setting up a brand new project in Premiere Pro (start from scratch), and then import the existing project into that one (File–>Import). Then try sending the sequence out to AME from within that newly created PPro project. See if that gets the mojo working again…
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[jd Huitt] “I’m having clips that are dropping out, which in the final video gives me a red screen with the Media Offline message in about 10 different languages. “
What version of Adobe are you running? What format is causing the problem? Is it consistently the same area on your timeline (could be corrupt)? Are you using render files? Are any of the areas “Dynamic Linked” sequences from After Effects or Speedgrade or Photoshop?
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Tim Jones] “Suspect the contacts before you suspect a lens.”
I agree with Tim. Though you may have damaged the mount on your camera as well. So the lens has contact points and so does the mount on our camera body. If either of those are dirty, not seated well, not touching correctly then you’ll have problems. So clean the contacts, and make sure the mount doesn’t have any damage.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Shane Holm] “Any ideas what might be causing the problem?”
Probably just a bug. You may need to export out a full quality file as a master (ProRes, DNxHD, or whatever your preferred codec is) and then bring that master into Media Encoder to make your deliverables.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
Why not just set your destination output for your encoded file to your Dropbox folder? That way it’s uploaded to Dropbox as soon as it’s finished.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Michael Gissing] “The big thing is can Resolve 12 handle outputting meaningful audio for post. Whilst the idea of staying in the one device for all picture work is a real possibility, audio in most pro workflows will be sent to an audio post facility so OMF, AAF or some sort of xml translation is important to editors choosing Resolve 12 as the edit NLE”
I would also add to this list delivery. The “Deliver” tab in Resolve 11 lacks good presets for mobile, Vimeo, YouTube, etc. It’s also hard to save dozens of presets cleanly in Resolve. Compressor and Adobe Media Encoder have such smooth interfaces for having to export many different versions. And more and more the encoding engines are getting hooks for direct links into Amazon S3, Vimeo, YouTube, Frame.io, etc. which can really speed up the workflow.
Before Resolve could replace my usual workhorse it needs:
(1) Better RT on all hardware – iMac, laptop, Mac Pro, PC, etc.
(2) Easier plugin capabilities (OFX do seem to struggle more than in other NLE)
(3) Way better media management
(4) Easy way for multiple editors to engage on the same .drp file for a multi-user environment (not necessarily at the same time, just being able to easily locate project files within database…I see this as a struggle for new users who are used to Avid or Adobe which creates a unique project file for a given job).
(5) Better delivery/encoding optionsI’m sure over time BM will address all these. And since they subsidize their software through their hardware sales, I do wonder how other NLE’s compete with this. In the race to the bottom of pricing you’re always sacrificing something (service? support? features? quality?).
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
If you’re trying to reduce noise on your footage, then yes, shoot a lower ISO. Just because the camera “can” shoot 25600 ISO doesn’t mean you should be shooting at that ISO. Once you start getting over 2500 or so, you’ll probably start to notice on the Canon DSLR. It doesn’t mean the footage is unusable, but for those times where you find yourself cranking up the ISO…that’s probably a time to pull out another light source.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[steven dileo] “My audio is set to manual with no clipping to be seen, is there some setting i’ve overlooked? Or is there something else in general that i’m just plain missing?”
Provided you are running the Canon audio in manual mode, meaning that the built in AGC (audio gain control) is off then what you’re experiencing is the glowing quality of DSLR audio. So even if AGC is off on a DSLR the components that make up the guts of a DSLR audio – A/D converters, preamps, etc – are very cheap quality and tend to produce noise even under ideal situations. Your best bet is to run second source audio, like to your H4N, and send a scratch track to you T3i to make it easier to sync up in post. You second source audio will be the high-quality, clean file. The DSLR audio is just for help syncing the footage to your second source.
DSLR’s were never intended to shoot video, and even less to record audio. While they do both of these things nowadays, they do them generally in very poor ways (pixel binning, line skipping, AGC, ergonomics, poor connectivity options, etc). In order to work around the limitations you have to supplement the DSLR with other gear. In the case of audio it’s always to bring in a second device that’s dedicated to that job – Zoom, TASCAM or whatever.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost