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2005-fcp 5, 2012-fcpX
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not being snotty – but not workable to my eye. I spend half my life breaking tunes apart to make them hit certain crescendos or sustain to the final tail off VO scenario.
It’s quite literally not a waveform in the timeline to analyse steve – that’s not a waveform you can interrogate. And you might need to visually interrogate the waveform – not least because some significant stuff isn’t seen in even the 7 waveform – I personally really need to get comfortable with exactly what the waveform is, if only because some of the significant beats that are buried in parts of it?
again – not coming high and mighty, and am basically waiting for seeman to come in on this given his real background – but I find apple made a major miss-step
boiling away a critical component.there are a legion of different apple engineer hothouse failures in X – but I always thought their decision to deprecate waveform information into half useless garbage for the editor was one of them.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “sure god, franz, would you like to expand please?”
Aindreas,
Apparently I made this up in my sleep. Some time ago.
They’re called rectified waveforms and defined thusly:
“Rectified waveforms are displayed so that their positive and negative waveform excursions (the portions that fall above and below the center line) are summed together and viewed as a single positive-value signal.”
Non-Rectified versions still seem more useful for detailed work, while rectified views may be more useful for volume work.
Franz.
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[Franz Bieberkopf] “Non-Rectified versions still seem more useful for detailed work, while rectified views may be more useful for volume work.”
so this then anyway.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “And you might need to visually interrogate the waveform – not least because some significant stuff isn’t seen in even the 7 waveform – I personally really need to get comfortable with exactly what the waveform is, if only because some of the significant beats that are buried in parts of it? “
Yeah. I’m guessing I could get used to it, because others say I can, but I also find it disconcerting.
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[Aindreas Gallagher] “but I always thought their decision to deprecate waveform information into half useless garbage for the editor was one of them.”
I’m confused.
How are they useless now, because you can actually see the waveform and control points in X, when the pink on green on greener in 7 can cause blindness?
Because the audio meters show and hold peaks and peak level letting you know how much level, in a number, you have to adjust?
Because at a glance, you can see on your entire timeline where the audio is overdriven or close to it?
Yeah. Useless.
Use the reference waveforms (the ghosted waveform that doesn’t adjust with clip level) in X and you can line up anything, it’s not rocket science.
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[Aindreas Gallagher] “not being snotty – but not workable to my eye. I spend half my life breaking tunes apart to make them hit certain crescendos or sustain to the final tail off VO scenario.”
Well, that does sound a little snotty and if I could be so so bold as to be snotty back and point out that I was doing exactly what you describe, on tape – before NLE’s and waveforms and before you were working in this industry. It’s still something I still have to do regularly, so I would like to think that I know what I’m talking about.
Steve Connor
‘It’s just my opinion, with an occasional fact thrown in for good measure” -
No – not work process, i’m not saying you haven’t been doing this a long time at a high level – literally I’m saying the actual waveform or rather audiograph in X are not up to snuff. – are you saying you don’t find that vector crud way, way worse than the audio waveforms in 7?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Aindreas Gallagher] “are you saying you don’t find that vector crud way, way worse than the audio waveforms in 7?”
Absolutely not, I actually find them much easier to work with. I’m sure other users may agree.
Steve Connor
‘It’s just my opinion, with an occasional fact thrown in for good measure” -
[Steve Connor] “[Aindreas Gallagher] “are you saying you don’t find that vector crud way, way worse than the audio waveforms in 7?”
Absolutely not, I actually find them much easier to work with. I’m sure other users may agree.
“My problem with them–and it very well may be that I just don’t know how to read it well yet–is that I loose a tad too much in the way of information. With the baseline as zero, how to you decipher any of the qualities you can discern from wave asymmetry? How do you see DC Offset or asymmetrical clipping? The variance of the wave below the baseline from above often tells me distinct things about harmonics, and occasionally lets me recognize where I might have issues that aren’t immediately apparent on the laptop speakers I’m currently using. At a glance, the full wave drawing can often set apart music from dialog–again because of unique asymmetric patterns–and visually clarify the difference between a bass drum and a whistle.
Now, this is not a deal breaker, and I realize that most people use the waveform almost exclusively to find a place to cut, and to monitor amplitude, but there are good reasons for displaying the full wave, which is why most everyone else does so. And, as I’ve said, it may also be that I just cant read this yet. I probably haven’t given it enough time. But I have to agree with Aindreas that it is missing info. Its probably info that many people don’t see or use when they are looking at waveforms, but its there.
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[Chris Harlan] “But I have to agree with Aindreas that it is missing info. Its probably info that many people don’t see or use when they are looking at waveforms, but its there.”
Make sure the “Show reference waveforms” option is checked in the prefs.
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