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I use MPEG Streamclip from Squared 5. It's free, and it transcodes just about everything out there.
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Technically you could do this either way, but you know your own style while I don't so you should have the final say.
Since you are creating the audio yourself it will probably be easier to finish the video editing and arranging first and completely so that you can write your song around the flow of the video. Since you are going with an ambient feel, it is ...
4
In general, the creator of a video can choose any combination of video-quality and audio-quality.
In practice, persons who know what they are doing, and also the automatic engines of YouTube (facebook should be similar) that create different quality versions of the same video, have profiles, where the quality of video and audio is linked.
So yes, higher ...
4
Mp3 is audio only. The file extension can be virtually anything; if it's recognized as an extension known by Windows the associated program will be used to open it. The program will usually then read the file header to determine what file it really is, regardless of the extension. If the format can be read by the application it usually opens it just fine.
...
3
I find what coaxmw says to be true when I don't have a lot of music, so with primarily voice over.
Regardless of Lufs and other standards for loudness, you should be mixing/leveling with your ears not meters. Have you calibrated your speakers and tuned your room acoustics?
If have a monitor setting for commercials and another one for 'softer' material.
Do a ...
3
Depending on what sorts of editing you want to do, you might be better off doing your audio editing within your video editor itself. I have used Premiere and Final Cut Pro, and both have fairly serviceable audio editing and effect processing support. For more detailed audio editing, Logic Studio has excellent support for editing audio with a reference video, ...
3
Depends...
If it's a track played by humans then unless they played to a click then it's unlikely the BPM is consistent because people will fluctuate tempo. Obviously the best will fluctuate only microscopically but fluctuate all the same.
However it's electronic then the BPM is (likely) to be consistent. Therefore what happens isn't that it suddenly goes ...
3
Crediting never gives permission to use anything.
If the creator does not say anything in the description, or does not provide a creative commons (CC) or similar license, you need to reach the creator, tell about your usage and obtain a written permission. If you can't get this permission, you cannot use that work.
If you use the videos for a portfolio, ...
2
Look into the Avid webinars. They have a good number that are focused on post-production work. The ones w/ Scott Weber are particularly good, they just released a new one called Creating the Indie Film Soundtrack. It comes w/ a downloadable session, and it's all free (just requires registration).
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I will second Ryan in his assertion that post-processing is saved for later. Anything you can fix with an edit is better served with that edit than with noise reduction. It doesn't matter how good the algorithms and processors are, noise-reduction will affect the parts you want to keep as well. Experience helps you figure out when you're reaching that point ...
2
Unfortunately, even if you script a trigger for both apps at the same time they will not reliably be synced, so you are better off planning to sync in post production.
This can be very easy if you use a clapperboard or similar- this gives a sharp sound which is ready to line up in any editor ( some will do it automatically ) and takes very little time.
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There aren't really an "correct" levels for the web. I will usually make the web version of commercial hit around -16 to -18 lufs throughout the spot with peaks around -2dbfs. It seems like most other ad mixers are in that area as well That is just ballpark though, it really depends on your program material.
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I just use Quiktime Pro and force the outpot to Motion / Photo JPEG since it plays nice with ProTools, but retains higher quality than DVNTSC. Works simple enough for me when I'v got everything under the sun between H.264 and ProRes. For me, retaining exact 1:1 fidelity isn't that important to me - te slight inherent 'lossy' quality of PJPG is't that ...
2
I would go with the clapper method, I have been using it for some time and never had an issue with it. As mentioned it will drift over time but this depends on clip length. Movies and the such typically contain short clips so the drift wont be a huge issue. If you are shooting something like an interview that may just be one long running shot you may notice ...
2
You need to check the license for the clip. If they are not Creative Commons licensed then it's probably a good idea to get in touch with the creator for permission.
If you've not started on anything though it is going to be easier to just pick CC licensed work from the start (of which there is plenty). You can also search by license on Vimeo in the ...
2
The TV needs an actual video source to be detected. Simply terminating the input doesn't count. You need a video signal that has all the synchronization signals (which are detected) but the picture area is simply black. In video production this is called a "black generator".
This is typically an expensive piece of broadcast gear. But, because analog ...
1
Asked an editor friend of mine and said it's probably sync tones (not just pops) which some production outfits use instead of a pop when a video fades from black (aka first frame is a black frame). The end of a tone is the first frame.
They do this because some amateur audio guys still don't know how 2 pops work and end up starting the audio immediately ...
1
Take a look at a selection of promo videos - there are as many approaches as videos, some trying to have the vocals punch through a mix, some that want to make music the forefront at all times etc.
If Pledge have specific levels, you should use theirs, but you will find that there is no standard in this area so go with what feels good to you.
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Thanks for your interest. The situation was a bit urgent so I just fiddled around and figured it out. You can't run it through Traktor but you can run it by itself (open in Quicktime / VLC) and then go into your sound settings and change the sound settings to whatever external soundcard you may be using to run through your system.
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Pretty much any video editing software can do this - if you have Windows, you can use Moviemaker (free, bundled with Microsoft Live these days)
The idea is you populate the timeline with all your video clips, and add whatever transitions you need, then add your audio to the sound track.
The only problem is that Moviemaker does not support 3Gp, so use a ...
1
You can try Video4YouTube, it is free extension for Sony Vegas Pro that "automatically determines the best render settings depending on the current project template"...
For audio, it uses AAC codec with 128-224 bitrate 48kHz
video quality doesn't matter (you can choose the lowest quality)
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I suppose it depends on how much money you're willing to drop. Also, are looking to record the computer screen video while simultaneously recording the audio? or could you have an existing video track to then track audio to?
The last couple versions of ProTools support video in the multi-track audio process. Also Sony's VegasPro line does audio and video ...
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Hola Marcos!!! es bueno saber que tambien hay mas mexicanos que comparten el gusto por el diseno en audio. Al igual que tu yo estaba buscando escuelas que impartieran algo relacionado con diseno en audio y lo mismo trate en VFS pero es extremadamente caro pero su bolsa de trabajo es increible y es lo que vale la pena.
Creo que la mejor escuela y el mejor ...
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Vancouver Film School has an incredible program, but is also extremely expensive. Keep your eye out for scholarships/contests, etc.
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Hi Tom,
RX is an extremely powerful tool especially keeping in mind its relative cost to other noise reducing plug-ins/software out there. I use RX2 almost daily and it is generally a tool used for very specific needs, it is rarely used broadly across all tracks. Generally, once a film is finished, an exported OMF/AAF along with ALL production audio (...
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