A few clips of master (source) have 'Make a subelement' gray

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  Post edited by: Kevin Monahan

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  ==========

  Hello

  My friend John Papa - MVP - is the expert on Windows Movie Maker.

  PapaJohn.org
  http://Papajohn.org/

  PapaJohn - online tutorials
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  Windows Movie Maker Tutorials - check the sounds of the addition in the left menu and others on the
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  http://www.windowsmoviemakers.NET/tutorials/

  Windows Live Movie Maker that works on Vista and Windows 7, see the link under Windows Live Essentials.
  http://windowslivehelp.com/

  ====================

  These might help:

  Getting started with Windows Movie Maker

  Import video, photos and audio on Windows Movie Maker

  Import video from a videotape

  Get a movie in Windows Movie Maker

  Make a movie quickly in Windows Movie Maker (AutoMovie)

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  Rob Brown - Microsoft MVP<- profile="" -="" windows="" expert="" -="" consumer="" :="" bicycle=""><- mark="" twain="" said="" it="">

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• How open only a single clip in the source monitor Panel?

  OK, the answer to this question may be simple... If all goes well...

  Right now whenever I open a clip in the source monitor Panel it adds to the drop-down list.

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• How to make a transparent gray screen

  Simliar to that of Director of office of BB, I need to make a transparent gray screen - all things in the background are visible, but when they are hit, nothing happens. Actually, lock screen for a while.

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  found this J2me code you can do something like this

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• FCPX makes continuously again a few clips

  This problem has arisen recently.  I'll work on a project, and part of it will start to make a change.  But it will NEVER stop.  It will be made BG completely 100%, and then start over.  Forever.  I come back after an hour and found still to go the rendering.  Closing and reopening the project has no effect.  The only thing that works is a double project.  The duplicate will be fine, makes stops immediately.  To be clear, the gauge of progress on the timeline to zips upward from 0 to 100%, but orange render do NOT shrink or change lines as they normally do when this happens.  It of very weird, because makes very good by simply duplicating the project.  What gives?  Any idea?  In addition, I can't tell if its audio or video made that passes, as often happens in a variety of video clips.  Thanks for any advice.

  Have you ever turned off made BG? If not try and turn it back on.

  If she makes it always new, remove files from the project made.

  Good luck.

  Russ

  PS: Many users omit the background rendering and restores manually if they encounter playback which is quite problematic to interfere with editing decisions. Is not necessary to make before exporting.

• Classification of clips from many sources

  I have a pretty unique "Finish" challenge that I hope that some Pro users can sound the.

  I'm an editor of finishing in a press social media company. We do short recaps of the breaking news, social stories, political events, etc. A project can have clips from CNN, HBO, Getty, a feature film, a youtuber and graphic animation, all sewn together in a second of 50-80 story. Of course, these sources vary between highly ranked, professionally shot footage all the way up to intact amateur clips. I started "reverse grade" and clips of "reclassify" in an attempt to establish a consistent look for our brand, but am often questioned by the extreme dynamic range in the images we use.

  The biggest challenge is our deadlines, usually in an hour or two to get the project, so I'm limited to the ranking within Premiere pro, extremely fast. I am currently using Lumetri color Panel during the major part of the correction / rank, with a curves here and a fast color corrector here.

  My goal is to establish a workflow where I can:

  1. quickly push all the clips in a relatively neutral Center (think: log footage)

  2. apply a LUT overall, with a uniform result

  3 win a Webby

  The problem I have is actually reach this neutral starting point, systematically all projects.

  -Do I have to painstakingly fix manual 'from scratch' correction?

  -Are there techniques quickly push the clips already sorted to a neutral Center?

  -Are there methods recommended for reclassification already ranking footage?

  Here's my current workflow:

  -Rub the sequence to correct the problems of major contrast - pulling usually contrast way back (pushing for that look of journal)

  -Hustles blackheads / white to match

  -Fill temperatures - usually warm new footy and cool amateur footy, still trying to hit this neutral Center

  -Make a second contrast / black point pass

  -If necessary, add RGB or Fast curves / three corrector chromatic way if there is always something is not sitting right

  -Add an adjustment layer above all the clips, to apply LUT, add cereal

  What do you think?

  Any ideas on how to improve this process (or it rewrite entirely!) is very much appreciated!

  Much love to everyone on the forum!

  -A quick How-To-Guide to match all the clips to a waveform standard easy 3 steps in first.

  Before you begin, open vectorscope HLS, YUV vectorscope and waveform type luma

  -Add the color corrector effect to clip fast

  1 view the waveform luma:

  using the color corrector effect fast:

  the value of point black ire 7.5

  set the white point ire 90

  If the black and white points are already overexploited, adjust the output level while they are defined.

  Point Grey (the Middle slider), discovers the vectorscope HLS, make as small a point as possible, increase until you see elsewhere increase. a large part of the shadow will automatically match 30% on the luma of waveform. You can find this also creates a uniform slightly journal watch so it is easier to rank and later reconciliation.

  2. white balance (white balance of the click dropper) or... If you can't find a white spot, place temporarily saturation so that it fits inside HLS vectorscope. Watch the vectorscope HLS so the hue wheel defines the lightest part weighted at the Center.

  There is a secret tip for any skin tone to match and thus correspond to a faster color between shots, "line of skin tone.

  Temporaily set 200% Saturation easily see the line of light saturation.

  Align - quick corrector color-Hue - Angle brighest vectorscope HLS (no YUV) line between where the red and yellow line would be in the vectorscope YUV (around 11:00 o clock). It's the angle of the overall hue to the skin tone.

  3. adjust color saturation fast correctior to 90% of edge vectorscope downtown YUV (100% is in contact with sides) so all the clips have the same saturation.

  Now you have perfectly matched to black point, white point, contrast, gamma, saturation, tint to like 10 seconds per video.  And the best part is, they are all easily dimmable.

  a tip:

  don't forget to keep an eye on your histogram for any sharp peaks, it means your footage is probably 8 bit and you might introduce quantization errors in your grade.

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