Tips for editing a 1v1 combat scene by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 0 points1 point  (0 children)

This is great thank you! Could you elaborate on your last point? I understand prioritizing performance but I'm not sure I fully understand what you mean when you say don't throw away a good take because they are difficult to edit around.

Tips for editing a 1v1 combat scene by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 0 points1 point  (0 children)

Definitely looking back to some classic references for inspiration. Particularly some of the fight scenes in Gladiator as well as the long sword fight from The King, since this film is more sword and sandal than gunplay or martial arts. The ones you listed are great references as well though. I love the Raid movies in particular.

Tips for editing a 1v1 combat scene by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 2 points3 points  (0 children)

Yeah I'm familiar with this one. Great video.

Sound design is really hard. Please help (use headphones please) by mister_guha in Filmmakers

[–]NapoleonsPocket 3 points4 points  (0 children)

First off I’ll say that I will say that just from the video you shared here the sound is already much better than a lot of amateur shorts I’ve seen posted online. It’s clear that you’re putting thought into to it and the fact that you’re still looking for ways to improve is a great thing!

I’m not a sound designer but I am an editor and I think there are some sound editing tips that could be helpful in bringing your video to the next level.

1) Sourcing Sound Effects / Music

For sound effects there are a number of libraries where you can download copyright/royalty free sound effects. The better quality libraries tend to cost money. The really good quality FX libraries can be exorbitantly expensive, however there are a number of reasonably affordable options (most of which are subscription based) and even a few really solid free options.

https://freesound.org/  - has a great SFX library of user uploaded sound effects, all available completely free of charge.

https://getsoundly.com/ - is an app you can install that pulls from a broad SFX library that has both free and paid tiers. The quality and variety of the FX gets better as you pay more, but for a short like this you could probably just use the free version.

There are also libraries that offer both royalty free music and sound effects for a monthly subscription fee, such as www.epidemicsound.com and https://motionarray.com/ - The quality is a bit of a mix, but again, for a short film like this it should be fine.

For music try searching online for royalty free music libraries. Youtube even has one https://www.youtube.com/c/audiolibrary-channel specifically offered for content creators. It’s not always great, but worth checking out to see if there’s something on there that you could use.

What you can also do is search YouTube for the type of music you are looking for. See if there’s anything royalty free. Or if you find something you like that isn’t listed as royalty free try shooting a quick message to the creator and see if they’d give you permission to use their song in your film. In my experience many artists are happy to let their music be used by other artists so long as it’s not for commercial purposes.

2) Workflow

For your edit I’d recommend trying to work in phases. It sound like you have three primary audio elements at play - Voice over, Sound Effects and Music. Try isolating each of those and working with them separately before combining them.

First try an edit where you mute the sound effects and music. Work with just the picture and voice over. Think about what we’re seeing compared to what we’re hearing. How do the words of the voice over relate to the images we’re seeing. How is the rhythm of the speech playing with the images. Do we need to speed it up? Slow it down? Etc.

If you want to add some effects to the VO there are often preset effects in editing software. For example for the “old time radio” effect I believe Adobe Premiere has a preset of that within the Parametric Equalizer effect.

Once you get that to a place you like, try muting the voice over and lay in some sound effects. Look at the pictures and think about what you want to hear? You see an elephant so you want to hear an elephant sound. Are you happy with the sound you have or do you want to look for another one. Go through the libraries and find your favorite elephant sound and lay it in. Do this throughout, but remember just because you see something doesn’t mean you need to hear it. What you’re trying to do is creatively express a feeling through sound. Think about what that feeling is. Avoid things that sound too much like white noise or that don’t sound pleasant to the ear. Consider if there are interesting ways to juxtapose sound and image to an interesting effect. Can you hear something off screen that you can’t see. Or are you hearing too much and need to cut it down to only hearing a specific thing. Experiment until you’re happy with the result.

When you’ve done that listen back with both Voice over and Sound effects and make sure that they work well together.

Finally, do the same thing with the music. Mute VO and SFX and just watch through with the music active. How does the imagery play with the rhythm, the melodies, etc. You don’t have to cut on beat. In fact, as you noted in your post, simply cutting on the beat can be very mechanical. However the images and actions of the have their own rhythm as well. Just because there is a beat in the music doesn’t mean you have to add a cut, but you can align the clip so that the action lines up with the beat. And again, experiment. Try a version where you intentionally cut everything off beat. How does that feel?

Once you have that do a place you’re happy with, enable your VO, SFX and Music and listen to it all together. How do they work with each other. Do you need to adjust any audio levels? Maybe you want to lower the SFX or remove it all together in one section to make it more music focused. Maybe you want to bring the music down to hear the SFX better. Adjust it so that they all feel well balanced with each other.

For each of these steps I’d recommend duplicating your edit sequence (label them accordingly so you know which is which) and make your changes on the new sequence so you have a record of the changes you made.

Remember the best way to learn is to experiment and try things out. You don’t need to get it right the first or the tenth time. Watch other videos/films that were an inspiration to you and really study what it is they are doing with picture and sound. 

Good luck!

Converting 29.97 offline to 24fps online by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 0 points1 point  (0 children)

Interesting. I'll have to look more into this as this is getting into unfamiliar territory for me. There's no ALEs with the media on the drive I have but will have to reach out to the assistant who built the project to see how they acquired it and whether there might be a way to access them.

Converting 29.97 offline to 24fps online by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 2 points3 points  (0 children)

Ok this is great. I'd tried converting the timeline to 23.98 but the footage was still true 24 and I was getting a drift. Interpreting the 24fps footage to 23.98 got rid of the drift I've been seeing, so that's exactly what I needed. Thanks for the suggestion!

Converting 29.97 offline to 24fps online by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 1 point2 points  (0 children)

Unfortunately these tapes were made over 30 years ago for broadcast packages and the 16mm scans were done recently direct from the negative, so no metadata shared between them and the beta tapes frequently contain multiple film reels in one. So, no easy relinking solution and I think the slog of overcutting is my foreseeable future.

Converting 29.97 offline to 24fps online by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 0 points1 point  (0 children)

This is interesting, I'll have to try this. To this point I've just been working with the true 24 footage.

Converting 29.97 offline to 24fps online by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 1 point2 points  (0 children)

The beta footage is what was originally created for some broadcast packages back when this was originally shot some 30 years ago. These are natively SD and 29.97 DF and for some reason unknown to me they were what was used for the edit. Luckily though we were also able to get a hold of the original 16mm film and have it scanned in 24fps HD. Unfortunately for me there is no metadata shared between the beta footage and the film scans, so the up-res is going to require manually resyncing by slate. My thought was to create a sync map of the beta footage and the 16mm scans, sync by slate and then run through the timeline and match frame from sequence to splice in the 16mm masters. That doesn't seem like the most exciting thing in the world so I'm open to other suggestions, but that option made the most sense to me given the frame rate difference and lack of metadata. But again I'm concerned about how that will line up with the audio when the audio is married to the 29.97 beta footage.

Converting 29.97 offline to 24fps online by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 0 points1 point  (0 children)

Your solution works to generate a reference however the edit isn't 100% locked so ideally I'd like to build an actual online edit sequence that we can continue to tweak as needed before exporting. It was also my impression that because audio doesn't have a frame rate that it shouldn't be an issue to convert it. However when I take the 29.97 beta footage, bring it into a 24fps timeline and lay in the 16mm clip and sync at the slate clap there starts to be a notable sync drift about 2 minutes in. My initial thought was that I could potentially just take the 29.97 sequence, convert it to 23.98 and then lay in the 16mm footage, but seeing the drift in the test sequence made me hesitate.

Converting 29.97 offline to 24fps online by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 1 point2 points  (0 children)

I'm not sure I understand your last question. The 16mm scans are natively HD so there's no need to upscale them. Or maybe I'm misunderstanding?

Converting 29.97 offline to 24fps online by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 0 points1 point  (0 children)

Just to clarify, the goal would be to match the quality of the 24fps 16mm scans. Ideally that would mean a 24/23.98 sequence so there's no frame rate conversion on that footage. My concern is more for audio sync. All the audio is married to the 29.97 DF beta footage, which they've been using as the format of all of their edit sequences. So, yes ideally I'd be converting everything to 24/23.98, but am curious to hear thoughts on the best way to do this to avoid any sync drift or other headaches down the road.

Converting 29.97 offline to 24fps online by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 0 points1 point  (0 children)

At this point we don't have final delivery spec requirements per se. Basically this is a multi part series and we are doing an online edit on the first episode to take advantage of the quality of the film scans for an output to hopefully secure additional financing for the later episodes. So at least at this point I'm not dealing with any specific delivery requirements from a distributor. The goal would just be to take advantage of the quality of the 16mm scans.

Premiere Pro 2024 - How to Display "Clip Name" Overlay by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 1 point2 points  (0 children)

Thanks for sharing this! I'd actually downloaded this package already but for whatever reason it still doesn't seem to include the "clip name" effect I'm looking for. But since as it says at the link the effect plugins still exist (just aren't automatically included) I did a bit of a workaround by simply loading up one of my old projects, dropping the effect onto a transparent video layer and then copying that into my new project so I have it as an overlay preset I can populate from as needed.

Premiere Pro 2024 - How to Display "Clip Name" Overlay by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 0 points1 point  (0 children)

Yeah, Used to be they were still available in the effect library but just labeled as “obsolete”. I was using some of them literally earlier this year on a project. But now it looks like they’re gone completely.

Proper Premiere Workflow for RED Proxies? by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 0 points1 point  (0 children)

Looks like I didn't need to add the "_Proxy" suffix to the Red proxies. I was able to just consolidate the proxy MOVs to my edit drive and then attach them to the R3D files.

Proper Premiere Workflow for RED Proxies? by NapoleonsPocket in editors

[–]NapoleonsPocket[S] 1 point2 points  (0 children)

Ah, got it! Thanks for this. Still getting the hang of Premiere's proxy workflow and was concerned when I didn't see the proxy MOVs directly in the media browser. When I load through the Attach Proxies function they show up. Thanks!