interview sequence export question; export settings

Report · Jul 05, 2019

Hi fellow Premiere users,

I have what I think will be a simple question but I want to make sure I am doing this right...

I conducted a long interview with 2 Nikon DSLRs (D850, D750) (tight/wide) and a lav mic wired directly into the wide angle camera (reduced in-camera sensitivity) while recording reference audio from a shotgun mic into an external audio recorder. The D850 recorded 4K footage with the best audio recorded directly in camera. The D750 recorded in camera sound (auto sensitivity) and 1080p.

As you can see, I made a sequence with all the D850 interview clips synced with the reference audio (shotgun mic). I synced these by manually selecting the reference audio and 1 clip at a time and using the audio synchronize feature.

What I want to do is export this sequence as 1 master video clip that I can use to log the interview without any compression/loss of original data. My question is to verify that I am going about this the right way (using the export media tool under file) as opposed to i.e. making a nested sequence or merging clips and to verify that if exporting media is the best practice, that my export settings make sense.

What I am particularly confused about is when I hit "match sequence settings" it says the output media will be 1080p... why is that? I made the sequence originally based on 4k clips... if I change the format to Quicktime and use the Apple Pro Res 422 HQ codec it does show 4k output ... but now I am suspicious I may be missing another dimension of the export parameters (this aspect of post-production always confuses me). Any experts able to make sure I am on the right track here? Screenshots below..

Report · Jul 05, 2019

your sequence says interview wide. That was from the d750 right ? which was 1080p ?

your message says ...

=========

I conducted a long interview with 2 Nikon DSLRs (D850, D750) (tight/wide)

==========

is that respectively ??? or backwards ?

is 850 tight or wide, 4k or 1080p...

is 750 tight or wide, 4k or 1080p ?

The lav mic is going direct into which one ???? tight or wide, 4k or 1080p

does the lav mic sound OK ? Do you need the sound from the shotgun or in camera sound of other camera ?

I'm a little confused... so it might be best to start with the basic dimensions first ( 4k and 1080p and how you plan to marry those on a timeline so they both FIT the dimension you choose.. probably will be 1080p and scale down the 4k ??

also, if shooting to the SD cards you are getting what , mov H264 ??? out of both cameras ?? That answer will have some bearing on your desire re: quality later on.

Report · Jul 05, 2019

npfosi wrote
What I am particularly confused about is when I hit "match sequence settings" it says the output media will be 1080p... why is that?

Click anywhere in your timeline to select it, then go to the menu Sequence > Sequence Settings. It is likely your Video Previews are set to 1920x1080:

Change them to 3840 x 2160 and then you can use Match Settings on export.

MtD

Report · Jul 05, 2019

Change them to 3840 x 2160 and then you can use Match Settings on export.

since the preview setting is set to i-frame MPEG only, you normally don't want to use match settings. you will get a format which is useless for export and the resolution will max at 1920x1080 in each dimensions

I would advise OP to only "match sequence settings" when the sequence format and resolution are the same as your export settings you wish to export. or don't use that setting and simply change the format in the export settings to the one you want.

Report · Jul 05, 2019

Yes to all that, my post was in response to the OP's specific question - why the unexpected frame size when using Match Sequence.

MtD

Report · Jul 05, 2019

I addressed the last sentence Which gave instruction. You need to also change the format to the one you want to export if you want “match settings” to make sense. you can’t simply change the resolution and even if you could - i-frame MPEG is not what you usually want to render.

Report · Jul 05, 2019

What I want to do is export this sequence as 1 master video clip that I can use to log the interview

I think that's the wrong way to go.

Load the sync sequence into the Source Monitor. It'll act as a single clip you can edit from.

Report · Jul 05, 2019

I think meg dog posted screen shot of something of her own for illustrative purposes... saying " IF THE PREVIEW is blah blah blah".... we have no clue what the poster's preview files are set to. It's a guess.

Don't forget.. this is a LONG interview.. it is either ( if I read the timecode right ) 3 minutes long or else 3 HOURS long....and there will be various potential problems with sync sound SHIFTING over that time depending on lots of things... like if the sound recorded to a separate recording device is necessary or not... cause lav is going directly ( maybe ) into one of those cameras ( maybe the 1080p one ). Before everyone goes bonkers trying to answer this question it might be wise to get to the bottom of what the source stuff really is, what sounds good ( without having to sync and WITH having to sync ) and so on...cause frankly this thing is like a garbage can you stick your head into blind folded and hope to make sense of what is in it ...

Report · Jul 05, 2019

I'm still trying to understand what you want to get ... as you seem to only be using clips from one camera when you shot with two.

Are you planning to only use one video angle?

Or is what you want cutting between the two cameras but keeping the best audio throughout, which is a Multicam sequence process?

Neil

Report · Jul 09, 2019

Hi everyone,

Thank you for all of this discussion... to make sure all the information is as clear as possible:

I shot the interview with 2 DSLRs, 1 lav mic, 1 shotgun mic, 1 external audio recorder.

The D850 was shooting 4K (3840x2160), 29.97 fps, with a 50mm prime lens and 48000 16 bit stereo dual channel audio recorded into the camera (manual set sensitivity) using a wireless lav.

D750 was shooting 1080p (1920x1080) 29.97 fps with an 85mm lens, 48000 16 bit stereo in-camera audio (auto levels).

I used a Tascam DR40 with a shotgun mic pointed at the subject for reference audio/emergency backup.

I imported the raw footage into premiere and didn't transcode it.

The interview is about 2.5 hours.

My intended plan forward was to make a master version of the "wide" D850, 50mm footage with the audio from the lav already synced. I will use the D750 footage in the final edit, and use the in camera audio to sync it, only if I want a tight perspective on any particular part of the interview. Most of the interview will be layered over with broll (im making a narrative short doc).

I went about this by bringing in all the clips from the d850 (there are many individual clips due to breaks, changing batteries, d850 writing multiple files, changing out cards, etc.). I am using the reference audio from the tascam to sync all the clips together (the tascam audio recorded through all of these breaks/changing batteries etc, which is helpful because it includes side conversations/gives meaningful context etc.).

What I want to do with my "master" interview clip/file (regardless of if it's actually a new exported file or just a sequence opened in the source monitor - would appreciate best practices on this point) is go through it and make subclips of quotes / answers to questions that are suitable to build the structure of my story... from my understanding, making a fresh file felt clean and organized but if it would be destructive or result in loss of quality I'd love to hear alternatives...

Apologies for the delay in getting back to you all ... thanks for your help

Nick

Report · Jul 09, 2019

I think this might work with your assets ...

First you can select all the media in a bin, right-click and "create multicam". Set what you want as the core linking media which would be the separate audio.

It will automatically create one or more segments of audio and video tracks.

With that audio running continuously it might make just the one.

Then open it in the Source monitor and subclip away, naming the segments probably by text.

Neil

Report · Jul 10, 2019

I would follow Neil's advice and although your question was about some export problem, diving into some workflow questions, your lack of response to the many nice people who advised you about stuff kinda leaves this whole project in your lap once again.

You will find out, over time, as you work on your project … what you have to do.

I have a d800 and I wouldn't in a million years, with a big fat pig editing computer, use that material for a 30 second TV commercial, let alone a 2 hour documentary !

And who knows what your project setting will be … 1080p or 4k ?? upscale 1080 ? I don't think so.

hehe... good luck

Report · Jul 10, 2019

Rodney - "I have a d800 and I wouldn't in a million years, with a big fat pig editing computer, use that material "

Aren't you still on CS6? CC with good GPU could make a big difference

Report · Jul 10, 2019

Safe, hehe... no, my point is I use an atomos hdmi out of d800 to ssd with ( in my case, DNxHD 220x ) … when I use the d800. I also slate the shots I make, even if using 'in camera sound' ( but I use a Tascam like the poster with a shotgun and in camera sound is a backup in case someone screws up using the Tascam). There's a 4-5 frame delay using the hdmi out to Atomos

, hard to explain.. but the atomos is small and easy to use and way better than H264 ( bitrate higher and is 422 space - you don't get more color ( cause chip is the chip ) but everything else you do is better on edit ( graphics, transitions, etc. ).

I am so close to what the poster uses, it's like we are almost brothers.

hehe,,,

Then there's the J and L cuts and all the other stuff that the poster will want to do ( someday when he figures out what's up)… and then it's not a multicam thing ( as suggested ) but more than one video level and audio levels, so you can actually DO the work ( some manual instead of automatic ppro stuff ).

Then there's the simple full HD vs. 4k deal,, which nobody is even thinking about at this point,.

And, yes, I have cs6 and it's fine for simple stuff cause I am very simple... but I am using resolve 15 now and learning it with tutorials ( currently started 2nd half of color stuff book , using xml imported stuff and a reference movie to conform etc... which gets into xml, cdl , LQ and HQ and so on ( different luts for import and export )… like when you use LIVEGRADE on set with the aim to do fast dailies and go downstream with the CDL to other color spaces etc. ??? You know all this stuff...

Neil does too... it's the $ 30,000 17" on set monitor DIT stuff with livegrade ( not compatible with PPro ).

I just wish it was easier to help people see what is going to work for their computers and in this case I am afraid poster will waste about a zillion hours doing stuff and find out his computer is gagging and crashing and has to go back to the beginning using transcoded or proxy or SOMETHING other than the junk I get out of my d800 SD card ( like HIM ). hehe, and like I said, we haven't even LOOKED at the 4k vs full HD thing yet...

YIKES

thanks for your feedback !

Report · Jul 10, 2019

LUTs - Post & the DI - Roger A. Deakins

That link leads to a bunch of interesting post 'subjects' and so on... but be forewarned.. it's only another DP attempt to share info with people at a certain level of shooting and editing etc... and there are many guys who are very talented like Roger.

Report · Jul 10, 2019

The poster won't be adding luts or cdl or nothin.. but lets look at a sample of the 4k stuff...

imagine it gets put into a 1080 timline… so he can reposition and 'scale' the frame a little bit.... know what I mean ??

look at the head room... this is a common error when shooting … put the head in the center of the frame ( the focus of the frame is the center of the frame. over time we learn not to do that anymore ).

Now, look at the balance and color … is OK.. but can it be improved ? Probably.. after resizing in 1080 timeline a little YRGB stuff might kinda make it look a little nicer... that becomes ( in essence ) an 'effect' in PPRO... using Lumetri...

THAT means more strain on the computer resources using H264.. like I can see it now... 45 minutes into project and the computer is now gagging on the H264 ( mostly CPU and drive activity ).

???

NO ???

Report · Jul 10, 2019

Thanks R Neil Haugen I will try that…

Hi rodneyb56060189

I am not sure what you mean by lack of response, I did reply to everyone’s concerns.

That’s great that you wouldn’t use your D800 for a video shoot but I do. It isn’t a 2 hour documentary, the interview footage from which I will take quotes was 2.5 hours. It doesn’t seem like you are reading my replies carefully.

My project won’t be upscaled 1080p, it’ll be exported at 1080p.

It is the J and L cuts which is why I am trying to create this master clip… not sure what you mean by when I figure it out.

… I probably will create proxies… nothing about what I’m asking suggestions that I wouldn’t?

I don’t need to you to critique my framing, thanks though. The color balance is the flattest exposure I can get without an external video recorder with the D850. If you have recommendations about how to improve the color without external equipment and beyond the flat profile and manual white balance, you can definitely share. Fortunately, I don’t rely on talking heads in this style of film so it’s not crucial.

Report · Jul 10, 2019

yipeeee !

good going !

your attempt to export 4k threw me for loop.. to make your master log thing .. I didn't understand what you meant.

I'm an idiot, don't mind me... and thanks for all that information !!!!

good luck !

Report · Jul 10, 2019

this is more my speed... d800 to atomos, boom mic on pole (on stand ) to Tascam. neighbor from downstairs came up and did this and did the slate for me (clapper).. for sync.

2 takes. wide and tight …

Everyone Matters on Vimeo

hehe...I wouldn't have a clue how to handle all the material YOU have … (organize it and outline the story etc... ). I envy you and all the great work you've already done to get what you have 'in the can'

hope everything goes well !