9
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 ...
7
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 ...
7
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 ...
6
Disclaimer: You didn't specify what program you are working with, so I assume you are using the current version of Premiere Pro.
Assembly Workflow
Your workflow is a common one for beginners. Back when I gave Premiere Pro introductory courses, I noticed many students start out like this, basically doing the assembly, cutting and arrangement of the footage ...
5
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 ...
5
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 ...
5
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 ...
5
This question gets asked quite frequently, and normally the answer is to pick one from this list. But since you very clearly defined what you are looking for in the editing software, I think I can give you a better recommendation.
Premiere Elements
Personally, I use Creative Cloud software, which means Premiere Pro for video editing and After Effects for ...
4
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 ...
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
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 ...
4
Totally doable using After Effects as it comes out of the box.
I'd be making each letter a separate layer, turning that layer into a matte for the colour, which would be provided by the gradient ramp effect (there's a subtle red-purple gradient in the letters). The reveal would be done by either making an animated mask to control the moving colour, or the ...
3
As a long-term video professional i can attest to the fact that the need for a lightweight, robust, transparent and open form of a VCS is sorely lacking in the majority of media workflows.
The problem however is multi-faceted and is a cultural one as well as a technical one.
Traditionally we have been working in a sausage factory like manner where a ...
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
If youre hopefully running windows, use explorer (My Computer). Navigate to the SD card. In the search box for that window, type *.wav (or whatever extension you used to record).
The window will then display all the WAV files found on the card, without the folder. Select all of them. Copy. Paste to a new folder.
If you encounter conflicts in terms of ...
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
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
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
Do you drink coffee? That's my solution.
More seriously though - For me, it helps to jump from project to project, setting individual goals each time I move to a different project, e.g. for project 'x', finish creating sub-clips from raw footage before I stop editing. It also helps to alternate between tasks that are boring and tasks that are more ...
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
Often (and perhaps in your case) what is happening is the following. Initially you have a clip that has plenty of content before or after your transition point. You trim that clip to represent the content you actually care about. If you do a fade at this point, the fade is going to use frames from the trimmed part of the clip that you don't necessarily ...
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
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
You are a little confused in the MoCap process.
Most mocap is captured live on either a soundstage or direct to your computer with a webcam/video camera with specialized software. This software converts the action footage with markers into data (usually xyz coordinates for each marker on the model for the time of the motion. This data is then used to move ...
2
I would suggest trying to combine the two audio feeds. If you layer the room audio with the clean audio, it will probably help make things more usable. Otherwise I would give the customer what they asked for. Ultimately, I don't think it is your failing to have had blown out room audio when there would be no good reason to use the room audio.
As an aside,...
2
Paperwork is important. Beyond a simple Excel spreadsheet, you should have appropriate releases from everyone involved in your project. Depending on your jurisdiction, it is likely that you can't make commercial use of someone's likeness without their consent, and if they decide they don't like your project for some reason they could force it to be taken ...
2
The customization options for window arrangement are limited in Resolve, compared to some applications. The customization options are flexible enough to have your timeline on a second monitor, though. To do this, under the workspace menu, check both Dual Screen-> On and Dual Screen-> Full Screen Timeline. To switch which monitor the timeline's on, go ...
2
What works for me is the following:
Sync audio in PluralEyes and export to Premiere.
Edit in Premiere before color correction or grading. Yeah, log footage looks crap, but you should be able to edit just fine. Apply a LUT temporarily if you absolutely can't stand it.
Export to FCPro XML from Premiere and import into DaVinci.
Color correct in DaVinci
...
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