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6

Version control in the sense of Git isn't very practical in the video world. You would need to make a specific version control tool for every audio and video tool out there as all work with their own project formats. But being able to read these formats is just one thing, then you also need the render engine of that tool to show diff's. Though all of these ...


5

Just to add to the previous responses: While there's nothing quite like Git for the video world, there are Digital Asset Management/Media Asset Management tools that can more or less do the same thing - version control and permission/user management (they also do a lot more, as they're really built as libraries for your media). For years, I used Apple's ...


4

Speech Detection with Adobe Premiere You haven't mentioned what NLE you use to edit, however here is a method you can use to transcribe if you are using Adobe CS4 or later. This method uses speech detection to automatically transcribe videos - a feature brought in with CS4. It then adds the the text into the metadata of the file. Analyze speech to ...


4

It depends on the type of production. If it's say, a documentary where you have hours of unscripted footage; a drama where the shots are organised by scene, shot and take and you are working to a script; or a short-form piece like a TVC where you are cutting a small amount of footage down to 30 seconds. That said, the process of editing is basically one of ...


4

Version control doesn't really have as much of a place in video editing because it is by nature non-destructive. At the core of any NLE(non-linear video editor), the output is actually something known as an Editing Decision List or EDL. This is extremely analogous to the history in Lightroom as that history is a record of all changes that have been applied ...


4

Sooner or later you have to look at your video and make choices. A term of the art is to "create video selects". And the organizational technique used in Premiere Pro is called a "stacked timeline" or a "pancake timeline"(with more details explained here). But to ease into these (and answer your question)... You absolutely need to go through your footage ...


4

ffmpeg, a free multi-platform command-line tool, can do this. Use the volumedetect and EBUR filters on each of the files ffmpeg -i input.mov -af volumedetect,ebur128 -f null - 2> input.log This will produce a log file with the initial lines looking like this: [Parsed_ebur128_1 @ 0000000002d42400] t: 12.7 M: -32.7 S: -32.7 I: -30.7 LUFS ...


4

Method 1 First, with the Premiere project closed, move the original files that you're editing with to a new folder or other location. Open your project and it will warn you of missing files. Click the Relink others automatically checkbox and then hit Locate. Navigate to the folder with the new graded footage, find the first clip and press Ok. It will then ...


3

If you enable it in the preferences After Effects and Premiere automatically make incremental saves of the project files. These incremental saves could be used to revert to previous versions, which is like a very basic implementation of version control (you might want to increase the number of versions from 5 though). FCP has a "restore from previous ...


3

FCPX has currently no way to link Motion Projects to FCPX Projects. To place Motion Projects in another directory than the default one, you have to create symbolic links using Terminal (see below). Motion Projects can only be used in FCPX as Templates. From Apple's PDF "Managing Media with Final Cut Pro X Libraries": Motion templates are not managed as ...


3

OK, I'll have a go. Here's my own answer (and advise I should take for myself - which I actually did do to some extent): Avoid procrastination. Start small. Start with doing something. Don't hold up too high expectations to put yourself off. Good ideas here: http://zenhabits.net/dead-simple-guide-to-beating-procrastination/ (I succeed a bit with this ...


3

Drag all your r3d files into Adobe Media Encoder (or CineX Pro), transcode to ProRes 422 (Proxy) and then use these to make your edit in Premiere. Once done, make the proxy footage offline in your project window and then relink to the original files. Make sure to keep your folder structures the same for the proxies so that relinking is just a 1-click ...


3

Those paint splats are often done with stock footage or filmed footage. Get a black or green surface, throw some paint at it and film it. Bring it in to AE and extract the alpha from the luma or with chroma-key and then re-colour the paint however you like using your colour correction tools of choice. To make liquid effects in AE without footage, here's the ...


2

This is an interesting question and I think maybe you are coming from a different situation than I am, I worked as a professional editor / VFX Artist and before that assistant editor for many years before graduating to directing and I think the easy bottom line answer is, if you love it, you wont be able to get enough. However there are those days your like ...


2

I'm in a very similar situation to yours. I'm a software architect that also does a professional level of A/V work on the side as a professional hobby. The time commitment can be difficult at times, but I have always found that putting aside blocks of time is the best way to make solid progress. I find that if I try to do it small bits at a time, it tends ...


2

I have seen some trainwrecks by combining Nikon .mov with Vegas Pro 10. After tech calls into both Nikon and Sony it was determined that my machine didn't have enough resources. I need to upgrade from 32 bit to a 64 bit version of Win7, plus I need to go from a quad core to an i7, and from 4GB to 12 GB or better. I can use my Nikon files now but only if I ...


2

I've never heard the terms On-line and Off-line editing used for audio. In the video world, off-line editing is a term used for the editing process, whereby you edit your footage (often compressed) and then export and EDl for the On-line editor to do the final assembly with higher quality picture, maybe adding titles and some transitions and color ...


2

Likely your issues were stemming from trying to edit with H264 files. This is something that FCP hates! Convert all your h264 footage to ProRes before you start editing (using Compressor, MPEG Streamclip, or the awesome Magic Bullet Grinder) and then edit with the ProRes files. Output your final 'Master File' as ProRes and then use Compressor to encode ...


2

I would use ffmpeg. Just write a sript in any scripting language you prefer and tell ffmpeg to encode new files depending on the total duration of the source file and let it only encode a certain amount of time. You can completely automate this sort of workflow with ffmpeg.


2

My video editing process is actually kind of similar to my photo editing process. First I scan quickly through my footage to find interesting images or clips which I think may be useful. Next, I make a finer toothed path to verify more carefully that the clips will work for my needs and make basic corrections like rough color and sound work that may be ...


2

I had the same question, also being a software engineer by trade, thinking of photoshop work. we can tell the video editing program "revert to version 2.5", edit a bit, then tell it "revert to version 7" and it is able to do that? I found that Photoshop it lets me set a named version in the history, and I think that's saved in the file...? For ...


2

As Alex suggested, precomping is the answer to your question. There is no other way to have two separate compositions within one composition. Precomping is a normal part of the After Effects workflow, and is in fact necessary for many effects to work properly with nested elements. It need not be messy – just organize your project well and label everything ...


2

There are camcorders that enable full-res uploads of their memory cards via WiFi. Thus, if your room has connectivity to your intranet, you can leave the card in the camcorder, hit upload when you are done, turn the camera off when the upload is done, do your customer edits and uploads, then wipe the card for the next day's work, all without walking 200 ...


2

Use this command: ffmpeg -i "video" -loop 1 -t 3 -i "image" -f lavfi -t 3 -i anullsrc -filter_complex "[0:v] [0:a] [1:v] [2:a] concat=n=2:v=1:a=1 [v] [a]" -c:v libx264 -c:a aac -strict -2 -map "[v]" -map "[a]" output.mp4 Replace the t value with the duration that you want the image to stay. I've supplied the common encoding parameters. Replace those as ...


1

I assume you record video game footage? Recording and rendering on one machine is something I wouldn't recommend with a regular PC if you play modern games that take a lot of your CPU and GPU resources. I usually recommend getting an SSD but in this case it seems you are heavily CPU limited. You could theoretically encode on the GPU but I'm not sure if that ...


1

In FCP7 when importing the files you should be using the "log and transfer" option, you need to change the import format to ProRes (As stated above), do all your editing and then exporting using FCP7 or Compressor to a Master ProRes or which ever other format you want to use. This is how I used to edit my Canon 7D files before FCPX If you can use FCPX you ...


1

Your workflow is a little off from how it is designed by Adobe. Step 1: Adobe Story: You build your script and can break it into shots that you need to capture before you even start shooting. This can then work as the blueprint to plan out shooting of the project. Step 2: Adobe Prelude: I believe you can preconfigure a shot list that needs to be captured ...



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