Vince Becquiot
Forum Replies Created
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It all depends on the kind of effects you are applying, the format you are rendering to, and well.., the amount of stuff you have on that computer.
Vince
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BTW, you may also want to do that in the source monitor before putting the audio in the timeline. You will be getting a much bigger waveform, just hit * and create a marker, then match it in the timeline afterwards.
Vnce
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You can get much more accurate reading if you switch your timeline to Audio Units (arrow in top right of the timeline)
Zoom the timeline all the way in and you will then be advancing sample by sample instead of frame by frame.
Vince
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You really need some type of motion tracking for that, and After Effects will really be your best choice; if you are an independent editor and don’t have it yet, it might be a good time to add it to your creative arsenal, as well as some type of 3D application…
The only way to do that in Premiere is using motion on an image and you are talking almost frame by frame adjustments.
Vince
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I try to avoid long runs of dialog with audio (over 10 seconds), because it quickly becomes distracting no matter what. The type of music you use is going to make the biggest difference.
Classical type genres, or slow electronica are probably your best bet for talking heads. Any type of beat music is going to be a problem unless it involves upbeat dialog / narration, and camera movements; think “The Amazing Race”.
Cutting the mids is a good general rule, since most voice frequencies fall in that range, but what you really need to do is cut the frequencies that call for attention to the track, and that, you’ll and to play with for a while.
Cheers,
Vince
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What are your settings on the DVD export ? Progressive ? What about the WMV ?
I don’t work in 24P SD, but I’ve been told that converting 24P back to 60i usually leads to some quality issues, stepping being one of them.
Vince
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The most obvious effect of a reversed field order will be stuttering in motion areas, and pans.
Vince
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Although I haven’t really used the video limitter that comes with Premiere, I am guessing it does what all limitters do and helps you keep the brightess / luma in your footage within broadcast specs. (Saturation too ?)
This is mostly aimed a TV screens and not projectors. There isn’t much that you can do to increase the brightess and contrast ratio of a projector at the editing stage. You can however use the waveform monitor and make sure that your levels fall between 7.5 and 100 IRE’s, using the manual level effect. The problem with using automatic filters like a limitter, or auto level is that you may get noticable sudden shifts in your footage over time.
Vince
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I did assumed you were going to DVD.
I guess I’ll keep throwing links 😉
https://www.cpcweb.com/Subtitling/sub_hardware.htm
Unfortunately, the system we leased at the time (which was also analog) is not longer being manufactured.
It has been a while since I’ve touched subtitles, and things have changed, (Mainly that many more people speak English, and that fewer client are still willing to pay for them 😉
You may want to try posting at the broadcast section as well. Also, I would check out Proz.com ‘s forums. They are a leading translation exchange group and I’m sure these guys will have recommendation for the newest and easiest way to create subtitles.
Cheers,
Vince
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