- 2 weeks 6 days ago
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- 1 day 10 hours ago
I'm grateful for your input and suggestions.
To answer your second question: I want timecode because it is offered as a feature in this software, it promises a possible enhancement to my workflow and, finally, as I hope I've mentioned earlier, I don't understand how it works based on my reading of the documentation and in relation to my previous experience in shooting and editing video.
If you have ever done video work using a dual system approach, i.e., video to camera, audio to external recorder, you know that synching audio to video is a rudimentary first step in the editing process. By convention, there are tow methods: a) comparing the audio wave forms of the scratch track on the video to the high quality audio from the external recorder, or b) imprinting matching timecode on both video and audio and then merging the two in the editor. Lining up video visually to an audio file, if that is what you're proposing, is fraught. Particularly in a scenario where you might want to modify frame rates and/or use a different piece of video as part of the edit.
All that aside, my reason for posting here is not to critique my way of working or my creative goals. It is to try to get some clarity around how some of the features of Vuo, a truly estimable piece of software, work. I can read what the documentation says the features do but the docs, probably because of my ignorance of the product, do not tell me what the features mean or imply in terms of the usage scenarios I've been describing.
Am I being too obtuse? Nit-picky? My apologies.
Yes, thanks. Synching audio to video in post is the only current alternative I think. The question for me is about time code. I don't understand the what and how of timecode in Vuo. It appears to be the only synch choice given there is no scratch audio in the video output against which a waveform synch might operate.
So Is this the procedure?
- export the video NRT with timecode attached -- somehow
- write out the audio with timecode in real time or, alternatively, as a video-less movie in NRT -- at the same time as the the video...
- finally import to NLE and synch using timecode.
I haven't been able to find anything in the docs about what type of time code is written to these files; whether it consumes one of the audio tracks or is put into meta-data. How it is 'jammed' to the output files, etc., etc. So I'm feeling like I've been flying blind on this and have lost the appetite for just banging around until something happens.
Thanks, Jaymie. I'm glad to see the feature request is ongoing although I don't yet understand the voting process. I'll look at all that more closely.
I tried the Frames to Movie and Make Audio/Video Frame route yesterday. But I don't have a handle on how the timestamp works in detail.
I'll look at it again. I assume in using Export that I'll end up with two files: one with video only and the other with audio only?
Can you help me understand what the shutter angle slider is used for. In other contexts, i.e., on DSLR or Mirrorless cameras, the shutter angle is an analog for shutter speed. If memory serves, it is set to a number roughly twice that of the shutter speed. But I don't see how it plays in the Export process.
Thanks for your help. ...edN
It's pretty quiet in here. Not to worry, I am used to talking to myself.
For those of you who have an interest in this, my state of ignorance, I continue experimenting.
I've found that, while output settings for ProRes 422 lead to frame rates of 41 - 43 fps, output using H264 creates a file of 60fps. Bingo!?
Why? And how is this remedied if it can be?
The result is a then a 100% H264 workflow in the NLE, which is doable if you're not going to mess with the output too much -- colour grading, effects, etc. The results of this change have been substituted for the file you may have looked at yesterday. I think it looks better or at least more in line with what I expected to see based on viewing the Window.
I'd like to understand what is going on with these differences because I can foresee situations where higher quality, less compressed output files will be needed. Is it as simple as setting up a periodic event set to 60fps to run the audio file and thus the rest of the composition? What about the encueing settings along the way? It would sure be nice to have some assistance with this in contrast to having to flail around on my own. Yes, experimentation is a great way to lean stuff but as a famous nineteenth-century French painter said, "He who is self-taught is learning from a very ignorant teacher."
Revised video is here: https://vimeo.com/309352419
Thanks for your help. ...edN