Skye Sweeney
Forum Replies Created
-
The problem is with PPro 1.5.
Not sure how big the page file is. Will have to check tonight.
I am connected to a LAN. I do have some shared drives, but these are not needed for this (or any project).
The reboot problem effects very simple as well as complex projects. The simple project is a 5 minute NTSC DV AVI file captured via PPro. The AVI plays fine in media player.
The only unusual aspect of my computer is an Edirol UA-25 USB audio sound device. The UA-25 allows for audio input of two microphones that need phantom power as well as audio out. I had been using the Edirol for its better sound quality having selected it as the audio hardware in the preferences. I have since reverted to my onboard audio card and removed the Edirol device driver from my computer. I suppose it could have left a few surprises behind.
As for the video card is a Radeon 2900 with device drivers that are the latest and greatest.
-Skye Sweeney
FLL Freak Productions
https://www.fll-freak.com -
Thanks to all you posted ideas either here or in private email. Using various techniques I was able to remix the recording very nicely. This track was included with several others for my daughter’s conservatory pre-audition demo CD. Now she sits back and waits….
-Skye Sweeney
FLL Freak Productions
https://www.fll-freak.com -
Search the web for a plugin called deflicker. I have no experience with it, but have heard good things.
-Skye Sweeney
FLL Freak Productions
https://www.fll-freak.com -
Willie,
As a mechanical engineer and not an audio engineer, I do not understand your answer about adding gain for each new track. I do not think that you are adding any gain (amplification) but rather you are adding amplitudes. If the sample by sample addition of the amplitudes for each track add up to more than what can be stored using the selected bit depth, you would clip. It might be posible (if the sounds are out of phase) to have 100 tracks and not clip or just two and peg the meter.Is this what you mean by adding gain when adding tracks?
-Skye Sweeney
FLL Freak Productions
https://www.fll-freak.com -
Would you be so kind as to tell me which VST compressor you used in the demo? As delivered, my version of Audition (the latest from the video collection) does not seem to have anything under the VST folder. The results it gave that clip were nice and I would like to duplicate it.
-Skye Sweeney
FLL Freak Productions
https://www.fll-freak.com -
Here in the USA, many hardware or paint stores have a device to scan a customer provided sample to generate the proper instructions for mixing the paint. Take a sample of the fabric with you and have them match it with a good mat paint. It will not be perfect but should be good enough. You may be forced to key the frabric and painted areas seperately, but in my experience it is never possible to pull a good key with just on pass.
-Skye Sweeney
FLL Freak Productions
https://www.fll-freak.com -
Willie,
I had some time to think these posts over. Your post on a Premiere – Audition work flow was great but has a few holes/questions.
In the world of stop action animation, the dialog audio track is normaly recorded before the first picture is taken. We use the dialog track to plan each and every picture. Analyzing the dialog allows us to minimize the number of frames that have to be taken.
Sometimes it is done the other way as a voice over. This requires very talented actors that can adjust their timming to a frame or two.
So your workflow might be changed as follows.
1) Record the dialog with the actors and make sure the original recording is not clipped. The UA-25 has a dynamic limiter than can save one’s posterior.
2) Cut the crud out of the track and normalize to -3dB.
3) Make whatever EQ adjustments are needed for the whole track. Boost base, remove hum, …
4) Split into sentences.
5) As the animations become available, use Audition to glue the audio and video together.
6) Make individual EQ adjustments if needed for that scene.
7) Export the clips to be used in Premiere.
8) Use Audition to clean up and split up the sound effects and music.
9) Paste the sound effects and music into the Premiere project on seperate audio tracks.
Now the question becomes, should the volume levels be adjusted in Premiere or back in Audition?
It would seem that the music track that spans multiple scenes would be best left to Premiere. But should the individual scenes be adjusted by going back to Audition, or can we just stay in Premiere?
-Skye Sweeney
FLL Freak Productions
https://www.fll-freak.com -
Hold the phone! My research indicates that green is best for video and blue for photography. I recal something about the sensors in video cameras being more (or was it less?) sensitive to green.
I recently shot the same scene with both a blue and green background. The blue was easier to key, but the forground item was a yellow LEGO creation. The green spill from the reflection on the shiny plastic bricks on the yellow foreground was nearly impossible to key sharp. This due to the closeness of yellow and green in the color spectrum. With a blue background is was easier.
I was lead to believe that when dealing with an organic foreground green was the color of choice. (Unless the organism is a green Martian.)
HELP!
-Skye Sweeney
FLL Freak Productions
https://www.fll-freak.com -
Willie,
I will give your ideas a go over the next few weeks. I am working on that short animation for master volume setup. I can try out your workflow to see if it improves my sorry life. Again thanks for the help.
-Skye Sweeney
FLL Freak Productions
https://www.fll-freak.com -
Willie,
Working too hard is the story of my life…!
You can see two examples of my work at https://www.fll-freak.com
(Scroll down a bit till you see the Dr. Justin Case Movie information)
These movies are all done with stop motion animation (claymation) and LEGO bricks. The movies explain the rules of an international competition to the audiences.Till recently, I had been using Audacity. Now I have the whole Adobe Video Collection and will be using Audition. This year I have also graduated to a good condensor mic and a Edirol UA-25 USB digitizer. The UA-25 is a great product for its price.
The conversation track is recorded in one session with the actors. The bad sections are cut out and the whole track normalized to 0 dB. This is then split up into individual sentences to be added to the video in Premiere. Sound effects are recorded one at a time and individualy normalized to 0 dB. The music track is also normalized to 0dB and pasted in as an audio track in Premiere.
Now comes the hard part that my partner has been doing. He needs to set the volume level for the conversation at something less than 100% to give head room for sounds that are louder than the conversation. He also needs to set the volume level less for quiet sounds.He has done a great job but it has all been done by ear.
In the “Nina in No Limits” movie, how loud should the background city sound be in relationship to her footfalls, the car’s driving by, and the door opening? I understand that this is very subjective. That the audio track is one big place that a movie director can make or break a film. But I am (was?) looking for a way to get into the ballpark and from there tweak for effect. Perhaps our current “adjust by ear” method is the best way.
This all came about because I have been present at tournaments where they have played my movie and the master volume was not set right. I was going to create a short animation for the audio engineer to use in advance to set the master volume. A minifig would walk out and use his normal voice, his library voice, than fire of a gun. But the relative level of these three sounds need to be the same as the movie. So the idea came up to adjust levels analyticaly rather than by ear.
Thanks for all the help you give to us poor fools.
-Skye Sweeney
FLL Freak Productions
https://www.fll-freak.com