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I've been using the same titles and PIP obects in multiple projects... over 60 projects for some of them...
Today, I just loaded the files and went through my MultiCam workflow, and about to do the titling and replays, and all my custom titles and PIP objects have disappeared! Can't find them anywhere... if I open an old project they are there, but missing in this latest project!
I don't have time for this!!! Not happy!
Sovled... No idea how, but the project had switched to 4:3 from 16:9... I used the same workflow I use every single week, same cameras, same everything... never had this happen before! None of the resources I loaded when I created the project were 4:3 and I have not been working on any 4:3 projects recently.
Just cost me a bunch of delay though!
Go figure!
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I've been using the same titles and PIP obects in multiple projects... over 60 projects for some of them...
Today, I just loaded the files and went through my MultiCam workflow, and about to do the titling and replays, and all my custom titles and PIP objects have disappeared! Can't find them anywhere... if I open an old project they are there, but missing in this latest project!
I don't have time for this!!! Not happy!
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My Live subscription updated to PD15 yesterday...
I haven't had time to see what's different, but not impressed with Multicam Designer... lagging significantly. Audio sync is out (during playback/edit), and video skips every 4-5 seconds to catch up! Makes it really hard to select cuts between cvamera angles!
I was editing the same 4 camera files in PD14 immediately prior to the upgrade, and it worked perfectly. I have an 8 core (physical) processor, 64GB RAM and a 980Ti GPU, so it's not a hardware issue!
Also, Edit in MultiCam Designer is now buried one more menu deep if you right click an image on the timeline to go back into MultiCam Designer.
No other notable difference noticed yet. My first project produced just fine. Working on the second now. only 3 cameras in MultiCam Designer and still skipping.
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Sorry, I have PD uninstalled right now while I am sorting out some windows installation issues, so I can't show you directly, but they are very simple once you grasp the concept of how they work.
Here is a tutorial video I just found that may help. https://www.youtube.com/watch?v=kFHr3fev5G4
While this is explaining keyframes within the PIP Designer, it's exactly the same process if you select a clip on the main timeline and then click the Keyrames button... you are working in a separate timeline for that clip, and can control many of the clip's properties. Opacity is the property you want in this case.
If you take the time to explore what Keyfames can control, it will become very useful indeed.
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Thanks SoNic67,
Appreciate your comments. That's pretty much what I would have thought, however, the thing that confuses me is that a lot of the discussion on the animantion and 3D modeling forums are saying that the Quadro cards are over hyped and that the GTX980Ti is way better...
The Quadro cards are certainly certified for a lot of the pro applications, and they do have more floating point capability unlocked, but if the pro users on those platforms are having the same debate, I'm wondering if it's just a Tier 1 vs Tier 2 issue...
The Quadro is tier 1, guaranteed to work with key applications, certified and tested, higher precision, and more reliable due to premium component selection, but actual performance is lower than the high end consumer card... if I was responsible for IT in a medical imaging environment, or designing automotive brake components, I'd certainly opt for the tier 1 hardware... but if noone's life is depending on the precision of my video editing, I'd like extra performance!
All the benchmarks I've seen are saying the same thing, so I'm just bewildered!
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Likely multiple ways to accomplish what you want...
Sounds like your audio is associated with one of the clips you are using, so presumably, that clip actually runs past your planned transition point (since you want the audio to continue), right?
- Add the second clip to a new (higher number) track on the timeline where you want it to be;
- Use sync by audio or some other method if you need to line them up, or just place it where you want it;
- Either mute the audio on the second clip or unlink the audio and delete it if the second clip has audio you don't want;
- Select the second clip and use the keyframe editor to place an opacity keyframe at the begining of the clip and another at the point where you want the fade to end, and set the first keyframe to 0% opacity;
This creates an overlap fade... the second clip fades in and the first fades out.
If you want a cross fade (through black), add the reverse keyframes to the first clip, fading it out before the second fades in. (If you have other tracks above these on the timeline, it may be necessary to add a black colorboard on a track above them both.)
Personally, I just find that I have much better control using keyframes for this type of thing.
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Thanks Carl,
I totally agree that there are additional workflow steps I could add to break the project down to manage within the resources I have. My challenge is time...
My current workflow takes a 2-3 hours to load all the raw files from the cameras into a project folder and create the PD14 project.
Another hour to load them into MultiCam editor, run audio sync, then realign the clips that it couldn't place.
The multi cam edit has to be real time, and requires focus, so it's difficult to do that in one straight sitting, so I tend to do that in 15-20 minute bites, with a break in between.
With pauses to get clip transitions in the right spot, and ensuring I insert a small clip from any camera I later plan to use for replays, it takes around 3 hours to process 90 minutes of raw camera files.
I can shuffle through the timeline sequentially adding titles, and picking up replay locations by the clip fragments I inserted during multi cam editing. Each replay takes maybe 15 min, sometimes more, to aligh the clip and trim it to the section of play, crop and zoom the clip, move it it's starting point on a new track, (then the same process if there's a second camera angle to replay). Then slowing the replays to fit the space between the stop of play and the next faceoff (I try keep the game to it's original duration) and addins transitions into, between and out of the replays, adding replay music, adjusting music clip to fit, and adding replay titling and scoreboard titling after each replay... each replay event takes 20-30 mintes.
A game with 10 goals, and 10 or so penalties and other key events, can that 8-10 hours of edit time. Then producing the final output, 2-3 hours, and finally uploading to Vimeo and waiting for it to process so I can add the final info and add it to the team channel is probably 6 hours depending on how quickly the Vimeo conversion processes.
So all of that is around 18 to 20 hours of process time. I am doing this on Sunday afternoon, then after work on Monday, Tuesday night and as much time as I can grab in the morning before work, so I can upoad by Wednesday. Hockey season, that's my life every week... and then there's tournament weekends! I hit a wall when I get busy at work!
So adding more proces steps vs increasing processing capacity is my dilema. If I was making a movie, I'd think differently, but sport or news events are time sensitive.
Cheers.
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Thanks Carl,
That's pretty sound advice... I upgraded the video card and power supply a while back to try to improve the performance of my current system, and it's already pretty high end by the standards you describe. (i7 4770 quad core processor, 16GB RAM, GTX960 4GB video, 850W PSU, 1TB Samsung SSD, 2TB internal HHD and a 5TB external drive for archive storage. 64 bit Win 8 OS)
With the video editing that I do, I still get substantial hangs and crashes when I get well into the edit... I am finally figuring out that the type of editing I do is pretty taxing on hardware!
I am editing 4 camera angles at 1080p 60fps. A 75 minute hockey game with multiple clips per camera synced and rough edited in MultiCam, then brought to the main timeline. Each goal, penalty, breakaway play will then include a replay from at least one and generally two camera angles, each replay cropped & zoomed, and slow motion, speed adjusted to fit the available time to the next face off, and with transitions in and out to mark them as replays. Replay and scoreboard titling and replay music is added. Performance is fine for 80% of most edits, but when I have a high scoring game, or lots of penalties etc, I start to run into serious performance issues during the edit process, and have to save the project almost after every single edit process. The fact that this only occurs after I have 20 or 30 replay clips done tells me that it's just struggling to keep up.
Hence my desire to upgrade to what some might consider an over the top spec. I am always under time pressure to get the game out before mid week practice, so any system performance issues drive me crazy!
Cheers.
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Hoping the hardware guru's can provide some sage advice...
I'm about to build a new desktop... my son is studying industrial design, and most of the apps are Windows based, so his MacBook is becoming redundant. My wife (bless her little heart) said "get a new computer for yourself and give him your still pretty solid one..."
Since I'm building for me, not my son, I'm being a little more open minded with budget. I don't play games, and the most resource taxing things I do are video editing (PD14, multicam editing, sports mostly with 4 camera, slomo replays, titling etc), some pretty heavy duty data modeling in Excel (don't laugh, I have to work on some files at home to use my 64 bit version, as my work pc dies under the load when it recalculates some of the models). I should also think ahead to my son's future needs, so Rhino, Solid Works etc. (He's also working on me pretty hard to buy a 3D printer!)
Here are my two key questions:
CPU - The newer Skylake i7 6700K Quad core or the Haswell-E i7 5930 6 core
The 6700K looks faster for single core operations, but the 5930 is better for multi core, which should be better for video editing? Also, the 5930 supports up to 64GB of RAM vs 32GB for the 6700K... I'm thinking the 6 core cpu with 64GB of memory is going to be better in many of these applications... how much would PD14 take advantage of that? (would you add the extra memory if you had the chance?)
GPU - The GTX980Ti seems to be best bang for the buck, but I see a lot of video and animation workstations using Quadro GPU's... the option would be the K4200 Quadro. The Quadro is more expensive than the GTX, seems slower on paper, and it uses an older chip set (both NVIDIA). Is this just because most of the comparisons use gamers benchmarks? What's the real world video editing and rendering (read non-gaming) answer?
Hope this makes sense... I'm looking to build a pretty future proof system, and the build is currently running around $3,500. I can trim it back a little if I need to, but I'd rather stretch a little now that skimp and regret it later.
Thanks in advance!
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I generally produce to my hard drive, then separately upload to Vimeo, but I tried uploading to Vimeo again yesterday, and got a Cyberlink PowerDirector message "When uploading a video to Vimeo, it must be less than your remaining quota, which is 2GB. Try reducing the size of you(sic) video or wait for your quota to reset."
I have a Pro account with Vimeo, and still have 16GB of my 20GB quota available this week. I was attempting to upload a video that was going to run around 2.5GB.
Anyone else experienced this issue? I'm not sure if the issue is at the PD14 end or the Vimeo end?
Cheers.
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18tillidie -
Sorry - I guess I didn't read your post thoroughly enough. I'm with it now & I see what you're saying.
When I replicate your timeline & procedure here, a similar thing happens but the T1 audio doesn't split from T1 video. All subsequent clips on T1 shift forward when:
- the T2 overlap type transition is removed (not cross type)
- speed change (0.5) is applied to a clip in T2
PDR13 behaves in exactly the same way.
I understand why you're editing sequentially - to keep things synched as you go. Would it work for you to lock T1 while you're making adjustments to T2?
Agreed - I find it bizarre behaviour too.
Cheers - Tony
Thanks Tony,
The Audio is never linked... I create T1 in MultiCam Designer, 4 cameras synced with a separate audio track. I do my basic rough camera cuts here, then I end up with series of video clips from various cameras on T1 with a single audio from a different source. Apart from cutting from one camara to the other, I also plan for replays here. If there's a passage of play I may want to replay, eg. a goal, I will switch to the camara behind the goal after the goal for just a few seconds (plus any other angles I could possibly want) just so I know I have it on the timeline later to do the replay. That way I can easily replay the same sequence from multiple angles.
Locking T1 won't work, as I am constantly splitting T1 either side of a sequence I plan to replay, so I can copy down the clip from a different camera then drag it back to duplicate the sequence from the other angle, shift it out of the way, then copy down the original sequence, then crop, zoom and slowmo both, then add transitions. So I need free access to T1... it gets split up heaps but remains sequentially intact behind the replays unless I really need to make extra room, then I'll shift it along to create a gap behind them. (rare)
I've tried several different workflows, including being more precise in MultiCam, laying all camera tracks and syncing on the main timeline etc, but this seems to be the most efficient and reliable.
My work around is just to never add the transition until I'm totally happy that I have everything else right... but occassionally... well... you know!!!
(If there's interest, I'll produce a step by step when I get some time.)
Cheers.
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Quote:
Hi there -
From here, that looks like an overlap type transition. That's possibly what you have set in Preferences.
Try repeating the procedure with your preferences set to cross type transitions - see if it behaves more "predictably".
Cheers - Tony
Thanks Tony, but I actually want an Overlap transition... it helps transition a slow motion replay from one camera angle into another replay of the same passage of play from another angle, plus it helps me manage the time, since it moves the second clip forward on the timeline to overlap the first. (I generally try to fit two replays in between the real time event and the subsequent faceoff, to avoid shifting clips and audio on my main track, so I use clip length, slow motion speed and the transition to manage the total duration.
I would expect the behavior to occur with any subsequent clips on the same track, or if I added an overlapping transition to the video between two clips with unlinked audio... that's why I edit sequntially. But I don't understand why removing an overlapping transition on one track shifts the clips on another track without asking. (It didn't overlap or shift them on the timeline when I originally inserted the transition on the track below, so why should they shift when I remove it?)
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Here's a screen shot of the before and after...
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Not sure if it's a bug or a birarre feature with a purpose I just don't get...
To set the context, I mostly produce sport (Ice Hockey) videos, using 4 cameras and separate audio.
When I have a milticam track on track 1, then have two replay clips on a lower track (higher numbered track), and insert an overlapping transition between the two clips, the transition shifts the second clip back to overlap the first, and doesn't affect any other clips on any other track... (As you would expect)
If I decide to change one of the replay clips (eg. re-edit in Crop&Zoom), and I remove the transition between the two clips, the second clip shifts forward to it's original position, but the video clips from that point forward on track 1 also shift forward by the same amount, leaving a gap! The audio on track 1 doesn't move, as I am only replaying the video clips, and the audio is not linked since it came from a separately recorded audio track used to sync the multicam sequence.
I have no idea why removing the transition should affect the other track (at least not without giving me an option to select whether to move all tracks or only the selected track), but it's damned annoying to have to go back and move all the video clips on track 1 back to the right spot to sync with the audio. (Particularly when there are a large number of multi cam clips to select. It requires adding a new track above track 1 just so you can select all the video clips without the audio.)
Any thought or suggestions would be welcome, 'cos I think it's just an annoying bug!
Cheers.
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I do a lot of sport videos with slow motion replays, and use the Crop&Zoom function in Power Tools a lot.
Since the addition of the Action Camera tools in PD14, the Crop&Zoom function is now another click further away!!!
PD13 - 3 clicks: Power Tools>Crop&Zoom>Crop&Zoom
PD14 - 4 clicks: Tools>Power Tools>Crop&Zoom>Crop&Zoom
Since the Power Tools are not accessible from the regular PD menus, I can't find a way to create a custom shortcut, which would be very useful!
If anyone has a way, I'd be very interested.
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Here's another option... If Cross Fade works for you that's great, but it fades through black (or the video track above it), which doesn't work for me.
When I cross fade a track, I split all the tracks at the same point including the audio (I regularly use four camera tracks, all sync'd to the audio), then drag the right hand audio clip back... a key line will appear when it's lined up with the beginning of the fade in video clip... when you release it, you have the option to insert, over write or cross fade the audio. Select overwrite or cross fade, and that will keep the audio in sync with the video. (I also apply the same transition to the other camera tracks so they also stay in sync.)
Cheers.
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Thanks PIX,
What I'd like to end up with is a waveform with just those whistle points, and all other audio in between filtered out (or reduced to near zero). I want to use the filtered audio track as a marker track so I can scan quickly through the clips to locate each whistle blow, rather than having to watch it in real time to detect them by ear.
I already spend 6-8 hours editing each game on Sunday afternoon so it's ready before practice on Monday night. If I can add the countdown clock easily, I will. I estimate it would take an extra two or three hours by the time I go through in real time, hear the whistle, shuffle back to the exact spot, pause and restart the time, and go to the next whistle. If I can create an audio marker track, it will more likely take around 45 mins. (I hope!)
(My other alternative (which would actually be better) is to use my spare GoPro to record the actual scoreboard, and crop and insert that in the top corner of the screen at reduce opacity. I tried it once before, but the distance between the end of the rink and the back wall is very limited and the scoreboard is up fairly high, so it's difficult to get a decent angle. I currently use 3 GoPro's on suction mounts on the plexiglass around the rink, and a 4th camera on a tripod. I have another GoPro I can play around with some more.)
The things we do for our kids!!!
Cheers.
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Hi,
Does anyone know if there is a vst plugin for AD that has an adjustable band pass filter?
I produce a weekly kids hockey game, and I want to see if it's possible to detect and pass only the referee's whistle blows from the camera audio file so it creates time markers for a PIP countdown timer on the video track. (I need to be able to pause the timer on the whistle and restart when they drop the puck.) The whistle should be a distinct enough and consistent frequency that is able to be isolated.
Just tinkering at this stage, but any suggestions would be welcome.
Cheers.
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In fact, you shouldn't need the transition on the video clip, just have it overlap.
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The cross fade will only work (and appear as an option) if you drop it onto two adjacent clips on the same track.
You will need to manually move the clips on the higher track so it overlaps the titles and color board on the lower tracks, and adjust them so the transitions fade out and in to each other.
Cheers.
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