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Guy Burns
Engaged
Guy Burns
Engaged
Activity
‎May 17, 2018
06:47 AM
Thanks for the comments, Steve. The file was lossless m4a, so that shouldn't be the cause of any problems. I haven't come across a gravelly voice before, and I've recorded quite a few narrators. So it's in the voice, you think; that the raspiness here and there -- the gravelly sound -- is inherent. That those little valleys near the peaks are supposed to be there. I record two or three takes of narration, and I came across one instance where for exactly the same word in the same sentence, only minutes apart, one was gravelly and the other was smooth. That threw me. But, thinking about it, the gravelly sounds seems to occur when the recording is at a higher level, even though the narrator is standing in the same spot. Maybe when he pushes his voice, it 'cracks'. Very interesting. I had been suspect about my equipment and situation, especially in cases where a narrator has a boomy voice. I thought: room acoustics. For one old fellow I recently recorded, aged 89, I had to remove a bloom in the frequency response at around 400 Hz. I blamed room acoustics, but maybe he has a 400 Hz bloom in his voice, whereas the "Pelion" fellow sometimes has a gravelly sound, but no 400 Hz bloom. I'm beginning to appreciate that what's on my recordings is actually in the voice, and that we normally don't notice these artifacts in real life. Maybe the problem is: I'm doing the equivalent of pixel-peeping. Yes, very interesting. Ques: why might speaking across a microphone, instead of at it, reduce the gravelly sound?
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‎May 16, 2018
08:57 PM
I had a friend record a narration. The sample I have uploaded reads: There was certainly no pack horse at Pelion when I went through with Eric. At certain places here and there, in this instance at the word "Pelion", the recording sounds very harsh. Normally the waveform is smooth, with rounded tops, but the harsh section has inversions at the peaks – instead of going to the summit, the waveform has a tiny valley. Q1: Does this distortion come from the voice itself, the microphone, or the recorder (a PMD 661 fed from a Rode NT1A)? Q2: Any suggestions how I can reduce the harshness? I have tried notch filters at various frequencies, and high cut.
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‎Apr 12, 2018
09:09 PM
Thanks for the suggestion of the Appearance option, but it only goes down to a dark grey, not black. I would have thought that for the Program Window, at least when in full screen mode, that black would be a desirable option for the background, to mimic a theatre, and not just a dark grey.
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‎Apr 12, 2018
04:16 AM
Thanks for the suggestion, but I tried something similar and it didn't work. I want to change the colour of Premiere's background (the dark grey), not the background of the 1920 x 1080 image.
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‎Apr 06, 2018
07:47 PM
I am working with scanned slides in Premiere CS6. Sometimes I want to leave the ragged edges (in the photo, at the bottom edge), but I can't judge how it will look when projected because the background in Premiere is grey. What I see in the horizontal direction, especially if the slide is 3:2 aspect, is the slide in the centre, the black background of the 16:9 video area, and then the grey of the Program Window. Not at all close to what will be projected. Is it possible to alter the background of the Program Window to black?
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‎Apr 05, 2018
04:59 AM
Thanks Jim. I've been trying to think of an easier way, and playing around a bit, but I keep coming back to your "duplicate" suggestion.
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‎Mar 30, 2018
07:07 PM
The answer appears to be – No, Premiere cannot read the whole QT file once trim points have been added and saved. I had previously posted a similar question in the Apple forums, under Quicktime. Here is a response from Jon Walker: Unfortunately, there is no "Unedit" option in QT 7 Pro. If you failed to trim the content to your "in" and "out" points, and save the resulting content as a separate, new file, then playback "in" and "out" points are stored in the original file atoms and used by QT-based apps for playback but ignored by non-QT-based apps [such as VLC] as you've noted. While it may be possible to re-edit the atoms using certain utility apps, it may be easier to copy the file data in the currently edited MOV file container to a new file container using a third-party app like VLC that already ignores "edit" entries.
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‎Mar 24, 2018
05:28 AM
Had the same problem and came across this thread. My project has about a dozen sequences, and the Project Manager wouldn't "Collect files and copy to new location". It came back with an "Unknown Error" message. I narrowed it down to Sequence #4. That sequence was causing the problems. I narrowed it down further: one of my music files from iTunes had special characters in the name: colons and commas. Got rid of those and the problem was fixed. I'm running CS6.
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‎Mar 07, 2018
05:49 PM
Thanks Jim for the suggestion, but I don't think it will work. The AE composition is almost fully used in Premiere, broken into small clips. The clip I would like stabilised is just one of many. So I can't trim the AE composition – unless I misunderstand what you're suggesting. I was hoping there was a way to sort of "Replace with After Effects composition", for just that clip, but when I tried, AE didn't know what was going on. A placeholder came up with colour bars. I suppose that happened because the clip I tried to replace in Premiere, was already an AE comp. So, it looks like I'll have to open the linked AE composition, find the exact same trim points as in Premiere, razor at those points, and apply the stabilisation just to that section. I assume I can do all that in AE. The problem will be: if I change the trim points in Premiere – very likely at this early stage of editing – I'll have to remove the razor points in AE and start again. And if AE's like Premiere, you can't remove razor points. I was hoping there might have been an easier way.
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‎Mar 06, 2018
11:49 PM
I was wondering if this is possible in CS6: I have a 1920 x 1080 sequence in which there is an AE clip. The AE clip is 2048 x 1556, a few seconds in duration, is cut from a much longer AE clip, and has had scaling applied. I want to Warp Stabilize just the part of the AE clip showing in the Timeline – but I want to stabilise the full-size (2K) image, not just the scaled-crop showing in Premiere. Premiere does not allow direct stabilising of a clip larger than the sequence. So I nested, as a test. Nesting worked, but only stabilises the cropped section. Is there a way I can ask Premiere/AE to stabilise the AE clip showing in the timeline, at full resolution? One way would be to jump into AE and stabilise just that particular section, but I don't know how to jump into AE and bring the exact Premiere trim points with me.
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‎Mar 04, 2018
04:53 AM
Thanks for the comments and suggestions. I posted in the Audition forum as well, and my summation there seems to cover the matter fairly well: I've never used Convert Sample Type before. Eventually found it under Edit. The defaults are: Mono to Stereo: Left Mix and Right Mix are set at 100% Stereo to Mono: Left Mix and Right Mix are set at 50% In both cases, all conversions result in the same level. You can do it in a never-ending loop and not lose level. Yet the Favorites that come with the software are set up differently. That's one confusing part. The second confusing part is that when you drag the mono signal into a Multitrack session, the level drops to 71%. It gets even more confusing: Premiere does it differently: a mono signal when dragged to the Timeline is set to 71% for the L/R channel. 100%? 71%? 50%? There may be some justification for the various settings based on what used to happen in the analogue world mixers – incoming signal is sent to the wiper of the pan pots, the two ends of the posts being the L/R outputs – but that justification certainly hasn't been applied consistently by Adobe.
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‎Mar 04, 2018
04:45 AM
The levels in my original post for Step 2 should read -9dB (not -6dB). So that's the same as you found. I've never used Convert Sample Type Before. Eventually found it under Edit. The defaults are: Mono to Stereo: Left Mix and Right Mix are set at 100% Stereo to Mono: Left Mix and Right Mix are set at 50% In both cases, all conversions result in the same level. You can do it in a never-ending loop and not lose level. Yet the Favorites that come with the software are set up differently. That's one confusing part. The second confusing part is that when you drag the mono signal into a Multitrack session, the level drops to 71%. It gets even more confusing: Premiere does it differently (they suggested I come here): a mono signal when dragged to the Timeline is set to 71% for the L/R channel. 100%? 71%? 50%? There may be some justification for the various settings based on what used to happen in the analogue world mixers – incoming signal is sent to the wiper of the pan pots, the two ends of the posts being the L/R outputs – but that justification certainly hasn't been applied consistently by Adobe.
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‎Mar 03, 2018
04:30 PM
I have a fair understanding of the reasoning behind why mono signals, when converted to stereo, lose 3dB in the L/R channels. What I don't understand is this: I generate a mono 440 Hz tone at -3dB and save it. I use Favorites > Convert to stereo to convert it. The L/R channels are now at -6dB Then I use Favorites > Convert to mono to go back. Result: the level is now at -9dB. If I kept going long enough, the signal would disappear. Why is that? Surely a Stereo > Mono conversion, followed by a Mono > Stereo conversion should get you back to the original. I'm using CS6.
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‎Mar 03, 2018
04:10 PM
I've been editing original Prores 4444 video files in QT7 to remove unwanted sections (to save disk space). In QT7, I trimmed a 3 minute video to 15 seconds, then accidentally saved. No problem, I have plenty of backups. However, QT – and Premiere – now thinks the file is only 15 seconds long, and will only play 15 seconds of video – but the file on disk is still the 3-minute size. VLC knows that the file is actually 3 minutes in duration, and plays the whole lot. QUES Is it possible to import all of this file into Premiere, ignoring the edit flags (or whatever they are) set by QT?
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‎Feb 26, 2018
06:39 PM
Background: Why am I concerned about this mono stuff? The recordings are from an external microphone when videoing. I am syncing the external sound to the video using Premiere. The recordings are in a wilderness – with very low background noise – but relatively loud talking and footsteps. What I am concerned about is the loss of dynamic range if Premiere is lowering the level by 3dB. Ques I have a mono recording which when played in the Source window shows 0dB peak in VU meter (mono) in the Timeline. When I put that recording in the Timeline, the VU meter becomes stereo and shows the level has dropped by 3dB. No matter how minor, has that level change caused any degradation at the quiet end of the signal level?
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‎Feb 26, 2018
04:32 PM
Looks like I've got a stereo sequence – must be the default when I set up a new AVCHD 1080p24 sequence. I couldn't find any setting to set up a mono sequence, but I don't want that anyway. I'm intrigued why the 3dB loss of signal happens. It must be designed that way, but why? Here's what happens: I have a mono signal that just hits 0dB. In Audition, the signal just hits 0dB In Premiere's Source window, the signal just hits 0dB (no numbers are shown, but the signal hits the top) In Premiere's Timeline, the audio graph appears to show the signal just hitting 0dB – but the VU meters on the right show a L-R signal peak at -3dB When I export as mono, and reimport into Premiere, the Source window shows the peak at -3dB When I open that exported mono file in Audition, the peak is at -3dB When I export the original from Premiere as stereo, and reimport into Premiere, the Source window shows the peak at -3dB When I open that exported stereo file in Audition, the peak is at -3dB There's something here I don't understand. How does Premiere treat mono? Does it think of mono as coming from a SINGLE speaker, so to match the sound level when played in stereo, each speaker should receive only half the signal (-3dB)? Audition though, seems to treat sound as if it always comes from TWO speakers (let's neglect 5.1). When I use Audition to convert Premiere's stereo export to mono, I end up with the same peak level. Premiere's mono exports: -3dB Auditions stereo to mono: same peak level Help! I don't get it.
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‎Feb 26, 2018
08:55 AM
I have a mono recording that I am experimenting with inside Premiere to see if I can get an exact replica when I export. I put the recording into a mono audio track, I export as mono, then I open both files in Audition. The level of the exported file drops by 3dB. Is it possible for a mono recording in Premiere to retain its level? I'm running CS6.
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‎Feb 01, 2018
06:48 PM
I'm running CS6. Thanks for the solutions. Silly me! I should have realised the answer, as I regularly use stills larger than 1920 x 1080 and have to scale them down, but only rarely do I some across videos larger than HD. The scan was larger than the timeline so Premiere was showing just the central 1920 x 1080 portion. What threw me was the when I changed the Fit scale in the Program window, the initial crop persisted. So when I went down to 10%, Premiere was still cropping the image. I see now, that that is what should happen. Thanks for correcting my misunderstanding.
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‎Feb 01, 2018
04:48 PM
I've had a Super 8 film scanned at: • 2048 x 1556 (4:3) • ProsRes 4444 • 18 fps. When I view the video in the Source window, it is correctly shown. I want the video to appear inside a 16:9 timeline, 23.976 fps. So what I do is interpret the video to be 23.976, square pixels. When I drag the video into the 16:9 timeline, Premiere asks me if I want to keep settings or change them, and I select Keep Settings. Premiere imports the video into the timeline – but crops it to 16:9 so that the top and bottom are lost. I've experienced this problem before – but only with 4:3 sources. How do I tell Premiere to stop cropping my 4:3 video when it goes into a 16:9 timeline?
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‎Jan 07, 2018
07:24 PM
Thanks, MtD, for the reply. My scans will be done on a high-end machine like a MWA FlashTransfer Choice, or the Lasergraphics Scanstation, both of which can output directly at 2K to various flavours of ProRes (and other formats). Obvious answers? I was hoping that there might have been an obvious answer to this question – that someone would say: Well, if you're going to be boosting grayscale shadows significantly, 4444 is definitely the way to go because… Or alternatively, something like: Because you're dealing with amateur B&W films, you're not going to see any difference between 422 HQ and 4444 no matter how much shadow boosting you do (within limits). Original Scan File Regarding the original file from the scanner, I doubt whether I'd see any difference on screen between a h.264, 720P scan at 5 Mbps, and a 2K ProRes 4444 XQ scan at 300Mbps – given the quality of the films. But I am interested to find out whether 4444 holds extra information in a form that would give obviously better results than 422 HQ when grayscale shadows are boosted significantly – assuming the shadow detail is actually on the film. Personally, I doubt that 4444 is worth the extra file size in my case. But I thought I'd ask, just in case.
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‎Jan 07, 2018
10:00 AM
I have the choice of having my 9.5mm films scanned at 2K to ProRes 422 or ProRes 4444. The films, 80 minutes worth, are mostly B&W from the 1940s and 1950s. Just a few are in colour. Come correction time, I think I will be mostly concerned with correcting the brightness – some clips are rather dark. Given that I may only want to adjust the brightness, is there any benefit in asking for ProRes 4444 instead of 422 HQ? The unused gigabytes on my disk drive are becoming quite precious.
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‎Nov 19, 2017
04:14 PM
Thanks MVP. Others may well see it differently, but you've made some very good points and turned me away from investigating the iBooks format any further. I think I'll stick with PDF and do some tests on various platforms.
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‎Nov 18, 2017
08:23 PM
I have a friend who has put together the start of a comic book on his iPad and wants my help in turning it into a format that can be read on computers, iPads and the like. The images (two-page spreads) are all in PSD format, multilayer, 5000 x 3500 px. The end result should probably be a series of images that the user scrolls through by swiping horizontally to the next one, the typical movement on an iPad, and the method used by Marvel for their How to Draw Comics the Marvel Way (which mhy friend used to learn how to draw comic-book style). You swipe to the next page, and down the bottom are thumbnails of all the pages. My first thought was to simply assemble the images in Acrobat and save as PDF – but I don't think this is going to work because how do you scroll horizontally in a PDF? So, is a PDF the best way forward, or should we be looking at something like iBooks Author, or some other software. The end result will be generated on my iMac running the CS6 suite under OSX 10.9, and should be readable cross-platform. Any suggestions most appreciated.
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‎Oct 28, 2017
09:55 AM
Thanks for the replies, and the suggestion of tutorials, but I'm a reasonably capable user of the RGB Parade. I use it in conjunction with RGB curves to accomplish colour correction, similar to what I do in Photoshop – but it's not as easy in Premiere. Certain features available in PS are lacking. I've never needed to know how the horizontal axis is calibrated, but today I thought I should look into it. And none of the dozen or so web sites that I visited told me what's along the horizontal axis. Photoshop's Histogram Let me go to a similar graph that I understand – Photoshop's histogram. The horizontal axis is the level (0-255), while the vertical axis is the number of pixels at each level. So for a dark image, you get a hump at the left, for example. Or you might get a bell curve for a well-exposed image with a good spread in the tonal range. Premiere's RGB Parade The vertical axis on the RGB Parade is the level. I used to think it was 0-255, but for certain clips that go right to the bottom (black), I am able to raise them and see a jagged bottom edge, which says to me the RGB Parade is not showing down to 0 on the vertical axis, but to a higher level, say 16. So the graph is being clipped at 16, which means when I brighten the clip, the levels below 16 become visible. At least that's what appears to happen. So… the vertical axis shows the level (black at the bottom, white at the top) – but what is the horizontal axis showing? What is the variable along the horizontal axis?
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‎Oct 28, 2017
04:51 AM
I'm running CS6. I thought I could find the answer to this question from Adobe, but no. Then I tried half a dozen sites – still no answer, so I've come to the forum. What is the variable on the horizontal axis for the three colours of the RGB Parade?
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‎Oct 15, 2017
08:27 PM
Thanks, Neil, for the detailed response. See my comments below. I do have a few questions about Blu-ray replication. Is it best to ask them in a new thread or contact you privately? https://forums.adobe.com/people/neil+wilkes wrote Blu-ray is complicated, and you will need to forget everything you know about DVD as it is no longer relevant. Luckily for me, I don't know much about DVD. I purposely skipped that era of digital video and waited for Blu-ray. I never liked the idea that DVD was stuck in the past, clinging to the roots of 1940s TV. https://forums.adobe.com/people/neil+wilkes wrote 4 - …Encore cannot output Blu-ray replication masters without a plugin and I am not sure this is even still available any longer. That'd be BluStreak Tracer from RiverGate Software. It looks like it's still available. https://forums.adobe.com/people/neil+wilkes wrote 2 - Your clients will need an AACS content owners license Clients? I'm my own client – a keen hobbyist trying to generate Blu-rays and have them replicated. Which reminds me of the old courtroom saying: "Anyone who acts for themselves, has a fool for a client." An apt comment in this case, with me trying to do the lot. But it's a good learning experience, even if the replication doesn't come off. I contacted aacsla.com a few years ago about obtaining my own AACS license. Peggy on the switch and Justin on the technical side were very helpful. https://forums.adobe.com/people/neil+wilkes wrote A - NetBlender's DoStudio was bought by Sony Creative Software & has been shut down now. B - Sony's own Blu-Print has been shut down I didn't know about the loss of DoStudio and Blu-Print. I had to go to the Wayback Machine to find my original links to Sony's DoStudio webpages about Blu-ray authoring – the best sources I was able to find several years ago. For anyone interested: https://web.archive.org/web/20140321045627/http://www.sonycreativesoftware.com:80/training/dostudioauthoring Are you sure Blu-Print has gone under? What about these? bluprint | Radius60 Studios Sony Blu-print 2D/3D Blu-ray Disc Authoring System
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‎Oct 15, 2017
07:12 PM
Thanks, Neil, for the detailed response. The Star Trek series I was referring to was the original series, broadcast from 1966-1968.
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‎Oct 15, 2017
07:01 PM
Is it possible to render a 480p/23.976 timeline to 480p/23.976 Blu-ray format, either as H.264 or MPEG2? When I look at the options, it seems that only 29.97i is available. Is that a limitation of Blu-ray or Premiere? Or have I missed something? I'm running CS6.
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‎Oct 02, 2017
08:18 PM
I have placed text on a layer above a sailboat. The sail moves, and when it moves I want it to wipe out the text. Takes about 2 seconds (48 frames). What is the easiest way to do this? I have thought of: Importing the video into Photoshop, adding the text, erasing it frame by frame, then importing the 'text being erased' into Premiere. Using Garbage Mattes? But can they erase parts on another layer? Adding the text in AE, using AE's Eraser, and bringing the result back into Premiere. But text can't be erased, so I have to Pre Compose the text layer to erase it. But when I do so, I can't see the sail on the lower layer to know where to erase. Any suggestions most appreciated.
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‎Sep 19, 2017
10:05 PM
I want to work out some of the limitations of Encore compared to more advanced Blu-ray authoring packages. I've chosen to examine a Blu-ray from the original series of Star Trek. This is what's on the disk: Four 50-minute episodes, plus some extras. Each episode is offered in two versions: original and enhanced. The enhanced version replaces the original exterior scenes (planets, spaceships) with modern computer-generated scenes. Any scenes featuring characters (Kirk, Spock and so on) are left unchanged in both versions. The Stream folder on the Blu-ray disk has 115 encrypted m2ts files in it, files which cannot be opened. Ripping software reveals that each episode has six m2ts files associated with it: the introduction, 4 sections that fade to black for commercials, and the credits. Those six m2ts files are from the enhanced version. The ripping software cannot see the original exterior shots, of which there would be about 80 on the disk (~20 per episode) To emphasise the last point: each enhanced version is encoded in six m2ts files that total about 50 minutes. Those six files contain enhanced exterior scenes, and original character scenes, encoded together. In combination, they form the enhanced version. Below, I have made two observations about how this disk might have been authored. If any of my observations are likely incorrect, please let me know. Observation 1 Given that the ripping software sees only the enhanced version, I assume the six files of the entire enhanced version went onto one timeline, with chapters markers at appropriate points. This timeline is accessed by a button called Enhanced in the main menu. Press Enhanced, and away you go, straight through the episode with fades to black for commercials. Observation 2 To play the episode in its original form, you click on the Original button. This is where it gets complicated and I'm not sure how they did it. What happens is this: about 20 times per episode, the enhanced version branches away to an exterior scene of the original version. You see a grainy, wooden model of the Enterprise, for example. When that original scene finishes, play branches back to the enhanced version (but it's actually going back to an original character scene, which was encoded into an m2ts file as part of the enhanced version). I said it was complicated! Those branch points are not accessible via the remote control. They are not chapter points. I'm guessing that they accomplished the above by having a second timeline identical to the first, but this second timeline has Branch points (I just made them up) as well as chapter points. At an Branch Out point, the flow branches to the original exterior shot (a grainy, model Enterprise, for example, instead of a computer-generated Enterprise). When that original clip is finished, it branches back to the enhanced version at a Branch In point. Summary So we have enhanced episodes that are broken into six m2ts files, files which contain all the enhanced sections, all the original character sections, but none of the original exterior shots. And we have original episodes that appear to use the same six m2ts files as above, but which branch away to the original exterior shots about 20 times per episode. Ques It seems to me that the type of flow described above would not be possible in Encore. Or is it possible?
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