Interpret footage - Music Video

Hi there!
I have filmed clips in 60fps and wanted some of them to play at normal speed for my video.
So I've changed the clips to play at 59,94 and it all looks fine.
The problem is when someone tries to do a grading of those clips in Da Vinci.
Da Vinci seems to have problem of finding the right source file.
It looks like Premiere has made copies of the source file if I change the interoperation of the clip.
Now, the right way to do this is of course to start a new project and import the files again and only change the speed inside the project. (Speed/Duration)
But...
I've spent 2 weeks on this video to get the right timing and feeling for it.
Is there any way I can look at each clip on the timeline and change it for the original fps and then only change Speed/duration inside the project?
I would be forever thankful if someone could help me out with some information!
Best, Elias

If your footage is interlaced just drop it in an interlaced sequence.
On export you set the export settings to progressive.
Always deinterlace in the field options is used basicly for stills (or freeze frame) in a interlaced enviroment
Or when a clip has a speed of < 100%.
Reverse Field Domanance is something left over from the SD period were avi's were lower field.
One can use this also when a clip has a speed of >100% or is played reversed, but I think this also applies only to SD footage with lower field.
I would only use interprete footage when I know Premiere is interpreting the fields wrong.

Similar Messages

In the Quicktime 7 A/V controls, how fast is the 2x playback really because it isnt twice as fast. I shot a music video on the 2x setting and when we slowed the footage down to half time, it did not line up.

In the Quicktime 7 A/V controls, how fast is the 2x playback really because it isnt twice as fast. I shot a music video on the 2x setting and when we slowed the footage down to half time, it did not line up.

one last thing: I'm also getting this problem here too:
https://discussions.apple.com/thread/5324398?start=15&tstart=0

How to sync music video with XDCAM footage

Anybody have a recommendation of how to shoot a music video in 24p on the Sony EX1, and make sure the on-set playback matches the original music track for editing in a XDCAM EX 1080/24p timeline?
Is it like the crystal sync playback with film, or the 60hz playback with 60i video? Something else maybe? Slow it down in post?

Get your audio source and sample rate convert to 48K naming the export appropriately.
load that into an FCP sequence set up for what you're shooting, start your sequence at 59:00:00 first hit of audio at 01:00:00:00
you may want to make a countdown eg snare drum cross stick etc for it in soundtrack pro. make sure the countdown matches the tempo of the piece. You'll need this if the piece starts with sync audio of the musicians playing.
put a slug and a timecode generator filter on it. you'll have to fool with the offset to get it to match your sequence time.
note the Time codes for each of your setups and place a marker at each setup then back up a few seconds and place a start marker for each setup.
Playback off the FCP sequence starting a few seconds early. shoot the screen with the TC numbers and without going out of record shoot the next setup. Playback audio from this sequence. Obviously a laptop is the way to go here
this sequence you used is now your master. drop in your shots according to the TC burn-in you shot
turn tracks on and off to select what you want and cut the piece.

Fast movement distorting in HD music video (CS4)

Hey everyone! I've made a music video in Premiere CS4, and I want to export it as an MPEG2 file (because I will be burning it to DVD in Encore CS4 to play on TV). The exported video looks great, except... when there is fast movement on the screen, the image becomes jumpy and distorted.
The video was shot in high definition (1440 by 1080 pixels) at 25 frames per second. I want the DVD to play on a PAL system.
The export settings for the file are:
Format: MPEG2
Preset: 1440x1080i 25 high quality.
Quality: 5
TV standard: PAL
All the other settings I have left as is.
If someone knows how to export HD files without getting this distortion during fast movement, that would be fantastic. Should I be exporting as a different file type (surely MPEG2 is okay)? I suspect it might have something to do with the settings in Basic Video Settings.
Thanks a lot for your time!
-Robert

Hey Jim, thanks for answering my post. I did as you suggested, and exported as an MPEG-2 DVD. I'm still getting distortion during any fast movement, but now the distortion appears more in bands across the moving figures, and is less jumpy. I got a similar distortion effect on fast movement when I exported in H.264/YouTube Widescreen HD. When I look at the original video files from the camera, there is no distortion, the images move smoothly. I suspect that it is something about the way premiere is interpreting the footage as it exports that is causing the problem... Interestingly, I am having the same distortion problems with another music video that I shot in HD, but I have never had this problem with standard definition video footage... Could it be something about the nature of HD video files?
If you have any other ideas I'd love to hear them.
Thanks for your time.
-Robert
Date: Mon, 7 Nov 2011 21:06:42 -0700
From: [email protected]
To: [email protected]
Subject: Fast movement distorting in HD music video (CS4)
Re: Fast movement distorting in HD music video (CS4) created by Jim Simon in Premiere Pro CS4 & Earlier - View the full discussion
If you're going to DVD, you'll need DVD resolution. For PAL that means 720 x 576.
Reexport using an MPEG-2 DVD preset.
Replies to this message go to everyone subscribed to this thread, not directly to the person who posted the message. To post a reply, either reply to this email or visit the message page: http://forums.adobe.com/message/4012993#4012993
To unsubscribe from this thread, please visit the message page at http://forums.adobe.com/message/4012993#4012993. In the Actions box on the right, click the Stop Email Notifications link.
Start a new discussion in Premiere Pro CS4 & Earlier by email or at Adobe Forums
For more information about maintaining your forum email notifications please go to http://forums.adobe.com/message/2936746#2936746.

How can I use a DVD of my band playing a song to create a Premiere 11 music video?

Hi Everybody,
I've been making a couple of music videos on Adobe Premiere 11 by the usual way of loading in a music track and then adding photos and an occasional live video segment (with the sound of that video segment turned off). Now however, I have a DVD with both music and video of my band playing a song in a club. I'd like to load it into Premiere 11 so as to make it into a music video that also has a title screen at the beginning and one at the end (as I've done before on my other Premiere 11 music videos that I created). After, I'd plan on uploading the Premiere 11 music video to YouTube.
My question: What steps would I use to load the DVD of both live video and live music into Premiere 11, that's on my laptop, so as to make a music video out of it on my Adobe software?
I'd appreciate any feedback, especially since I'm kinda new at using Premiere 11.
Thanks!
Bob

Bob
Based on your description initially or latest report, I am interpreting your description as an easy can do in Premiere Elements 11.
It would be good to know what is on the DVD disc (DVD-VIDEO format on DVD disc or some video files burned to the DVD disc as data disc).
But, either way, your answer to using the DVD disc content as source media in your Premiere Elements 11 project is as follows....
1. Insert the DVD disc in the burner tray.
2. Open Premiere Elements 11 to its Expert workspace.
3. Go to Add Media/DVD camera or computer drive/Video Importer.
4. In Video Importer, assure that the Source field at the top is targeted at your drive with the disc in it
a. you should see your video files on the DVD....if DVD-VIDEO on DVD disc, then you need the check marks next to
VTS_01_1.VOB and so on in the series of that file, such as VTS_01_2.VOB, VTS_01_3.VOB. Each file, except maybe the
last one should have a file size of 0.99 GB. If instead someone has burned a bunch of video files (.mov, .mp4....) to a DVD disc
as data disc, then you will find a bunch of files .mov, mp4 to which you will apply a check mark.
b. In the Video Importer dialog, have a check mark next to Add to Timeline, then hit Get Media which will put the file(s) in Project Assets and on the Timeline.
Please review and consider and then let us know if the above targeted what you asked.
Thank you.
ATR
Add On...More details are relevant such as project preset - you setting it manually versus the project setting it automatically.
But, we will save that for next time if we are on the right track for your overall task.

A different concept for producing music video's..is it possible?

Hi,
In preparing for a music video shoot this week I wondered if a feature in Soundtrack Pro 2 could be put into FCP 7???
I am recording the music (10 min) of piano and cello for a tango. After editing I will play it back for dancers. It would be incredible if I could play it back in Soundtrack Pro which would sync to FCP capture window, and use the multiple take feature to keep recording over the same timeline space with different video takes. They would line up on different video tracks in FCP and the audio would stay the same. That way you could immediately see if all of your music was covered with footage that you like. It would save a lot of post production time.
Could this be possible in the future?
On another note, I am recording with the Letus 35 depth of field adapter for a film look. Is there any advantage of recording in Prores 422 HQ over DVCPro HD? I'm shooting on a HVX-200 with P2 or I could go into an AJA IOHD. I plan to bring it into Color after the shoot. Any advice would be appreciated
David Perry

Nobody here but us fellow users. If you want Apple to read about a feature request, you need to post that here:
http://www.apple.com/feedback/finalcutpro.html
Shane

Re-interpreted footage metadata is lost when moving Premiere Pro CC 2014 project file to different computer

Hi guys,
I believe this is just a bug in Premiere Pro CC 2014 (and other versions in the past), but I wanted to make sure it was on the PP team's plate for the next update, since it's detrimental to a workflow that include more than one computer or more than one editor on a project.
My team shoots a lot of footage in slow-motion (for instance, 59.94 for 23.976). Premiere's process to conform this footage is great. Modify -> Interpret Footage -> Assume this frame rate: "23.976".
Unfortunately, when we move this project file to another system, even if we are using a hard-drive that is synced to have the exact same source media files with the exact same file structure, we lose the footage interpretation metadata. Premiere Pro CC thinks this footage is 59.94 again, and our sequences are in shambles. All clips where the interpretation metadata is lost have "zebra pin stripes" on them wherever they exist in our sequences.
We have to manually re-interpret the footage, and then sometimes manually re-select in and out points. This is a work-around that enables us to push forward, but it's a barrier that makes collaborative editing extremely challenging and opens up rampant possibility for error. It's hard to locate every clip we need to re-interpret in some of our more complex projects, and even harder to avoid re-interpreting the wrong clips.
Looking forward to a resolution to this problem.
Daniel Lichtenberg
[ad/link removed by moderator]

Guys I solved my own problem - thought I'd share with you how in case anyone else is having this problem -
I came across this thread
Premiere Pro CC error message and crash
which had the suggestion -
"Do tou have after effects installed? If yes, please try to import the main sequence into it and then export it as premier pro project from file/export ootion and then try to open that in premiere pro."
This didn't work for me too but I did try and import my existing project into a new project and copy all the files over. Works fine now.
I don't know if I will have the same issue again tomorrow so I'm going to render out a super high res video before I close premiere just in case

Is Interpret Footage messed up in PPro 4.2.1?

Well I guess my post title should be a statement rather than a question because it sure seems messed up to me. I work with old 8mm films transferring them to DVD so one of the most common things I do is transfer the film using a Workprinter XP from MovieStuff.tv and then import that footage into Premiere CS4. Once in Premiere I use "interpret footage" to set the frame rate to most commonly 18 fps. This has always worked without any problems until upgrading to PPro CS4 4.2.1. Whenever I view the footage via scrubbing, it does not match if I play from the same spot in the preview monitor. It always has in the past. Even if I render out my footage after interpreting at 18 fps and making no edits the final video is messed up (looks like the wrong speed and chops off a large portion of the video).
Is there something new I need to do in this latesdt PP update because it has always worked in the past? And I have confirmed it is a problem with this update because reinstalling Premiere without updating it makes my problem go away.
Anyone else run into this?
Thanks,
Al

The Workprinter (I have one) captures your 8mm film frame by frame, so what you end up with is a movie file at whatever frame rate the original film was shot in. So if you just play it back it appears in fast motion.
I recommend you purchase the sw that moviestuff recommends for the work printer. It is designed specifically for that purpose and will provide you an avi at the correct frame rate. Simply adjsuting the frames per second in Pr does not accomp-lish the same thing.
You are interested in top quality or you would not have purchased a work printer. You would be filming off the wall. Dont skimp on the final step.

Interpret Footage works fine in pre8 but NOT pre9

I use pre8 at work - use Interpret Footage all the time to Conform to - PAL widescreen. It works fine. No problems.
I have just purchased pre9 for use at home. Interpret Footage does NOT work. The video fails and the audio fails. Not good. Problem.
I am using the exact same footage, camera, project settings etc.
Any suggestions would be appreciated. Thank you.

Brainforest
I suspect that your issue has nothing to do with your video footage, camcorder, but everything to do with a glitch in the Premiere Elements 9.0/9.0.1 Interpret Footage feature.It is not a fatal glitch unless you overlook what is happening. I will describe it, and let us see if this is the cause of your issue.
Let us say that I have Premiere Elements 9.0/9.0.1 with a video file on the Timeline, frame rate 29.97 frames per second and maybe Pixel Aspect Ratio = Square Pixels. The choices are not important. It is what happens in trying to change anything like these in Interpret Footage Premiere Elements 9.0/9.0.1. For now let us say that you want to change just the Pixel Aspect Ratio to something else.
a. I right click the video file in Project Media View, select Interpret Footage from the menu.
b. In the Interpret Footage dialog, I go to Pixel Aspect Ratio and change it from Square Pixels to something else. Then I click OK.
c. Then, when I resume operation in the workspace, the Pixel Aspect Ratio will be Square Pixels, BUT the frame rate will be 1.00 instead of 29.97.
Whether or not you are going to change the Frame Rate there, you need to select and type in the desired frame rate in the field where it says "Assume the frame rate ___"
In my case, even though I did not alter "Frame Rate from File" = 29.97, the typing cursor jumps to the Assume this frame rate field ____ when you open the Interpret Footage dialog. If you are changing the frame rate anyway, you would never know the problem. But, when you are only changing the Pixel Aspect Ratio, often this glitch goes unnoticed.
Bottom line: In your PAL system, if the file frame rate is 25 frames per second and you want to change just the Pixel Aspect Ratio in Premiere Elements 9.0/9.0.1, be sure to type in 25 in the field for Assume this frame rate to prevent the result of 1.00 frames per second.
Please check this out and see if this is happening in your case.
Thanks.
ATR

Best compression for music video.

hello...
i'm currently working on a music video using my DV cam, and flash animation.
I've exported the animation in DV Pal format (since in a mpeg2 format takes ages to render). What am asking is, which compressor should i use to export the whole thing onto a dvd? I usually do it with the 3divx compressor but i was wondering if there are any tips you could offer...
thanks in advance.

If you are creating a DVD, start with your DV footage and encode in Compressor, BitVice or whatever encoder you have to MPEG2/m2v video format.

PROBLEM EDITING MUSIC VIDEO

Hi i have this problem, i am editing a music video,I capture all the footage and everything is fine, no dropped frames.
the audio is at 48,00 and the timeline settings too.
When i sync the footage with the original music in the timeline it goes well,but starts to go out on sync as it plays.Every time i edit a music video i have to resync everything every 30 seconds or something like that, Theres a way to fix this ???
sorry fot my english

When doing audio playback on location we use Nagras, DAT or, more often these days, an iPod. For many a feature when my Nagra was in the shop and before DAT, I used a battery powered VHS HIFI deck. Whole features, three months of shooting at least, and I never had drift due to the function of the HIFI audio being recorded using a video head rather than an analog linear head, which can drift.
Cd play back could be at question, does a battery powered cd play back digital audio at a slower or faster rate depnding on batery power like a cassette tape? For professional playback on a location that has power we use any of the above as well, as at times, a cd player plugged into the wall so I am never faced the question of batterie slow down.
Are MiniDVs, which record the video digitally, not ALSO recording the audio digitally or is it a linear recorded track? Perhaps it is different camera to camera. It does make sense that if the Mini DV is recorded 33/12-bit, and it's captured as 48/16-bit that there would be sync issues, even with digital audio.
As suggested before, try capturing a section of your video at 33. If the sync problem goes away, recapture everything and connect your timeline to the new media it is way less time consuming than re-syncing every 30 seconds.

Black screen after interpret footage

I am exporting 16x9 anamorphic SD video from Avid. In Encore I import the quitktime reference, then choose "interpret footage" and set it to SD Widescreen. Then when I transcode the video, all I get is black.
If I transcode the video without using Interpret Footage, it transcodes fine.
Any ideas?

think I've solved it... if I check "use Adobe Media Encoder," in settings, it seems to transcode OK.

Music Video Editing 101

I posted this a few years back - before it rolled off the end of the discussions, I moved it to Dave Slater's ProAppTips.com which is currently in limbo due to hacker problems, but he retrieved the text for me and I thought it might be handy to post now. I should update it for using MultiClips, but they can be problematic, depending on how the video was shot and the timing/overlap of the coverage available (see: MultiCam and Music Videos). For now, I'll just post it as it was originally written.
_*Music video editing 101*_
Although I've cut probably over 250 music videos, this is only how I work. What works for you may be entirely different and more productive for you. I am not here to champion these techniques and I invite anyone else to post how they do it.
Okay down to business. Digitizing material: I capture all the available material, preferably in 20-30 minute chunks. Among other things, the large chunks can come in handy if there is a discrepancy between the timecode on the offline tapes and the master tapes. I watch the material as it comes in and note anything of interest (cool shots, etc). After capture, I go thru and put markers at the start of each take and scene. I'll go into the philosophy of logging/overlogging later.
Now, music videos can most often be divided into two sections - performance and concept (or story). The first thing to tackle is the performance. Not only is this locked to the areas of the song being performed (barring cheating choruses or other repeating stuff), but it helps you to know where you want to put the story (which is where your performance coverage is the weakest).
How I cut performance is this. First, I try to pick a good overall base take of performance - this is often a wider shot that covers the whole band. I usually have chosen this take while watching the material as I capture. I put the master audio in the sequence and cut this video take onto V1. This is because I find it easier to cut into something rather than cut a shot into black. Now I go back and start at the first take and hopefully there was a smart slate used, but however I do it, I get the take lined up so that the frame in the viewer is at the same point in the song as the frame in the canvas, then set gang sync (I have a this mapped to a keypress).
I then play what I have in the viewer until I see something I like. Now, because I've ganged the edit with this take, it's been following along, so I can quickly pop over to see what is at that point in my edit and see if what I just saw in the take looks better. If it does, I cut it in, If not, I can ignore it, or cut it onto V2/V3/V4, etc and set its visibility off (ctrl-b). Why would I do that? Maybe later I need to change the shot because the singer doesn't like himself from that side, or I need more shots of the drummer, or I've changed the edit and the shot doesn't work anymore, or maybe I'll be able to cheat it in at another point of the song. The point is, I'm going thru the material now and I might as well save anything I like so I won't have to look for it later. Tossing it onto a higher video track keeps it in sync with where it should fall in the song.
Now go I back and keep playing the take and when I see the next thing I like, repeat the process. I continue this until I've finished the take. Then I repeat this for all takes. It's time consuming, but I've found it to be the only way to ensure you've given due consideration to all the material and you can say you have the strongest performance in your edit. And your goal is to make a performance cut so tight that it will be painful to give up areas of it to concept. I also keep a bin/sequence of non-sync cutaways - maybe a drum hit, maybe a look from the lead singer, maybe a bass riff. These are important to your cut, but you can treat them like concept - i.e. you can put them anywhere you need to.
When you've finished your performance cut, duplicate your sequence (You might also have done this during stages of your performance cut, just to keep backups). The reason you want to now is to always have a pure performance cut to go back to.
Now consider the concept. Sometimes it warrants cutting it all together as a story complete, other times it will only function as cutaways or it illustrates specific lines in the song, etc. However you get the concept organized, the performance cut will provide a roadmap as to where to place the concept. Sometimes it's blatantly obvious (like you have no performance for a certain area), other times (if you've done a good job on the performance cut) it will be a struggle to find where to put it. I always keep my performance on its own layer/s and add a new layer for the concept. This is to allow ease of re-arranging the story. If you have it on its own layer, you won't need to replace the missing performance if you shift the concept around, you'll just reveal the existing (wonderfully tight) performance below.
I could go on and on about this, but those are the basics. As to timing, I usually allow myself 2 days for capture and performance cut. Third day is concept. Fourth day massaging the overall edit. Send off that night for comments. Fifth day is changes from artist/label/management. Lather, rinse, repeat.
Finally a bit about logging of footage. When I first started editing, it was on a linear, tape-based system. So I had a wall of thermal printouts to guide me to my selects and whenever I needed a specific shot, it usually involved a lot of shuttling thru tape. An inevitable beneficial fallout of this work flow is that I'd often find a better shot than the one I was searching for, simply because I had to shuttle to find my intended shot.
This fostering of happy accidents was lost when I started editing non-linear. Because I could instantly go where ever I wanted, I only ever found what I wanted and lost a certain spontaneity to my edits. They became more predictable. It took me a little while to realize this and to come up with some solutions.
First of all, I don't overlog footage. None of this clips named "The one where Jack finds the beans and discovers the true meaning of friendship in wide shot with the cow OOF over his right shoulder (sky has clouds)". I make it so I always know where to find my shot, but not so I can just get there without shuttling a bit. Also, I try to keep a sequence of selects. Shots that I like, but haven't found a use for yet. Thats where I always go to find a shot I need - that way, shuttling thru the sequence, I am exposed to shots that I know are good and may be better than the shot I think I am looking for.
Anyone else want to post their work flow?
Patrick

Great workflow Patrick. The one main thing missing that I use in music video editing is the grouping of multiclips to group all of your performance takes into one clip. For those that haven't used this then you have access to all performance takes at any given point in the song. This is handy as you might have 50 to 100 takes on some videos. The thing that makes a grouping of multiclips easy is the use of a timecode slate and an audio master (though aux code grouping can be done without it). You then assign an auxiliary timecode to each take and group your mulitclip by that. In avid land I subclip a masterclip by takes. Unfortunately Apple has done a really dumb thing in FCP. When you make subclips from a master clip and assign auxiliary timecode it will ripple the aux code of other subs from the master clip. Completely useless for music video. The solution is to capture each take in its own master clip but that is a long and tedious log that for me is totally not needed for a music video. I wish Apple would address this (it as been discussed in this thread) but it has been unchanged since the introduction of multiclips. That's why I always cut my music videos in Avid.

A little help planning a music video

I could use some advice...
For a while now, every time I meet a musician I casually hand him/her my card and say something along the lines of "if you ever want to try your hand at making a music video to help get your music out there, I am looking to shoot my first music video. I am not a sound guy, but if you have one we could work on this together, or we could shoot to his recording".
Well, today the answer was "I am there. I am ready."
OK. Now I have to put my skills where my mouth is. I have some time. The guy is a pianist who is the new manager of a very high class piano store that is about to be completely remodeled. I had already asked him if I could come in and shoot the pianos. You know, lid open, hammers striking the wires with a little motion blur. That kind of thing. Artsy stuff. The lighting is horrible but the remodeling is supposed to change all that. Worse comes to worse, I bring him a pizza and shoot at night, after hours, and I light it all myself.
But a music video, that is going to be a challenge. That is probably an all day affair, and I will possibly have to deal with outside light leaking in. Meaning I need to cover the windows as best I can. At least the ones behind him.
I am looking for advice on lighting something as shiny as a beautiful black grand piano. The reflections probably mean that all lighting has to be quite muted and behind me. Or is it 90 degrees to my right or left. What eliminates the reflections the best. Or should it come from everywhere?
I am thinking huge softboxes (queen size sheets stretched across a PVC frame with shop lights behind them and lots of reflectors). Or would I be better off emulating the spotlights one sees at concert halls?
Have any of you ever shot a pianist at work? Any advice, warnings, suggestions? Any must have shots? Any to avoid?
If you come across any videos of a concert pianist on YouTube or anywhere else that look extremely good to you, let me know please.
I don't really want to make this a single camera shoot because it will take so much longer and he could get bored playing the same piece over and over again. I could rent more cameras from BorrowLenses.com but I am going to try to find a photography group and see if anyone has the same camera I do, and who might be interested in participating. I would like to avoid having to match up video from multiple brands and data rates. Although it might not be that hard.
I will probably do my photo shoot first in order to really check out the lighting situation, and then come back for the video shoot. Also, I have not heard him play his piece, so I don't know if it will be serious, whimsical, moody or upbeat. That could change the lighting requirements. For all I know, shooting someone playing a large Steinway grand piano might just call for Black and White. Heck, Sepia tone could be right if the piece is particularly sentimental.
I know I am going to miss many important things, so let me know what you think. Don't assume I know anything. Just assume that any suggestion could be valuable to the success of the video.
Thanks,
-- Steven

Lots of interesting information in these posts. I truly appreciate it.
I think Rod might be right on target with the Steinway thing. It might be better to not show their logo at all. It certainly simplifies the shoot by orders of magnitude. Not unless there is any chance that the store Manager will be allowed to use it on the in-store monitor.
Rod's also right that I should probably concentrate on the artist, not the piano. But I doubt I can help getting shots of the hammers on strings. That is the part I find interesting, and the shots have to please me too.
I really like the high shot. Thanks for showing it to me. That is exactly the kind of thing I wanted to see. I will be connecting my camera to a 1080p HDTV via HDMI to help with focus. I can start the recording with my cell phone via a wireless connection so I don't actually have to stay on the ladder, and my GorillaPod can easily fasten the camera securely to the top of a ladder. The ceiling is not as tall as I would like, but I can get right up against it easily enough. Really good advice. Thanks again.
About the HDTV, I have seen the focus in a tiny screen and seen in on a large screen. I am better off with the largest screen I can justify. I might take my 24" or I might bite the bullet and take in the 46". They have a monitor on the wall now that I might be able to use if it is still there after the remodel.
"don't cross the line" - yeah, that is what I thought, but it didn't hurt to hear it anyway.
I would like a more detailed explanation of why I should stay with 85mm equivalent if you could. That is rather wide isn't it? That makes it harder to blow out the background. Especially if I am using a f/8. I was hoping that test shots would indicate that the black background I was planning to use to block the outside light would be completely black except where I wanted it lit behind the performer, if I decide to go that route. I might just want to backlight him to completely isolate him from the background. Keep in mind that along with my 2.0 multiplier, my sensor is smaller and therefore requires a lower f stop for the same bokeh than yours does. No matter what people say, size does matter.
As for ISO, I suppose I light it the best I can and set the ISO the the lowest setting that seems appropriate at the time. I am afraid that the pianos, being black, will show all the video noise. I suppose I could get a denoiser plugin, but I would rather not if I don't have to.
If I get all of the important shots in a day. The entire piece from on high. The entire piece from just above the keyboard, and all of the various shots of the performer, I will be happy. I can shoot the insert shots and other b-roll on another day if need be.
A lot of this will depend on how reliably he plays his own music over and over again. He has played at Carnegie Hall, so I have to hope he is really good. But reliable as a metronome? Who the heck knows? We shall see.
As for white balance, I carry a white card and a gray card. I will put them both in every shot as I clap the boards together then remove them.without turning off the camera. Fortunately, the GH3 is very good at shooting long videos. It was built with heat distribution in mind, and the 4G limit tests I have done showed me that I can rely on the files to be frame perfect.
I can't think of a way to use slow motion in a music video like this. So, I don't see a reason to shoot it in 60p. Which means I need to decide on 24p or 30p. Once I see the new looks in Premiere Pro CC next week and run some test video of the performer prior to the day of the shoot, I should be able to tell if the piece warrants a "film look" or if I am going to go with some attempt at being unique. Like I said, this may be black and white, and if so, 24p makes even more sense to me. But as far as I can tell, lighting for black and white is a bit different than lighting for color. More research is required on that particular subject.
I shoot almost everything in 60p on the off chance that slow motion will be desired, but this is different. So a lot of test footage will be required. I don't think I need to worry about lighting too much during the test shoots. It is the movement I need to see. Now, if it turns out the piece is really fast, I might want to show his fingers in slow motion in a "making of" video. If that is the case, the I could shoot some 60p just for that usage.
Besides, who says I only get one try? If the performer likes the results, I might get to shoot him again, and other pianists and maybe other artists that he knows. After all, my prices are the best in town. Free is a great deal. I could get a rep as the music video guy and maybe get a few paid gigs one of these days. That is one of the advantages of being mostly a hobbyist. I can do Pro Bono all I want. I don't rely on the income. Heck, maybe I get good enough to put a training video on YouTube. I could monetize it and people could come to my web site to learn to shoot piano recitals. Unlikely, but possible.
By the way, if you wanted a Steinway in this area, the San Francisco and Walnut Creek stores that sold them have closed and have been taken over by Steinway & Sons. You missed the big floor model sale. At least I think that is what it was. I have to smile when I see a smallish piano marked down to "only" $50,000.00 or so. Even so, they make really pretty pianos.
Biggles, your explanation was understood. Thank you. I have watched some videos on the subject of a focus puller. I don't think I will fully grasp the usage until I have one on my hand. I understand, but I don't fully grok it.
Thanks guys, and feel free to post any and all relevant or even tangential info that might come in handy. I would like to absorb it all to have in the back of my mind as I make the decisions I need to make over the next few weeks. And seriously, if you are in the Bay area you are welcome to bring your cameras, lights, etc, and have some fun. Maybe Bill will be in the area on that Sunday. He would be a great addition to the party. The BART stops right by there.
I am still searching for videos of interesting shots of pianists. If you spot one, please let me know.

Music video editing

The way I want to edit my music video is rendering each camera angle separately. I want to line up camera angle one to the music, render, and move on to camera angle 2 and do the same thing. After that I want to bring each file back into premiere to edit a full music video. Is this a good way to do it, or are there any other good techniques to use?

meekoelliott wrote:
The way I want to edit my music video is rendering each camera angle separately. I want to line up camera angle one to the music, render, and move on to camera angle 2 and do the same thing. After that I want to bring each file back into premiere to edit a full music video. Is this a good way to do it, or are there any other good techniques to use?
This is, IMHO, unnecessary work that may well degrade the visual quality of your final output. One thing PPro is good at is multi-cam editing. Investigate how that's done in PPro before doing what you propose. PPro's multi-cam editing is all non-destructive editing, so your visual quality is as high as possible because it's all based on your original footage. If you render (make digital intermediates) your new files are created by uncompressing the originals, then running them through a CODEC again to create the new files, which is sort of like re-compressing a jpg. Not a great idea. And you're still left with the problem of syncing the various camera angles. So what, really, have you gained?
One of the things I've leared about PPro (and nearly all complex software, no matter who made it) is that fighting against the way the software wants you to work is almost always an exercise in frustration that almost always leads to lower quality output. This from a guy with 25+ years in architecting and writing big complex software. Do with my observations what you will.

Interpret footage - Music Video

Similar Messages

Maybe you are looking for