Calendar beat for clip - best workflow practices?

Hi all

I am currently working on a short video that must be programmed to music. Of course, in some ways, a tool like Final Cut or Prime Minister would be more suited to the task in a certain way, but for reasons of the technical specification of the production, it must be done in After Effects.

beatmark.png

So I try to nail a good workflow to time the various elements of the project to the beat of the music. I've done so far is, I developed the waveform of the original tape so I can get some raw visuals on where obvious changes occur. See the screenshot to the left. I placed a marker on the right framework where arrives the drum call, where I don't want to do something cool with the video.

It is obviously of limited use, because even if the rhythm coincides with one of the peaks of the waveform, it does not look at who it would be. Also, it is not possible to determine the exact framework on which the beat happens using this method, because each peak is several frames long, and includes several elements of the audio.

The next thing I tried was so simply to listen to the track with RAM Preview and pressing on the * key to place markers on the soundtrack to the beat. Some of you are perhaps better to the rhythm games that I could hope to be, but I find that while this allows asking a large number of markers quickly, it is very inaccurate.

Which is very good, expect - I couldn't get all the markers on the right framework for the first time, but I can go back and drag some images, right? But the problem here is with Visual and audio scrubbing with the playhead. When you RAM Preview, the playhead does not refresh on all images - it updates every seven or eight images or so. Which means that if I look at the calendar to see if my markers are in the right place, I can't say when the playhead passes over it.

So instead, I hold down the Ctrl key and rub. This kinda works, but the audio is quite rough and discontinuous. As such it is difficult to get an idea of each framework as part of the song and even if I do hear a heartbeat, it is difficult to recognize as such (this technique works best in Final Cut somehow, for some reason, he manages to rub while sounding less discontinuous). So what I do is I have a picture, I think that could possibly be the rhythm, and I hold Ctrl and left click on the playback head, which makes a loop a short (five images?) segment of the audio. Then I do the same thing for a few images before and after, just to ensure that I targeted the right frame. Now, finally, I have the marker in the right place for a single beat.

There must be a better way.

I wonder if anyone has faced this problem found a workflow more efficient? I think that it might be a sheet of I could use a software that allows me to go through the audio and place markers better - and then I can somehow export marker data in After Effects? Or maybe another workflow I didn't think.

Your thoughts?

Cut with precision to the beats music is usually a simple matter of math. Most of the music, especially the music with a strong beat, turns to a certain number of beats per minute. It is generally easy to understand. There are moments where you have a tempo change or a Fermata, ACC., or retirement or a change, they are usually for a short period and easy enough to fix. Understand the tempo and you about 90%.

Another tool that I use quite often is Sound Keys of Trapcode. It is much more versatile that use bed convert audio to keyframes.

If I have a fairly long segment that has a bunch of beats fast beats I will sometimes create a solid small, add the hue and saturation to the solid game to colorize, add this expression to colorize hue - index * 140, cut the length of the layer to the length of time, then duplicate the layer for bat as much as I want to cover , the layers in sequence and then use this sequence of layer as a guide. The configuration looks like this:

You can also use an expression loopOut on rotation to rotate a small layer SAY 45 degrees on each beat. By example, if you had a heartbeat every 20 frames together 3 hold keyframes, one on the first image of 0º, the frame of 20 to 40 ° then put a 40 chord to 0º and simply add the expression loopOut("cycle") of rotation. Now the small cube could give way to a different angle on each beat.

These tips will help you with some quick cuts just the pace but let me give you some tips on cutting to music I've learned 42 years ago (Yes, I'm an old man) when I was learning to edit music to my first job in the film. My mentor had been in business since 1952, had worked as an editor on a ton of feature films and a bunch of advertisements. He told me that if you simulate with precision the rate, which was pretty easy to find and mark with a pencil on stock mag, wax your cuts will look out of sync. The problem with this precision, is that the eye and the ear are not precisely synchronized. The time advance or delay depends on the shooting, where shooting takes your eye, where the Cup move your eye and creates the atmosphere of the music. The best technique is to listen to music and place markers that you type on the beat. In the old days, I did it by tapping a pencil of wax on the mag stock as he crossed the Steenbeck or Moviola, today I do by tapping the * key, then I cut and adjust the cutoff point for shooting dictate when the music and the rhythm line up with emotion. You will get a better result, and your work will go much quicker that fussing around trying to harmonize the beat with each cut. I changed my cuts as much as 4 or 5 images forward or back to fight for the sequence feel.

I use two techniques that I listed above for cutting short segments of very tight cuts and help to save time, but his definition of the resolution of your car model and the Zoom factor of your computer at 25%, the ram preview for "today", and simply cut the pace by usability will give you a much more pleasant and emotional response to your sequence as precisely and mathematically exactly matching the beat. The last piece of advice I can give you on the music of Cup is to make the first cut, then walk away at least a half hour, then come back and look what you did. You'll instantly see where you have to make adjustments and it will take less than half of the time to cut your sequence.

Tags: After Effects

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