|
Lizard Combatant posted:It's called Scene Cut Detection, I haven't used it much but this should give you a good run down: Awesome, thank you.
|
#
?
Jan 6, 2017 18:57
|
|
|
|
| # ? Apr 24, 2024 22:13 |
|
|
Thoogsby posted:Awesome, thank you. No problem, hope it works out OK
|
|
#
?
Jan 6, 2017 18:59
|
|
|
Anyone have any idea on how to prevent two objects from intersecting via an expression/script in After Effects? So basically, if I move one object around, it will push the other object out of the way in the direction it's moving once they touch.
|
|
#
?
Jan 14, 2017 01:02
|
|
|
d0grent posted:Anyone have any idea on how to prevent two objects from intersecting via an expression/script in After Effects? So basically, if I move one object around, it will push the other object out of the way in the direction it's moving once they touch. I can think through the logic later... But cheap answer is look through aescripts.com ... Particularly the Newton plugin.
|
|
#
?
Jan 14, 2017 02:38
|
|
|
I was hoping for a free alternative :/
|
|
#
?
Jan 15, 2017 03:05
|
|
|
d0grent posted:I was hoping for a free alternative :/ Is it in a 3d environment? How many objects? Is their movement random?
|
|
#
?
Jan 15, 2017 03:19
|
|
|
Nah it's 2d. One object would have automated movement and I'd like to make it so I don't have to automate the 2nd object to get out of its way when they collide/touch.
|
|
#
?
Jan 15, 2017 16:59
|
|
|
Is there any way to subtitle in Avid that isn't laborious and soul crushing? Asking for a me.
|
|
#
?
Jan 18, 2017 17:01
|
|
|
Captioning is rough in Premiere too so I've started just using Rev.com for $1 a minute. It's adequate and so much better than doing it myself.
|
|
#
?
Jan 18, 2017 17:11
|
|
|
powderific posted:Captioning is rough in Premiere too so I've started just using Rev.com for $1 a minute. It's adequate and so much better than doing it myself. I wish. This is stuff I've already had translated, now I'm just plugging it into subcap.
|
|
#
?
Jan 19, 2017 00:05
|
|
|
Gotcha. Maybe you could have someone put together an SRT file from the translation that you could import into Avid? These guys have a terrible site but were highly recommended to me by someone who has lots of captioning and subtitle work done: http://captionsolutions.com/ Sorry all my suggestions are just to pay someone else to do it 
|
|
#
?
Jan 19, 2017 00:38
|
|
|
For subtiltes and CC this app is free and better than most paid software out there. We subtitled our feature with it, and converted a CSV file, based on our spotting sheet. If you can pay someone to do it, just pay, but if you have to do it yourself, get this. http://nikse.dk/ *But* it's windows only and requires you to know what you're doing.
|
|
#
?
Jan 19, 2017 18:11
|
|
|
Mac sadly, thanks for the suggestions folks. I'm getting faster, i just wish I knew how to keep the drat effect editor permanently open in Avid.
|
|
#
?
Jan 19, 2017 18:26
|
|
|
I'm trying to do some exporting of DPX sequences out of Premiere Pro 2017 (or AME specifically) and am trying to understand the differences between Over, Full, Standard and Video range. Yet I can't find DICK about this on the web. I mean I can find a million threads where it's mentioned... but nothing discussing what they actually mean and how to pick which one to use. Why is this information so elusive? BonoMan fucked around with this message at 03:29 on Jan 31, 2017 |
|
#
?
Jan 31, 2017 03:23
|
|
|
DPX is somewhat ancient having not been touched in 14 years with the original being a leftover of Kodak's Cineon scanning computer from 1994. It was replaced by OpenEXR around 1994. Cineon was meant to accurately match filmstock values when scanned in so I understand the color points were adapted from film exposure cards. Some history on it all. The options are limits on the gamma curve. Which one varies depending on what the project's colorspace requires. If you can get into the Cineon export options in After Effects you can flick through the ranges to get an idea what each setting is doing. Each setting changes the black, white, highlight expanse that's then changed depending on bit depth. For example I've spat out a default range to illustrate what is going on.     Most of the above has maths that does my head in and usually is something I leave into the domain of colourists but I understand settings like highlight expansions being set to 0 allows for more manual control on that variable because it's not baked in. I snagged this from here which sort of explains what's going on. Hunting around for Cineform settings or workflows might yeild a bit more clarification but most usually suggest keep it to standard or full unless you need to conform it to a Rec 709 space (video).  After Effects has a Cineon Converter in it's effects that you can use to get an idea what is happening to your video with each format. You will have to punch in the default values manually Just set it to Log to Log.
|
|
#
?
Jan 31, 2017 04:43
|
|
|
Thanks for all that! And yea.... goddamn that's still confusing ha.
|
|
#
?
Jan 31, 2017 04:47
|
|
|
I can't find a great example of it right now, so I'll edit this post if I do. For now there's this https://www.youtube.com/watch?v=98yXiD6T9ag I see videos all the time that have images and clips move around fluidly, but when I do it it always looks janky and low frame rate. Is there a way to more cleanly do transitions into clips in Adobe Premiere Pro? I make video essays, so I'm always looking for interesting ways to transition between clips. My new video for reference: https://www.youtube.com/watch?v=TCK-4S7EHbA. I don't like the way the still images transition between each other, it always feels janky and lame to me but I feel like I'm doing some of the same techniques I see in flashier video channels. Also if anyone has some good resources for learning to make better video essays I'd love some. I've gotten some good links from this thread in the past.
|
|
#
?
Jan 31, 2017 15:44
|
|
|
I don't see any difference between the transitions in both videos, as far as the simple opacity fades are concerned. The other video seems to combine 2 types of motion at once a lot though which you may want to try, like quickly sliding the image up by 20% of the screen as it fades out, or adding in a quick white flash in between images as they fade in and out.
|
|
#
?
Jan 31, 2017 17:41
|
|
|
Also if your moving stills seem jittery try upping the value on "deflicker," it adds a little bit of motion blur which helps. I don't know why it isn't called something more intuitive like "motion blur" but there you go.
|
|
#
?
Jan 31, 2017 18:57
|
|
|
Motion blur helps, and finding the right speed to move things along with how they accelerate. A lot of the bad still image moving stuff I see is cause it's going too fast.
|
|
#
?
Jan 31, 2017 19:38
|
|
|
Quick question for you all. What sites do you use to license stock music? Been running into the same stock music speed bump in all my work recently. - I've been using all the typical cheap sites lately: premium beats, audio jungle, pond 5. When a client is willing to spend a bit more, I've used 5 Alarm Music. I figure it'd be useful for people to post some of their favorite sites to use at various budgets. I'm starting to lose my mind choosing from the same libraries all the time and would love some recommendations.
|
|
#
?
Feb 8, 2017 20:59
|
|
|
Goddamn I hate 5 Alarm's website. It makes me never want to go there. We use the ones you mentioned plus Shockwave-Sound.com When a client wants to step up we go to musicbed.com (and their sister site for high quality stock footage - filmsupply.com). It can get expensive but the music is great. Typically around $400 for a large internal conference license and easily into the $2000+ range for national level licenses.
|
|
#
?
Feb 8, 2017 21:31
|
|
|
Shutterstock actually has some decent things in their stock music catalog. They also have some awful stuff, so be prepared to dig a bit. It's also not a huge selection. I like Epidemic Sound too, though a lot of what they have is kinda samey. That may have more to do with the genres I personally search for, though. You might have better luck.
|
|
#
?
Feb 8, 2017 21:55
|
|
|
BonoMan posted:Goddamn I hate 5 Alarm's website. It makes me never want to go there. musicbed is my favorite - the best quality tracks are available there, IMO. And really I don't really think about the cost of the license - that's billable to the client so w/e.
|
|
#
?
Feb 8, 2017 22:09
|
|
|
Not to bring the focus away from the stock music conversation you all have going on, but do you guys have any recommendations for a collapsible cart that can be used to move equipment (lighting stands, tripods mostly) from a vehicle to a filming venue? I'm not feeling great about making multiple trips between my car and the filming location, especially when I'm leaving expensive recording equipment unsupervised between trips. 
|
|
#
?
Feb 8, 2017 22:11
|
|
|
Audio Network is fantastic and I used it a lot at work. Very weird when music I used turned up on TV.
|
|
#
?
Feb 8, 2017 22:12
|
|
|
melon cat posted:Not to bring the focus away from the stock music conversation you all have going on, but do you guys have any recommendations for a collapsible cart that can be used to move equipment (lighting stands, tripods mostly) from a vehicle to a filming venue? I'm not feeling great about making multiple trips between my car and the filming location, especially when I'm leaving expensive recording equipment unsupervised between trips. Not a lot in the "collapsible" range that's going to be worth a drat compared to a legit magliner. Just get a hand truck and bungie them on?
|
|
#
?
Feb 8, 2017 22:42
|
|
|
melon cat posted:Not to bring the focus away from the stock music conversation you all have going on, but do you guys have any recommendations for a collapsible cart that can be used to move equipment (lighting stands, tripods mostly) from a vehicle to a filming venue? I'm not feeling great about making multiple trips between my car and the filming location, especially when I'm leaving expensive recording equipment unsupervised between trips. I've had one of these things with the top shelf for about 3 years and it's pretty good. Easy to get in a regular car and I've loaded the thing quite a bit with no issues. It's not as good as the kind of carts you'd get on a grip truck but it's similar usefulness to a magliner I think. Usually I strap stands and tripods to the bottom and put lighting cases and camera gear on the top shelf. https://www.amazon.com/Rock-Roller-Multicart-Model-Mid/dp/B003AYL92G
|
|
#
?
Feb 8, 2017 22:56
|
|
|
Seconding the rock n roller.
|
|
#
?
Feb 9, 2017 02:00
|
|
|
Dr.McButtcheeks posted:Quick question for you all. What sites do you use to license stock music? I have no idea what it costs since I don't see the bills, but I love De Wolfe Music.
|
|
#
?
Feb 9, 2017 17:26
|
|
|
Chitin posted:Seconding the rock n roller. I have one of these. Am easily able to move my jib, weights, remote head, a couple c-stands and cables. Only issue I have is that one of the pins on bottom that you unscrew to extend the length of the cart rusted in place. Gonna have a guy I know blow torch it for me. But that issue is clearly my fault. A good cart for the price. Thanks for the music recs. I completely forgot about music bed.
|
|
#
?
Feb 10, 2017 16:54
|
|
|
I'm getting to know Davinci Resolve and Fusion, and I actually can't believe such powerful and intuitive (at least if you know the basics of computer graphics/rendering) tools are available for free, but something's been nagging me. Is the Davinci transformation spline editor for clips really lovely, or am I missing something? If I downsize the clip and insert a new control point, it seems to sometimes set the new control point in a part of the clip outside the area that's relevant for its current size, so I have to make the clip larger to move the point, then resize it back again when I've done that. Is this a general problem, or am I just missing something. I feel like new control points should be added at the beginning of the clip. Also, if the clip isn't large enough in the timeline, I simply don't have the spline controls at all. I guess anything I could do with that tool I could (and probably should) just do in Fusion, but sometimes it's nice not having to swap back and forth for a simple scale/translation.
|
|
#
?
Feb 19, 2017 00:15
|
|
|
Joda posted:I'm getting to know Davinci Resolve and Fusion, and I actually can't believe such powerful and intuitive (at least if you know the basics of computer graphics/rendering) tools are available for free, but something's been nagging me. Is the Davinci transformation spline editor for clips really lovely, or am I missing something? If I downsize the clip and insert a new control point, it seems to sometimes set the new control point in a part of the clip outside the area that's relevant for its current size, so I have to make the clip larger to move the point, then resize it back again when I've done that. Is this a general problem, or am I just missing something. I feel like new control points should be added at the beginning of the clip. Also, if the clip isn't large enough in the timeline, I simply don't have the spline controls at all.
|
|
#
?
Feb 21, 2017 06:02
|
|
|
Is there any way to make the search function in Avid less useless? We've got a ton of subclips across multiple bins that we'd like to be able to search for based on keywords in the title, comments or anything really. The film has a stack of B-roll that's being subclipped into useful selects, but dammed if I can work out how to make it easy to find.
Lizard Combatant fucked around with this message at 13:40 on Feb 21, 2017 |
|
#
?
Feb 21, 2017 13:15
|
|
|
Isn't that what the find panel does? You can pull in and/or search functions. However it does require a pretty full on logging system to really work well.
|
|
#
?
Feb 23, 2017 03:19
|
|
|
WebDog posted:Isn't that what the find panel does? You can pull in and/or search functions. The find panel seems to hate subclips. Take markers for example, it will only search markers on the master clip or in sequences. Markers on subclips are ignored. Ok, so if I have a sequence with all my subclips it should find them but... It also just spits out an error if I try to search for more than one word, making it functionally useless. Very frustrating. Lizard Combatant fucked around with this message at 06:59 on Feb 23, 2017 |
|
#
?
Feb 23, 2017 06:55
|
|
|
AVID 's databasing system seems to hate subclips straight up. Someone suggested this.quote:Make a very large Sequence comprised of all your Subclips and load it in your Source monitor. From there, you can do a CTRL+F to open the FIND tool. (Make sure the FIND tool's Timeline Text box is ticked). Apparently another method is to use locators. That is instead of creating subclips you mark in and outs on the master clip and extrapolate from there. There's a setting that allows locators to be transferred onto the edit timeline. You then create a custom sift to browse through locator text. Keep in mind this is pretty bloody old school.
|
|
#
?
Feb 24, 2017 02:52
|
|
|
Yeah that's what I've done, created sequences with all the subclips from the bin. The problem is the search function lets me search the locators text but only a word at a time. I can't put in "stairs goon lord" and have it find every locator containing those 3 words. I don't think there's a way around this unfortunately, it's just a crap tool.
|
|
#
?
Feb 24, 2017 03:54
|
|
|
I understand it's been a feature request for a long time but has yet to get implemented for reasons.
|
|
#
?
Feb 24, 2017 04:06
|
|
|
|
| # ? Apr 24, 2024 22:13 |
|
|
How can I achieve this text reveal effect in After Effects? It's just a smokey reveal of a logo. I'm guessing that Trapcode Particular might be involved?
|
|
#
?
Feb 27, 2017 20:20
|
|