advanced audio

[Chris Harlan]

[David Lawrence] “I’ve been using this technique for years. It’s especially handy for dialogue cutting.
“

Dang! I almost never rubber-band with in FCP. I didn’t know that existed. Whenever I have to get in there like that, I just send it to Soundtrack Pro. I’ll have to try that during my remaining stay in FCPville.

[Carsten Orlt]

You have even more possibilities in FCP7 by holding shift when setting in or out in the viewer. What happens though is that FCP7 shifts the audio samples to fit your selected subframe back into the 1 frame grid.

That’s why I said for FCPx it is ALL the time and without workarounds. FCPx is true audio subframe editor ( not just volume control). Only restriction is when you edit audio which is linked to video. If you say shorten the outgoing audio to less than a frame before the last video frame, you can of course lengthen the audio of the incoming clip by that same amount. But you can’t leave the incoming where it is and close the gab by moving the video and audio together and therefor subframe truncate the video. Which of course makes sense.

Hope I explained this in an understandable way 🙂

Cheers
Carsten

[David Lawrence]

[Chris Harlan] “Dang! I almost never rubber-band with in FCP. I didn’t know that existed. Whenever I have to get in there like that, I just send it to Soundtrack Pro. I’ll have to try that during my remaining stay in FCPville.”

I’m telling ya Chris, you’ll be amazed how much control you have with this technique.

My dialogue cutting sounds completely seamless. I can fabricate words with this method and you won’t be able tell. I didn’t start using SoundTrack Pro until just a couple years ago and even today, I only use it when I need to fix specific problems. Ninety percent of the time I can do everything I need with audio right in FCP.

Give it a try and let me know what you think.

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[Chris Harlan]

[David Lawrence] “Give it a try and let me know what you think.”

Sounds good. I do an extreme amount of dialog cutting and replacing. Its a shame I didn’t know about this earlier.

[David Lawrence]

[Chris Harlan] “Sounds good. I do an extreme amount of dialog cutting and replacing. Its a shame I didn’t know about this earlier.”

Here’s another tip – you can scrub at a subframe level in the viewer by holding down the shift key. Here’s an example:

Note that the time indicator is in-between frames. This lets you isolate the exact place in the waveform to keyframe.

I’m surprised more people don’t know about these features. They’re really good, especially for dialogue.

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[David Lawrence]

[Carsten Orlt] “You have even more possibilities in FCP7 by holding shift when setting in or out in the viewer. What happens though is that FCP7 shifts the audio samples to fit your selected subframe back into the 1 frame grid.”

This is not exactly right. Holding shift enables subframe scrubbing with the time indicator. This allows you to hear the waveform at a subframe level so you can precisely set keyframes.

Shift has no effect on In/Out points which must always line up with the frame. Shift also has no effect on the offset of the waveform. The audio object itself can only move in single frame increments. Frankly, this has never been an issue for me. With subframe volume control, I have all the precision I need to do anything I want.

FCPX definitely has some cool audio features, but I just can’t get excited about subframe editing. I’ve been doing that in legacy for years just fine. 😉

_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
facebook.com/dlawrence
twitter.com/dhl

[Derek Andonian]

Yeah, sub-frame audio editing is nice to have- which is why Adobe added it to Premiere Pro… In 2003. 😉

______________________________________________
“THAT’S our fail-safe point. Up until here, we still have enough track to stop the locomotive before it plunges into the ravine… But after this windmill it’s the future or bust.”

[Carsten Orlt]

Don’t have FCP7 open right now but I think to remember that after you shift- scrub and then release and then set in the audio will adjust to go to exactly this point. But of course could be wrong.

Great that it works for you David.

[Aindreas Gallagher]

I do this a lot to clean up scratch VOs – you’re killing a pop there aren’t you? that setup – me knows well.

https://vimeo.com/user1590967/videos
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics

[Aindreas Gallagher]

don’t you miss proper waveforms at all in FCPX? I detest those small, vector style interpretations of the waveform data. I find it like, you know – a mockery of a waveform in order to make something neat and pretty down at the bottom of the clip lozenge. It feels like form – single unit container, over function – usable centre point waveform?

And its no better in the inspector or when you break it out – its always just that stupid jumble of vector jags at the bottom of the audio lozenge.
Its a ludicrous step back from the usability in 7.

https://vimeo.com/user1590967/videos
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics