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Really studio52? Hijacking ancient topics to spam a forum for search engine links. How 2005 of you…
My first thought upon reading your dilemma, is to go 2001: A Space Odyssey. During the stargate sequence, the director, Stanley Kubrick employed the use of still frames of the actor playing Dave, the pod pilot. This effect – while very very cheap, did wonders for telling the story. You could run through a series of horrifying stills of those in the car, while the audio of a car crash plays out in the background.
I found a clip of the scene, where someone added their own music. Disregard the music, and see the still frames which begin around 1:25 into this clip.
Anyway – just a thought…
The best you can do for DVD, is to render to MPG2 at 8 to 9.5 Mbps, directly from the source material. Many DVD players won’t read anything above 9.5Mbps, and many older players won’t read anything above 8Mbps. I’d shoot for 9.5Mbps and see how it goes. I believe Vegas Movie Studio has a render option to render the video stream and audio streams separately, for import into DVD Architect. No matter how it looks on any given machine, that is pretty much the best and cleanest process. Every time something is re-rendered, such as first rendering to AVI, then to MPG2, you lose something. Avoid re-rendering whenever possible.
For an actual DVD (not data disc), the AVI file mentioned above will still be converted to MPG2 for the final DVD disc render. Nothing is gained by rendering to AVI first, and the additional render from the original source footage to AVI to MPG2 will lose quality.
With no information as to what you are shooting, and what your specific needs are – its impossible to say.January 11, 2017 at 11:03 AM in reply to: File Management Question: How do I organize my files if using the same one for different projects? #215060
I use the same file structure, and because of what Mike said, I copy a file that is used and reused, to each new project folder that needs it. There is nothing worse than pulling a project from your archives, in a year or two (or…) and discovering that you can’t load the entire project because files are missing; files that were never stored with the project. For what it’s worth, when I find a clip that is getting used in multiple projects over time, I keep those in a folder called, “Library”, in the root of my Productions folder – then copy them to each project that uses them.January 11, 2017 at 12:27 AM in reply to: How many fps for travel videos using multiple cameras #215061
If you’re going to be using (and, to easily allow you to use) multiple cameras at various frame rates, I would recommend that your basic production frame rate be 30p. Higher frame rates like 60 & 120fps are based on multiples of 30p.
It should get the job done, except for the size of the hard drive – way too small. I’ve had individual projects that range from 100 to 200GB, and a select few even larger than that. Another serious consideration is the size of the screen at 14″. Most editing programs have several sub-windows open simultaneously. The smaller the screen, the harder it is to have a large enough timeline showing for editing.
I shot in a hospital a few years ago, and agreed to simply blur out any patient faces caught on camera – as well as let a hospital administrator view the final production prior to its release. I did, and my client and the hospital were both pleased with the results. Talk to a hospital admin, and make them a similar offer… It never hurts to ask.
Hmmm, there are only a few settings – and you’ve shown them all within the first few seconds of the video. So, there’s nothing new being presented visually for the remainder. Many of the cuts are of your profile, or turning your head away from the camera – so it’s hard, as the viewer, to ever connect face to face with the artist. The drone shots don’t set the scene – just a couple of random shots of the ground.
I’m not saying this piece I produced a few years back is necessarily better, but I do believe that it has the feeling of moving forward, with interesting transitions. The artist is featured head-on, allowing the viewer to make a connection. Also, the colors jump out a bit for visual candy:
I have two Canon Vixia camcorders. Dead silence means a problem with the mic or it’s cable. The camera switched off its on board mics, so it recognizes that something is plugged into the mic jack – so no worries about a setting on the camera. It did exactly what it’s supposed to do. Test the mic by plugging it into your computer or something else. I think you’ll discover that it’s not putting out any sound.
You might want to try a different mic, or plug the lav into something else to test it – just to make sure that there isn’t a short in the cable, or just a bad mic.
When you plug it in, does your camera still record sound through the on board mics? If all you get is dead silence, there’s a problem with the lav. If the on board mics are still active, you are correct about there most likely being a setting on the camera that needs to be switched. Any chance it’s as easy as a physical switch on the camera body (not in the firmware)? I’m not familiar with your camera but most audio switches in my experience are physical switches located somewhere on the camera body.
Hope that helps.
In addition to what Jack said – start off in pan & crop, right click on the image/area and set aspect ratio to match the output ratio. This should prevent the images from getting cut off or squished around the edges.
You nailed it – it’s most likely the different frame-rates. When shooting a project all cameras should be set to the same frame-rate – or variations of it. You can mix 60fps with 30fps easily. You can always edit the existing 60fps footage on your time line, telling it to run at 40% (or 24fps), then render the project at 24fps. That might fix your issue.
Good to hear!