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CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

Ishamael posted:

The reason I am disappointed is that they have stopped selling new licenses for FCP 7. So if you didn't buy FCP 7 before this new unusable piece of poo poo came out, you are screwed for at least a year.

At work this isn't an issue, but I am in the planning stages for buying a new editing system at home, and now I am screwed.

Wait, what? They seriously stopped selling FCP 7 licenses for this? That sounds insane.

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CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

nbv4 posted:



How can I change the resolution of the sequencer? In the screenshot, there is a 1 second interval between 'ticks', but I need to sync some audio and video up that require millisecond precision. (Obviously using Premiere Pro CS5.5)



Drag the light gray part of that bar back and forth.

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

So while gripping/ACing on a short film this summer, I impressed the director enough that I also got hired to edit it (it is low budget). That's all fine and wonderful, but I've never worked with a sound house before and the spec sheet for turnover they just sent the director and I is waaaaaaay over my head. I figured I'd ask you guys for help before I scoured the internet/bothered the director/producer to help me out so I can figure out what I should be doing. Basically I have no idea what the standards are in this situation.

Two notes: I'm editing on Premiere 5.5, and these aren't set in stone so if there's something I can't do from Premiere, it's not the end of the world.

OMF/AAF SPECS
-AAF 24bit 48kHz
-5 sec Handles (larger if possible)

This is for ProTools, right? Do I export this separately, or is it wrapped in the below-mentioned QT file? Also, I don't know anything about handles.

QUICKTIME SPECS
- Resolution: 1280x720
-codec: Photo-JPEG
-Audio: QT embedded 24bit/48K w/ DX on ch1 and FX/MX on ch2
-2 pop at :58:00 and timecode at ZERO at the head of the leader. (R1 = 01:00:00:00, R2 = 02:00:00:00, etc.)

Resolution and codec are fine, but I don't know what DX or FX/MX refer to, and I don't know exactly what he means for 2-pop and timecode. I think I put the 2-pop in and start the timecode at the head of the leader, right? Reading it again, I think I put in the 2-pop before the timecode hits zero, but I don't know how to finagle that in Premiere. Doesn't it start at 0 at the beginning of your timeline? Also I don't get R1/R2.

BURN IN's
-All burn in's should be above the pic in the black and continue through tail pops.
-My name and video version in upper right hand corner
-Timecode in upper left corner

Everything was shot on 5D/7Ds, and as far as I know those don't do timecode. Am I just supposed to generate a timecode in Premiere to slap on the edit? I also don't know what he means for his name and video version. And I don't have black, I'm editing at 16:9. Do I put some on?

EDL's
-CMX 3600 Format
-Audio EDLs for each reel, linking to Dailies
-Labeled with version name (ex:"GUS_R1_v0203_EDL_tk1-4")

This is about where I get totally lost. I looked up audio EDLs, and kind of understand them, but not really how I should export them, especially from Premiere. Premiere apparently only exports 4 audio channels into CMX3600, but I have 4 channels of dialogue, 1 channel of voice over, and 2 channels of scratch music. I'm pretty sure there's a step or two to get from that to the EDL but I don't know what it is.

GUIDE TRACKS
-3 total tracks PER each reel. 24bit / 48K. Labeled with the version and reel. (ex:"GUS_R1_v0203_GT_FX")
-Please include a 2 pop and tail pop in each GT.
-Mono DX
-Mono FX
-Stereo MX

And here is where my brain melted. I get the 2-pop/tail pop, but not the naming or DX, FX, and MX stuff. I also don't really get the idea of guide tracks, to be honest, in no small part because I don't know how the reel comes into it.

Help? :shobon:

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

RaoulDuke12 posted:

Hope this helps.

You are amazing and I love you as much as anyone has ever loved another over the internet.

Thanks!

EDIT: seriously, you just explained everything I needed to know so clearly/concisely that I'm pretty much set just after that. You want a forums cert or anything?

CaptainViolence fucked around with this message at 05:39 on Sep 1, 2012

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

If he ends up really needing them and I can't figure it out, I'll come hit you up through PMs or whatever, but I don't want to waste your time on something complicated if I don't even need it. You've seriously been a life saver so far! Someday when I'm out struggling in the industry, I will buy you a beer.

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

chumpchous posted:

Does anyone have any recommendations for books on color correction? I'm not a beginner but I'd like to improve. I currently have this one http://www.amazon.com/Color-Correct...olor+correction on order. Any others?

Also, how do you guys working in FCP7 mix audio? Do you just do it in FCP or is there a good program for roundtripping? I've been fine in FCP but I'd like to expand.

When I was using FCP7, I used Logic 9 pretty exclusively for sound design. Not quite as good at roundtripping as my current setup of Premiere and Audition but still pretty good (although I would switch back to Logic at the drop of a hat if it were integrated as well as Audition (and also on PC)).

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

BonoMan posted:

Right but my sequence is set to 2.7 k and everything. I double checked just to make sure. Don't know what the deal is.

As far as the camera... It's a gopro yeah but we've used it a few times before and it's been fine (besides the normal limitations of being, well, a gopro). But this was way out of whack. However after today, and some more research in almost certain its a balance issue. Plus light issue. I've recalibrated everything, put new props on and ordered a tiny hood and ND to help the problem. I'll send it up tomorrow to see if it helps.

I can't watch the videos right this second, but from the description I'm positive you're dealing with rolling shutter from vibration and not prop shadow. Prop shadow looks like dark banding that slowly moves up or down the screen, and vibrating gimbal gives you the jello.

Not sure what to do in post, but since it's caused by the H3-3D vibrating, the two big things that fix in on the copter are having balanced props (they're not always perfect from the factory, but they're better than if you've been using them for a bit, and it's a fairly easy fix either way if you have a way to test it), and switching the dampers that attach the gimbal to the copter out for really soft ones that don't transmit the vibration as much. I only switched the dampers out and it solved 90% of my rolling shutter issues.

CaptainViolence fucked around with this message at 21:19 on Oct 25, 2014

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

I have been working on a problem for three days now, and I can't seem to figure it out.

I was shooting on a Varicam LT a couple weeks ago, and we had an issue where the power cut out on the cam during recording. It was a run-and-gun situation so I forgot to repair the clip that was recording when the camera went down, and didn't realize my mistake until after the hard drive with the card dumps got back to ingest. Normally I check for this when dumping cards by popping them into FCP7 and scrubbing through the clips, but my computer is too old to handle the new Varicam footage, so I couldn't preview it at all. Luckily, we had the original card and just popped it back into the camera once ingest found the broken clip, but it was a scary moment since we were recycling cards once they were dumped and backed up. As far as we know there's no easy way to repair the clip once it's out of the camera, and sending it to Panasonic is too time consuming to rely on.

It seems to me there should be an easier way to repair these clips--from what I understand, it's just that the camera didn't write whatever EOF marker it uses, and repairing just lets it do that, but for some reason there doesn't seem to be a way to do that from a computer.

Here are some of the things I've tried:
  • Copying the entire folder and file structure from the HDD back to the card:
    The camera can read it and play back most clips, but when trying to repair broken clips, it says the file is unrepairable. I think that's because we're using Macs to dump footage in the field, and Mac adds some metadata to the folder that the Varicam doesn't like. I can't figure out how to prevent that metadata from being written, though.
  • Using P2 CMS to export the clip to a card:
    Someone on CreativeCow recommended this to someone having the same problem with an HVX in a post from 2010. Seems like it would work, but P2 CMS is so outdated that it won't read Varicam footage.
  • Using P2 Viewer Plus to ingest the card:
    This, for some reason, gets rid of the lastclip.txt file, which introduces a bunch of other problems. The newly created CONTENTS folder still doesn't work when copied back to a card. I also thought about trying to export the clip to a card as with P2 CMS, but I don't see a way to use the ingest function backwards.
  • beating my head on the wall:
    this mostly just irritated my coworkers

I'm at the end of my rope. Can anyone either help me with a solution or explain what about the MXF file/folder structure makes this impossible to do once it's off the card?

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

BonoMan posted:

Huh we use our Red Epic Dragon on every project with Resolve (primarily in 4-6K) and I don't think our colorist has mentioned having a problem with it.

that's hilarious, I was just about to comment about how every colorist I know (which, granted, is not too many) absolutely hates dealing with Red footage! If you're using a Red for everything, I wonder if it's just a workflow thing that you guys have nailed down. I know the company I used to work for didn't want to use anything Red related because it wasn't compatible with whatever janky workflow they had come up with, but from what I understood that wasn't uncommon.

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

Cool!I liked it and I think it works overall. You make good use of b-roll and on-screen text to keep things moving and informative. But you want critiques! So:

I think the number one area I think you could improve on is audio. Your mix isn't bad, but there are some places where it doesn't feel deliberate. On a couple of your overdubs, your voice is panned to one side—you can get away with that a little more in when you're in the moment and we can tell you're talking from behind/the side of the camera, but it seems strange when it's voice over. The more subscribers you have, the more people will bring it up in the comments, so it's best to just get ahead of it.

Your music also doesn't seem tied to anything in particular. At 3:15ish, your background music ends while you're in the middle of explaining something, and a new song (or the same song?) just starts playing after a few seconds of silence. If you want to switch songs, you should probably pick a scene change (like going from the Lowes or whatever to your house) and transition them during that, or if you want to keep the same song throughout then find a way to loop a middle segment so it doesn't start and stop somewhere weird. Personally, I would go for the first option: it gives each scene its own sound, and it'll help keep viewers less likely to click away by breaking up the video into segments that don't seem as long, even if the overall runtime is the same.

I would also try to keep your voice as consistent as possible throughout the video. I know it's tough when you're recording in different environments with different mics, but once you get into the segment where you're on the couch addressing the camera, you lose a lot of the highs and clarity in your voice. Adding a little EQ boost at 6 or 8kHz would probably bring that back and help you sound more like the other sections, and make the transition seem less jarring even if there's still a quality jump.

There are also a few audio cuts that could use some fades to make them less jarring (3:33 is a good example: just extend the audio a few frames earlier and fade in so you don't chop off the beginning of the word; 6:44 is another spot where the audio could use some massaging)

For non-audio notes, I'd say that it would help if you plotted out what you're going to say even if you don't script it word for word. You don't have to do this for everything—all the little in-the-moment quips are good because your personality shines through (which is what helps you get viewers!), but when you're describing the next step, it's obvious that you're thinking about what exactly you're going to say. I can tell you're aware that jump cuts are part of the YouTube style, so use that to its fullest advantage! You don't have to have a single perfect take, so do multiples and cut everything to make yourself sound as confident as possible. You nail this once you finally have your teleprompter built (aside from a couple small moments like at 5:50), but the more you can bring that same feel in beforehand, the better.

For your on-screen text, always be aware of the readability. Yours is good on this for the most part, but for times like 6:00, the spacing on "can beused" and the moving text in the background make it a little tough. Popping a slightly blurred adjustment layer behind the text and masking it to be only behind the text or adding a little bit of a black stroke are my go-tos, but there are tons of solutions to that particular problem.

Also, I just noticed that when you're on the couch, there's a little line at the bottom of the screen. Not sure what it is, but it looks like there's a layer behind your video, and your video got nudged up by a few pixels.


Keep in mind that most of that is pretty nitpicky—overall, I think it's a good video! Your production quality is good, you have plenty of nice, fun moments, and you got another subscriber out of it!

(it's me, i'm the new subscriber)

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

A small shotgun might help, but it's a lot more directional so it'd be harder to get good stuff that's not right in front of the camera. The lav isn't a bad option, but it's hard when you're doing run-and-gun stuff because you end up with a lot of clothing rustle. To start, you might just try summing the stereo audio from the camera into mono—everything will be definitely be centered, although your voice might be lost in the room sound. You could also just take the channel with more of your voice (left, in the case) and just use that. Assuming you're using Premiere, there's a Fill Right With Left filter you can use that'll do it for you. It's hard to tell what would be best without exactly knowing your setup in particular, but I think with some experimentation (and a good pair of headphones) you'll be able to figure out how to get something good and consistent out of your setup!

p.s. I totally recognized the Bebas—I also use it a ton, and I think it's a good choice! Just gotta work with its quirks, I guess. :v:

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

Don't know if anyone saw this, but Adobe announced their version of iMovie, called Rush:

https://techcrunch.com/2018/06/19/adobe-debuts-project-rush-its-new-all-in-one-video-editor/

I just hope it doesn't turn into a Final Cut X situation where the simplified version leaks into the flagship line. :ohdear:


melon cat posted:

Better review video style? Worse?

Cool! Text seems waaaay more readable to me this time, and I don't remember if you had them there last time but animating them on the way you do is a nice touch. I like the format a lot, and I'd love even more of the side-by-side/picture-in-picture stuff where we see you shooting at the same time as what you're shooting. I think switching your music up helps a lot, too—I didn't realize it was a 9 minute video until I was 8 minutes in. The pacing feels much better than before.

For your audio, I don't know if you did much post-processing on it, but you can try to get rid of those plosives with a low-cut filter (which you may have done, I can't quite tell). The other option, which I use to avoid have to do reshoots pretty frequently, is just use Audition's spectral paintbrush tools to cut out the lows just on the trouble spots. They're super obvious, and you can get precise enough with it that for stuff like yours nobody would ever be able to tell.

Looking forward to the next one!

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

After Effects question:

Is there a way to lock down a second comp viewer so it doesn't disappear when you close a timeline?

I frequently work out of a template that has a master comp and a variety of other template comps that I can nest in that main comp depending on what I'm animating. When I'm working with 3D layers, I like to have a second comp viewer open on my other screen so I can keep track of where everything is in space. The problem is that once I'm done with Nested Comp 1 and move on to Nested Comp 2, closing NC1 in my timeline also closes the second comp viewer instead of just latching onto another open timeline like the main comp viewer does.

I just want it to behave the same way as the primary comp viewer, but googling it only gets me results of people asking how to reopen the main viewer when they've lost it. It's not a huge deal—right now I have a workspace set up and so I just reset it to bring the window back—but I'd love if I didn't have to work around this.

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

Lizard Combatant posted:

Yeah I was just trying to avoid that step, if there's no way to force it in AE I'll just do that.

Can't you just fake that with pre-comps? Like, create a comp from the footage, pre-compose the footage, scale the footage down, and then scale the pre-comp up in the main timeline. Should work as long as the continuously rasterize box isn't checked.

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

Narzack posted:

Thanks for this. I'm trying to figure it all out, but when I export a final product, and I want the highest quality, what should I be looking for, codec wise?

short answer:
ProRes422HQ (or a high-bitrate, VBR 2-Pass H.264). no matter the codec, a higher bitrate will give better quality but will also make the file bigger and harder to play on less powerful equipment.

long answer:
the absolute highest quality is going to be something lossless (here's a list of lossless codecs) but that's not necessarily what you want for a delivery format, because it will be a gigantic file and most computers will chug trying to play it. ProRes is a good start if you want a good balance between quality and compression, but your best delivery format is basically going to be determined by where it's going to be played.

if you're just doing youtube then premiere has an output preset for the H.264 codec designed for that purpose, and uploading that particular file is probably going to give you better results than outputting a massive ProRes422HQ file and trying to upload that since that way YouTube's own compression isn't going to be changing your uploaded video as much. (this example doesn't mean as much as it used to—youtube's compression has gotten much better over the years, but i can still occasionally tell if i accidentally upload a prores file.) you can also adjust the bitrate to tell it how much to compress everything, and letting the bitrate be higher or doing 2-pass compression will give you a quality bump because it gets rid of less information but also gives a bigger file.

if you're sending it off to a festival, they'll have requirements for it and ProRes might be the way to go because it's got a good balance of quality loss (not much) and file size (big but not huge). they might also require DCP or something as well/instead, but either way they'll let you know what they want.

if you're going to burn it to a blu-ray, then you may want to go with lossless and let whatever authoring software you're using handle the compression.

so, it all depends on what you want to do with it, but ProRes is probably a good start if you're not sure. and you can always experiment, too! just take a 30-second video with some motion & variation in it and export it with various settings to see where the size/quality trade-off hits a spot you like.

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

Calico Heart posted:

I followed a bunch of advice goons and others gave me and think I've really stepped up my editing game:

https://www.youtube.com/watch?v=BbkYH4tF_nY

Only thing is I work on both a PC and Mac and always hate doing sound mixing. This vid, for instance, sound completely different on youtube on PC/in editor on mac/on youtube on mac. With headphones everything sounds stupid crazy loud in Final Cut, too. I know that's a super newbie problem, but any general advice on this?

1. Every set of headphones or speakers sounds different. Figure out what you want to mix on, then listen to a bunch of stuff you like and figure out how things are supposed to sound on your particular set. Then try to get as close to that as you can.

2. Look up information on using audio compressors. Here's a good start from Sound on Sound. It's okay if you don't understand everything right away—just keep a few of them bookmarked and reread them once in a while. You'll understand a little more each time and more importantly you'll start to pick up on what exactly it is you don't understand so you can go find something with more detail or a different approach.

3. I don't know if Final Cut has an equivalent, but Adobe's software comes with a plugin called "Loudness Radar." Basically, peaks don't tell you a ton about how loud something actually sounds. Loudness Radar measures that using the European Broadcast Standard—YouTube, for example, will automatically bring the volume of anything louder than around -14 LUFS back down, so you don't want to exceed that (you don't necessarily have to push it up that far, either, especially for dialogue driven stuff). You can right click on your youtube video and turn on Stats for Nerds to see this in action. Your video, for example, reads at -9.2dB so your video is 9 dB quieter than YouTube's maximum. Note that turning the volume in your NLE up by 9dB isn't going to fix anything by itself, because you're probably going to start clipping ... unless you use a compressor.

4. A specific note for your video: things sound pretty good as is, but you're definitely getting a lot of plosives. They can be hard to hear if your speakers/headphones don't have very good low end response but can really effect the stuff going on in points 2 and 3. You could look into a pop filter for your mic for a relatively easy solution, or learn about using high-pass filters and spectral repair to get rid of them after you've already recorded.

All these things are ongoing processes, so you don't have to nail it right out of the gate every time and even years down the road you're going to still be figuring new things out (and the questions you have now will seem super easy!) Knowing what to listen for is as much a part of it as actually changing what you do. The home recording megathread in ML is also a good resource for sound production questions if you have other questions, too!

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

i haven't seen your footage, but it seems like mocha would work well. i haven't used it a ton but as long as you've got good points/planes to track from it should work. you might run into trouble if there's a ton of movement, but doing what you're talking about is like 3/4 of what i've ever used mocha ae for.

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

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...

in both cases, you just have a bunch of still pictures that go in a particular sequence. the only thing that determines the timing is how fast you play them back. with video, pretty much everything runs on a few pre-selected framerates (24 and 30 frames per second are most common in the US), but gifs will let you play back at a variety of framerates. the ghosting comes from the fact that your video framerate and gif framerate don't match, so there are multiple gif frames that want to fit in the same video frame—cubicle gangster's advice to interpret the footage fixes that by making one gif frame equal one video frame, and importing as an image sequence will also do that. but that will also change the timing, because your original gif is trying to play more/fewer frames than the video allows in the same amount of time and now it's playing them at video speed. if you want to preserve timing when framerates are mismatched, you have to either 1) throw out some gif frames/play some of them twice, or 2) play some of the gif frames at the same time. option 2 gives you ghosting.

every NLE i've ever used has options for changing which of those two methods it uses. i haven't used vegas before, but from googling it i'm gathering that there's a per-project option called "Resample" that you can disable which should make vegas do the doubling/tossing frames method instead of the cram-them-together method. that should make it so you can just bring in your original gif and not worry about exporting/importing png sequences, but i've never used vegas so i'm just going off google.


also, if you're trying to rescale your gif, that will also be a matter of resampling, but a different variety. in photoshop, when you change your image size, it should have a resampling option that defaults to "Automatic" or "Bicubic" but can be changed to "Nearest Neighbor" which should just make the blocks of your pixel art bigger without softening as long as you make sure your new size is a multiple of your old size (i.e. 256x256 getting resized to 512x512 or 1024x1024). that might also exist in vegas, but i have no idea.

hopefully that helps!

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

chiming in to say this is looking good to me, too! i think my comments are mostly just seconding things other people said.

like lizard combatant mentioned, you can cut out some time by getting rid of most of the questions since your interviewees were good enough that you get the context from what they said. this would actually serve a dual purpose in the beginning of this project because it seems like the host is not terribly experienced and she could use some finesse in editing to smooth out the rough edges. she's not bad by any means, but her questions are very Interview 101, if that makes sense? basically, the interviewees are so conversational and natural that the VO and questions come off as prepared and stiff. i think if she had one question to start each interview and then just reaction shots as the interviewees talked and moved between beats, that would serve this episode better.

i don't think there's a solution to it other than the host getting more relaxed as she gets more experienced, but until she gets a little more comfortable directing the conversations and getting the VO sounding a little less like she's reading it off a press release, it's definitely something you can mitigate in editing. but again, that's more for the beginning of the series, and i think as time goes on the quality as a whole will improve as she gets into the groove of hosting and her personality really shines through. the moments where it does so far are great and i imagine it will only get better as she puts more and more of herself into the writing & performance.

sound-wise i thought it was good, although i can see where bonoman is coming from. the only spots where i really noticed the sound editing was in the questions that could get cut without losing anything anyway. you could maybe use a little more smoothness in the transitions between room tones, but overall the levels seemed good and everything was clear/intelligible to me so i probably wouldn't have called anything out if someone else hadn't first.

great work overall! i definitely have friends into this kind of food travelogue stuff, so i'll have to see what some of them think because this seems right up their alley.

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

does anyone know of any cheapish adobe-compatible hardware transport controllers with a jog wheel?

i have a mackie control universal at home that i use for logic, but i just found out last week that the jog wheel also works in both audition and premiere and now i don't know how i ever operated without it. unfortunately the mcu is way too unwieldy to be hauling it around every day and i don't want to leave it at work.

the closest i can find is the ShuttleXpress which is basically what i want but i keep reading about it having issues with high sierra so i wanted to look around first. searching for jog wheels mostly just gets me dj controllers which are tempting but not what i'm looking for. in a perfect world there would be something like the presonus faderport only with a jog wheel, but i can't find any.

CaptainViolence fucked around with this message at 21:56 on Apr 19, 2019

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

holy poo poo, that looks killer :eyepop: i wish this were something i could get my job to pay for, but it's pricey as hell. it'll be good to keep an eye on, though. a man can dream, i suppose.

i guess looking through more videos, the knob on the faderport can be used as a jog wheel depending on how the functionality is set up. anyone have experience with that in premiere, or does it just work in DAWs?

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

cool, i'll probably give that a shot, then. thanks!

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

LimburgLimbo posted:

This is really more of an audio question and maybe might be better for the audio hardware quick questions thread even? but it's about editing so I'm gonna ask here; please let me know if there's a better place to ask.

For example, this is a mounting/gear setup shakedown I ran:
https://www.youtube.com/watch?v=I_wHf68t7Ag


based on that video, your problem is just wind. as far as i can hear from that example, it doesn't matter what your gain is at because everything is blown out on the low end.

you need some sort of windscreen for your mics—you could try the little foam ones that come with lavaliers, but you're probably moving too fast for those to be effective, so you'd need a fur one. i usually use rycote stickies and overcovers when i'm micing people, but i don't know how well they'd work for your setup, so you might need something a little heftier. you could also build a little housing for the mic so that wind isn't hitting it directly, but depending on what you make it out of and how it's mounted, it may not be acoustically transparent.

if you're interested in salvaging the footage you already have, then toss a steep (≥24db/oct) low-cut filter on there around 200Hz and adjust to taste. it's going to sound thin, but the wind basically destroyed anything you had in the low end and you'd probably spend as much time trying to surgically remove it with a spectral filter as you would just reshooting.

hope that helps!

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

LimburgLimbo posted:

Should've specified, but this is actually *with* a dead cat on the mic.

oh dang! yeah, if that's what you're getting with a dead cat already then you probably need a larger shield of some sort. i think they make little blimp capsules for lav mics, but i've never used them.

i don't know what access to other equipment you have, but it also might help to use a cardiod mic or something else more directional than an omni so you can point it away from the wind.

good luck!

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

As far as tracking down editors/graphic designers, you can probably just post a job listing on the publisher's website and have the author tweet the link out asking for applicants. You'll have to sift out a lot of people who aren't even remotely qualified (requiring a reel helps with that) but you'll end up with people who are familiar with the author and their particular style. Just make sure the publishing company isn't screwing them over on rates, or else the author's gonna be the face of it when it blows up (assuming you're looking for freelancers).

For music, it goes either way—I've done projects where a client would give me a track they wanted, but a lot of times I'd just pull a couple options from some online library and then let them decide which one they wanted to pay for (most websites will give you a watermarked mp3 that you can upgrade to the proper version once you know you want it). If it's going to be an ongoing thing, you can sign up for something like Epidemic Sound or Artlist, which is a subscription where you pay a flat fee and use as much music as you want.

Each platform has its own requirements, but they can be flexible (you can toss a 16x9 HD video on instagram, for example, even if it's better served by a square video). At my current job, we have a couple people whose whole job is social media, so they helped build profiles of the requirements and limitations for each platform as a reference for the production teams. It's pretty easy to google that info, but you have to make sure that what you're looking at is up to date because all the "HOW TO BE A SOCIAL MEDIA STAR" websites that collate the information don't necessarily keep up with all the changes that happen.

Video/audio hardware is a whole can of worms on its own—you might check into the cinematography thread, but I think the most common vlogging setup is just a dslr with a rode mic on top. Not the best option for audio or video by a long shot, but it gets the job done and is relatively easy for people with no experience to pick up and give you something usable.

If you want free editing software, you can pick up Da Vinci Resolve Lite for the low, low price of free. It's primarily color correction software so the editing used to be super clunky, but I've been told it's gotten some major usability improvements in the past couple versions.


Hopefully some of this helps!

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

as someone who does the sound part of the equation, that sounds like something out of my nightmares

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

yeah, i think my biggest takeaway from reading Walter Murch's book in film school was the idea of an editor not ever being on set in order to keep their objectivity about the footage. i didn't direct much, but even when i did cinematography, it made being the editor so much more difficult. i usually had to at least take a couple weeks off of not thinking about it at all before i could come back and do things right.

RobbZombae posted:

Also our sound designer is insisting they work after a picture lock and contribute nothing until then as it's "industry standard", but that feels like they're going to be cramming the last week until deadline.
i'm a full-time sound designer now and this is a struggle i have with projects pretty frequently :v: there are certainly things they can be doing with rough cuts like sourcing sounds and making lists of what foley will need to be recorded, but starting the actual sound editing & design with a non-picturelocked cut has been an unmitigated disaster literally every time i've ever seen it attempted. it's always better to plan for that "extra" sound time at the end, but even in cases where it can't happen, i've found that crunch to still be significantly less work overall than trying to resync everything every time you sit down to work. but that's what temp tracks are for!

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

my favorite part of the avid/adobe thing is that i've found it completely flipped on its head once you get into audio. pro tools still has some jank to it (why can you not customize shortcuts in 2021 :mad:) but using audition to mix to video is like trying to talk a child through driving a cargo van in a nascar race over a broken radio. i'm just glad premiere fixed its omf exports because i remember those being broken when i first started using it in the last version before creative cloud.

does anyone know if resolve plays nice with pro tools? i've gotten asked a couple times but i have no idea how it does with either external audio or graphics, and i'm really curious.

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

yeah, i would highly recommend just a basic lapel mic that plugs into your phone. it woyld be good for your walk & talks and at your desk (if you're not on video, try hanging a heavy coat behind your head to kill some room reflections). it won't be great at capturing wild sounds, but it'll do.

if you really want to go the extra mile, you could grab one of the new zoom lavs but to be honest that money would probably be better spent on some better editing software (or you could try da vinci resolve)

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

BonoMan posted:

Why on earth would a college program need the students to raise funds for the shorts? Shouldn't they provide you all you need?

i don't think it's that uncommon. my film program made us pay out of pocket for anything that wasn't extremely outdated/lovely gear or couldn't be used by the professors for their side gigs (it was not a very good program)

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

ProRes is good for editing, but you should upload an mp4 or whatever to youtube. Youtube's compression can be extremely dodgy, so the less work you make it do, the better. Adobe has preset exports specifically for YouTube that mostly seem to translate, although with some rare hiccups every once in a while. I bet FCP probably has something similar. I also think you're right about uploading in HD as well, because I've definitely had more issues even at 720p.

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

If it's a long-term project it might be worth experimenting with ProRes, but yeah, I usually get pretty accurate results with mp4.

For the aspect ratio thing, there's probably an option in the menu to reinterpolate it manually. Adobe has it when you right click a clip in the bin, so I'd guess it's not buried too deep in FCP either.

Hopefully it all turns out!

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

Frankenbytes are your friend here. If you can find a clean break between words in one sentence and match it to a clean break in a second sentence, you can turn them into a single condensed sentence. Results will vary based on tone of voice and you have to be careful not to change the meaning of the sentence, but once you get a feel for making it sound natural you can even cut mid-word when that word shows up in two places and make it work. If you have a good chunk of b-roll you can even frankenbyte a bunch of short bits together underneath, and save shot size changes for single splices.

The easiest way to pull it off is going to be figuring out what exactly you want to keep first and then figure out how to edit that after. Also, if you're feeling like the cuts are still too obvious, take a break for a bit (20 minutes at least) and then play through the edit with your eyes closed to see if it still sticks out.

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

Sounds like you're on the right track! Honestly, you can get away with changing a lot of the actual sentences (and like you said, you have no choice when you need one minute out of ten), it's just always good to be careful of changes that seem innocuous but aren't in line with reality because they may not be as innocuous as it seems. Sounds like you probably don't have to worry about it, but I used to work in reality tv and outright fabrication in the editing room was rampant (and not always intentional) so I figure it's worth mentioning!

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

Kingo Ligma posted:

"I've never edited anything professionally but I know more than the actual professional editor who's cut hundreds of episodes of television, based on my reckons"

:jerkbag:

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

Kingo Ligma posted:

I said I'd red text myself and I absolutely will, now that you've posted your wildly unsuccessful passion project in the thread 🙂

lmao, like clockwork. nobody gives a gently caress that you edited some garbage for tv, and throwing a fit when someone points out that you don't know what you're talking about is pathetic. try learning instead of declaring your own expertise and maybe someday you'll have actual insights into editing beyond basic-rear end first week poo poo like "3 Point Editing is Good, Actually"

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

frytechnician posted:

I don't know why the thread has gotten so heated but the truth is that 99.9% of the time, you will be working either in Avid or Premiere as a professional paid editor.

it got heated because instead of answering like you did--clear, concise, and correct--that dude rolled in with "Dave LaRonde on Creative Cow" vibes. everything you said tracks with what i've experienced doing post sound, and while i haven't had to figure out instructions for exporting audio from resolve/fairlight yet, i'm sure i will eventually because a lot of smaller places i've worked with seem to be more and more interested in it.

i think when someone's starting out, it's less important to pick the exact right program than it is to start developing the sense of editing/workflow and what all the terminology means. three-point editing is system agnostic, so it's important in a way keyboard shortcuts aren't.

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

it's been a few years since i did the video side of things, but i can confirm that Audition and Pro Tools are both buggy as hell, each in their own charming way, and i fully believe premiere and media composer share this delightful relationship as well

CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

:stonk:

that is the stuff of nightmares. i've had to sync things after editing before, but never on that sort of turnaround, jfc

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CaptainViolence
Apr 19, 2006

I'M GONNA GET YOU DUCK

AccountSupervisor posted:

This is....insane right? Ive never once seen this in my entire career. Its so batshit to do this in AE Im getting ready to just redo all his work in Premiere.

that's absolutely wild. doing dynamic linking from pr>ae does the same thing, where it gives you a comp with each edit on its own layer and i used it exactly once before saying "gently caress that forever" and went back to rendering a prores for ae work

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