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WebDog posted:There are a few ways to do this. It sort of depends on what inputs your camera has, most usually seem to have two XLR jacks or at worst, a 3.5mil (headphone) jack. You can buy XLR to 3.5mil adapters. Thanks. My intention was to hook the stereo into the camera directly (A7R2), then pipe that audio over HDMI to the external monitor/recorder (Atomos). I'd then use the extra 3.5mm jack on the Atomos itself to add the shotgun mic on a third channel. Would this work or would it create issues with phasing and whatnot? edit for clarity: This is a very low-key setup, it'll be just my wife by herself or with me for backup, but I'm just barely competent with a camera and definitely not a technician. We will probably not have booms or lavs, since we'll be working in the field, and while it's not quite guerilla, it's definitely not a 'we're the media and we're going to walk around with our crew and rigs' sort of scenario. Hence, stereo+shotgun both on camera. I was hoping this would keep the size of the rig down and the moving parts to a minimum while still giving us good channel separation for the relevant audio sources. fatman1683 fucked around with this message at 09:22 on Oct 16, 2018 |
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Oct 16, 2018 09:18
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Wait so where are you putting the shotgun? If it's not on a boom you aren't going to be getting that great of interview sound. Are you thinkin you put all three mics on the camera? Cause that's a little wacky. I'd just do the shotgun on camera if that's what you're looking at. I don't know many people who actually use stereo mics for the type of recording it sounds like you'll be doing. And then for interviews it's really important to get the mic off camera and closer to your subject.
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Oct 16, 2018 14:14
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Has anyone done any of the 48 Hour Film challenges? A friend and I just signed up and have been recruiting people pretty successfully but I'd appreciate some advice. Our current outlook is that a smaller core group (director/writer, story/video editor, cinematographer, make & female leads) is best and we have a range of people on deck (sfx/make up/costuming/ different musicians/extras) in case we need them with their schedules cleared and ready. Unfortunately our cinematographer just dropped out (got a great opportunity, can't blame them) and we're having trouble finding someone else. Me and another friend can take over but I don't want us to burn out from wearing too many hats. On the other hand maybe us doing multiple things is better for keeping the project coherent and consistent? Our main goal is to just have fun and network, so I'm not really concerned with winning. (There's barely a prize anyway) and while winning isn't the main goal, I still want the finished product to be entertaining and good. Koalas March fucked around with this message at 14:59 on Oct 16, 2018 |
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Oct 16, 2018 14:55
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Koalas Massacre posted:Has anyone done any of the 48 Hour Film challenges? A friend and I just signed up and have been recruiting people pretty successfully but I'd appreciate some advice. Do you plan to have sound? Someone with a boom and a set of headphones will make a huge difference. Never had the time to do a 48hr challenge but I've seen plenty where bad sound stuck out the most to me.
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Oct 16, 2018 15:04
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Lizard Combatant posted:Do you plan to have sound? Someone with a boom and a set of headphones will make a huge difference and bad sound really sticks out. Yes! Our sound guy is awesome and I have worked with him previously.
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Oct 16, 2018 15:07
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Koalas Massacre posted:Yes! Our sound guy is awesome and I have worked with him previously. 
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Oct 16, 2018 15:14
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Koalas Massacre posted:Has anyone done any of the 48 Hour Film challenges? A friend and I just signed up and have been recruiting people pretty successfully but I'd appreciate some advice. We've done several of these. They are fun but exhausting. Some general notes - pay attention to the "P"'s: Proper Planning Prevents Piss Poor Performance. Don't wear too many hats, have as many people as possible for even the smallest of tasks. Will help things run smoothly and more importantly, concurrently where possible. Reduce the amount of task dependency. Wearing too many hats will definitely cause a bottleneck. Smaller groups as you mentioned are good. Make sure everyone has the ENTIRE 48 hours blocked off for un-thought of contingencies. Not sure how you plan to ingest and edit everything, but try to put your editor on the opposite sleep schedule as you. You're finished shooting just as they're waking up and getting ready to edit and you can go catch a nap. Don't let the rushed schedule get in the way of good practices! It's easy to just let the camera run when you're feeling rushed and you want to get it. But things like that can really gum up the works later. And, obviously, do whatever you can before hand. Get all clearances and forms signed. Any prosthetic appliances, etc all done and ready. Things like that. Most importantly. Do not have ANYONE on the team (especially critical roles) that isn't dependable. We had a great editor one time, but he was terrible with time dependencies and he couldn't leave well enough alone and we missed the deadline one year by a few hours. Perfect is the enemy of good. Sorry that's all kind of generic.
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Oct 16, 2018 15:25
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powderific posted:Wait so where are you putting the shotgun? If it's not on a boom you aren't going to be getting that great of interview sound. Are you thinkin you put all three mics on the camera? Cause that's a little wacky. I'd just do the shotgun on camera if that's what you're looking at. I don't know many people who actually use stereo mics for the type of recording it sounds like you'll be doing. And then for interviews it's really important to get the mic off camera and closer to your subject. Thanks, this makes sense. Is there a way to mount a boom to the same tripod she'll be using for the camera? This would make it easier for her to manage solo.
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Oct 16, 2018 22:55
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BonoMan posted:We've done several of these. They are fun but exhausting. This is all good advice. The only thing I'd add is, keep spare batteries charged and have enough cards so as to never have to reuse any.
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Oct 16, 2018 23:08
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fatman1683 posted:Thanks, this makes sense. Is there a way to mount a boom to the same tripod she'll be using for the camera? This would make it easier for her to manage solo. Probably not in any way that's actually easier than just using a separate stand. If it's gonna be a solo thing putting a lav on the subject will probably be easier. Or having the camera static on the tripod and hand holding the boom (or even just putting a handle on the shotgun and holding it closer).
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Oct 16, 2018 23:53
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fatman1683 posted:Thanks, this makes sense. Is there a way to mount a boom to the same tripod she'll be using for the camera? This would make it easier for her to manage solo. You probably wouldn't want to be close enough for that to be possible anyway. We do tons of interviews/testimonials and generally are a bit further back and long lensed. Then lav and boom mics.
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Oct 17, 2018 01:37
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Had a corporate edit job shot by "professionals" who thought that the camera mounted mic wouldn't pick up their incessant whispering because the subject was speaking loudly. loving clowns.
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Oct 17, 2018 02:18
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I just put together this video for a boxing gym and would really like to get all of your feedback: Biggest challenge for this one was filming in a gym/crowd where not everyone signed a consent waiver. But we managed to pull it off by strategically positioning people. I tried to make it different from all of the other boxing videos that I've watched before, which all seem to follow the same boring formula. It's not my first gym and fitness video, but I took this one in a different direction and the client really likes how it came out. melon cat fucked around with this message at 00:50 on Feb 5, 2024 |
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Oct 17, 2018 17:23
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BonoMan posted:You probably wouldn't want to be close enough for that to be possible anyway. We do tons of interviews/testimonials and generally are a bit further back and long lensed. Then lav and boom mics. So a separate stand with a boom on it near the subject, shotgun mic there with its own Tascam? Then stereo on the camera for ambient sound?
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Oct 17, 2018 19:22
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You want the mic for your subject to be as close as possible to them without being in the shot (or if it can be in the shot, just as close as possible really) and usually I just get room tone + whatever audio from b-roll rather than worrying about getting it synchronous with the interview. Not a journalist though. Either way, I kinda feel like you should do some googling on "how to shoot an interview," read some super basic articles, and look at BTS shots of some interviews because worrying about phasing issues is definitely getting lost in irrelevant weeds.
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Oct 17, 2018 20:43
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fatman1683 posted:So a separate stand with a boom on it near the subject, shotgun mic there with its own Tascam? Then stereo on the camera for ambient sound? Here's our tried and true setup. Boom mic on a c stand as close to top of frame as you can get it... a few inches out from their mouth (don't put it right over their head). Lav/lapel mic for main sound. Anything on camera is strictly for reference checking. Room tone is something we get after the interview is over with the boom mic. Just have everyone shut up and record 30 seconds of sound.
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Oct 17, 2018 21:32
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powderific posted:You want the mic for your subject to be as close as possible to them without being in the shot (or if it can be in the shot, just as close as possible really) and usually I just get room tone + whatever audio from b-roll rather than worrying about getting it synchronous with the interview. Not a journalist though. Yeah, I've been reading a lot, just trying to see what I can manage with the one-man-band nature of this operation. I'm more focused on technical stuff (my wife is the shooter), so the weeds is where I live. If I can figure out a way that she can record all of the sound she'll need for a given segment in one go, it saves her time and effort. BonoMan posted:Here's our tried and true setup. Ok great, this makes perfect sense for indoor shooting. Would an outdoor interview/face segment use a similar setup?
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Oct 18, 2018 00:35
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fatman1683 posted:Yeah, I've been reading a lot, just trying to see what I can manage with the one-man-band nature of this operation. I'm more focused on technical stuff (my wife is the shooter), so the weeds is where I live. If I can figure out a way that she can record all of the sound she'll need for a given segment in one go, it saves her time and effort. Yup just with dead cats on the mics where you can if needed for wind. And of course if it's a walk and talk you want a walking boom op.
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Oct 18, 2018 01:19
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I like it, flows nicely. If I was going to pick on anything it'd be the opening shot veers a little before the wipe. I'd either lose it since it's not adding much or try to counter the jolt.
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Oct 18, 2018 02:02
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Lizard Combatant posted:I like it, flows nicely. If I was going to pick on anything it'd be the opening shot veers a little before the wipe. I'd either lose it since it's not adding much or try to counter the jolt. Hey thanks! And yeah, I noticed that same issue. I tried to fix it with Resolve's stabilization function but it didn't really make a difference. I was filming on a gimbal between a pile of fallen dead trees. Thanks for taking a look at the video (and for your suggestion, of course).
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Oct 18, 2018 04:36
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Coming back to this thread with a Mocha Pro (Trial version) problem: I'm trying to do a screen replacement for that large black screen next to the flags on the wall. And I'm following the steps in this YT tutorial. But the tracking isn't working properly- the object to be placed keeps appearing off-screen, and obviously i can't just manually move it over in AE without loving up my Mocha-generated keyframes. Any thoughts as to why this is happening? Because otherwise the track looks totally fine in Mocha Pro: It just gets weird when I paste it over into AE. My original footage isn't trimmed or anything. And I'm pasting the keyframes at the first frame as explained in the tutorials. I also checked to ensure that my aspect ratios and FPS match in both AE and Mocha. EDIT: Solved the problem. I was at Half Resolution in AE. I should have set it to full before launching Mocha. All good, now. melon cat fucked around with this message at 00:49 on Feb 5, 2024 |
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Oct 22, 2018 18:23
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I don't have an answer for you but every time I use mocha I wind up having issues like that. I only use it like once every two years, have to relearn it every time, and always gently caress up that transfer from Mocha to AE. Not helpful I know but you're sure not alone, ha. Edit: ^^^ nice, usually I do something dumb with what kind of data I'm exporting at what frame ^^^
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Oct 22, 2018 19:30
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fatman1683 posted:So a separate stand with a boom on it near the subject, shotgun mic there with its own Tascam? Then stereo on the camera for ambient sound? Separate stand by the subject with a shotgun mic in a pistol grip out of frame overhead, pointed at the mouth. Not directly overhead, but overhead and in front of them a few inches so the capsule has a direct line of sight to the mouth. Run this shotgun into a sound recorder- pick your flavor of Zoom/Tascam device that has dedicated XLR inputs and can provide phantom power. If money is tight and you can only pick one audio solution, this will be the best sound you can get on a modest budget. If cash permits, invest in a lavalier mic. These come in both wireless and hardwired versions. There are pros and cons to each- wireless is more flexible and can easily accommodate a walk & talk but is susceptible to RF interference and battery life worries. Hardwires have the best sound quality and you'll never have to worry about it dying mid-interview but extremely limited mobility makes them useless for anything but a static setting. Don't ever mix your primary sound source (IE shotgun/lav mic) with whatever garbage 'ambient sound' your onboard camera mic/camera mounted mic picks up, unless there is some very specific creative reason for doing so. It will never mix properly if you're not skilled in audio post. In addition to phasing (which it absolutely will do) its also going to be picking up all sorts of extraneous noise, like you whispering behind the camera or literally even touching the camera body. If you get both the shotgun AND a lav, run them both into the zoom/tascam and ultimately use the one that sounds best in the final product. For context, I've been a professional location sound mixer (and post sound editor/mixer) for a decade and have recorded in every conceivable environment. I do actually know what I'm talking about. This rabbit hole goes as deep as you're willing to follow and everything I just wrote is really a high level overview, so feel free to PM me any questions 
thunderspanks fucked around with this message at 22:46 on Oct 31, 2018 |
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Oct 31, 2018 22:34
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How buggy is Premiere 19 and how is Mojave playing with it? Adobe boards have way too much static.
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Nov 8, 2018 16:03
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magiccarpet posted:How buggy is Premiere 19 and how is Mojave playing with it? Adobe boards have way too much static. Do you need to upgrade? If not just wait. It's always better to wait unless there is some sort of giant feature that you absolutely must have.
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Nov 8, 2018 16:07
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I usually wait 3 months for them to iron out the major bugs like the above post. Usually AE and premiere change stuff so your plugins need to be updated by the companies before they work. Save yourself the pain.
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Nov 10, 2018 03:31
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My old friend, Sony Vegas Ghosting, is back at it again. I made a bunch of silly little animated gifs of NES pixel art Super Smash Bros moves a while back, and decided to drop them in a timeline, add sound effects, backgrounds and text and upload them to youtube to become internet famous. Unfortunately, the gifs are not playing nice with Vegas at all. First of all, I couldn't find a way to prevent Vegas from horrendously anti aliasing them when dropped in at their native size and zoomed in on, so I had to resize them all. Then they seemed to cooperate, until I made a test render. Possibly due to a difference in the timing speed of the source files and the outputted video, there's absolutely horrible ghosting any time the character moves. Here's a frame in the timeline:  And here's what that same frame looks like once the video is rendered.  That is pretty dang noticeable. I don't even know if I should fix the timing on the gifs or try to figure out a way to output the video at 60fps or what. The eagle eyed among you might notice that the stars in the background are slightly ghosting. That's because I got the background on youtube, which is an old problem of mine. Right now I just wish I had some idea of how to proceed with this gif problem, since that's a lot more noticeable. Also if someone could explain if there's a way to zoom onto an imported gif without turning it into a fuzzy blur, that'd be useful info, because right now my cinematography options are very limited and I was thinking I'll probably have to render the entire video minus the overlay effect and then import that back into the timeline so I can actually pan and crop around it, which I can only assume would cause horrible double encoding noise or some other BS. Sony Vegas is never nice to me. E: Oh boy, it's causing some kind of color bleed on the pixels, too.  It's only happening on the gif layer, not the background layer (which is a static png). This is incredibly obnoxious. Lurdiak fucked around with this message at 09:21 on Dec 3, 2018 |
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Dec 3, 2018 08:59
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What are you rendering as out of interest?
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Dec 3, 2018 10:24
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you need to interpret the footage so the frame rate matches the planned export & project frame rate. might be easier to open the gif back up for editing and save out frames, bringing it back into vegas as an image sequence.
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Dec 3, 2018 19:08
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Lizard Combatant posted:What are you rendering as out of interest? MP4 cubicle gangster posted:you need to interpret the footage so the frame rate matches the planned export & project frame rate. might be easier to open the gif back up for editing and save out frames, bringing it back into vegas as an image sequence. We're talking about hundreds of frames here....
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Dec 3, 2018 22:20
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Lurdiak posted:MP4 Sure but an image sequence will just import as one file, keep your gif frames in a subfolder. Also unless your images are vectors they're going to blur when you zoom in. I guess png files should keep a nice edge without artifacts though. Try doing a test exporting a gif as a png image sequence and brining that in. Lizard Combatant fucked around with this message at 02:37 on Dec 4, 2018 |
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Dec 4, 2018 02:34
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Lizard Combatant posted:Sure but an image sequence will just import as one file, keep your gif frames in a subfolder. Ok so... I don't think I understand how to do this. I tried following instructions on how to do it via photoshop but it's just creating a bunch of separate png files, and I see no way to incorporate the timing of the gif in the output either.
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Dec 4, 2018 09:47
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Lurdiak posted:Ok so... I don't think I understand how to do this. I tried following instructions on how to do it via photoshop but it's just creating a bunch of separate png files, and I see no way to incorporate the timing of the gif in the output either. OK i see your issue, the problem I'm foreseeing is that your frame timing isn't going to play nice with the frame rate of your timeline. However, try using Media Encoder to export your gif as a png sequence as you can set the frame rate to whatever you intend to export the final video as. Save your frames to a separate folder (this is where all those individual pngs will go) and then when you open the first frame in Vegas it should bring in the rest. See my screen shot here from media encoder:  Hopefully this will preserve your timing, personally I'd do all the animation in something like after effects not photoshop. Caveat: this is just a guess, but it's worth a shot. I hope someone who actually knows what they're doing can weigh in for you. e: fixed image Lizard Combatant fucked around with this message at 10:48 on Dec 4, 2018 |
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Dec 4, 2018 10:37
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  Either my media encoder is out of date or I'm even dumber than I thought. If this was just one small gif I'd just make manual png files at this point and match their timing to the gif in the timeline, but since we're talking about hundreds of separate frames...
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Dec 4, 2018 10:53
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Lurdiak posted:
It looks very out of date.
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Dec 4, 2018 10:56
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Ok, I got a more up to date media encoder, but the issue remains the same: it just saves as a bunch of separate png files that are not connected in any way. There's no timing information in any of them and dragging one into the timeline doesn't drag the rest of them in, and if I drag them all in I have to edit their timing manually frame by frame as if they were just a bunch of static image files, which they are.
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Dec 4, 2018 13:03
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Lurdiak posted:Ok, I got a more up to date media encoder, but the issue remains the same: it just saves as a bunch of separate png files that are not connected in any way. There's no timing information in any of them and dragging one into the timeline doesn't drag the rest of them in, and if I drag them all in I have to edit their timing manually frame by frame as if they were just a bunch of static image files, which they are. You're using Sony Vegas yes? Google (I don't use it) how to import an image sequence, it'll appear in your project as a single file.
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Dec 4, 2018 13:11
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Lizard Combatant posted:You're using Sony Vegas yes? Google (I don't use it) how to import an image sequence, it'll appear in your project as a single file. Ah! I finally understand. Now I just need to figure out why the timing is completely different between the gif and the imported image sequence...
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Dec 4, 2018 14:02
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Lurdiak posted:Ah! I finally understand. Now I just need to figure out why the timing is completely different between the gif and the imported image sequence... Yeah I was afraid that might happen, I'm not sure how to preserve that sorry.
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Dec 4, 2018 14:04
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Lizard Combatant posted:Also unless your images are vectors they're going to blur when you zoom in. I guess png files should keep a nice edge without artifacts though. PNG is not a vector format and would pixelate if you scaled it, btw.
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Dec 4, 2018 18:18
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