Audio Mix Window

[James Ewart]

Thanks Franz that’s an interesting thread which I had not seen. For my personal needs I actually love how audio works but I do not get involved in complex mixes myself. Interesting always to read these different points of view.

Thought… Do you think Apple should be paying us for this? ; -)

[Franz Bieberkopf]

[James Ewart] “Thought… Do you think Apple should be paying us for this?”

James,

I do think there are lots of experienced and thoughtful views, perceptive speculations, and informed critiques in this forum, and I would think all that would be valuable to software designers …

… if that is what you mean.

Franz.

[James Ewart]

I was being frivolous of course.

I for one get way more out of this place than I put in. But I try and contribute where I can.

cheers

[Richard Herd]

[James Ewart] “a traditional audio mix window anytime “

No way.

At best we can hope for is some kind of Roles Inspector type of thing. Where the Roles are “tracks” that can be mixed (volume, pan, fx, send). Although I continue to lobby for it, I have no real hope to see it.

[Richard Herd]

[Oliver Peters] “This is even more critical these days in broadcast, where CALM Act loudness compliance is becoming a delivery requirement. I can do that easily now in Premiere Pro and Audition. I can do it in Logic Pro X if I buy third party metering. I cannot do it inside FCP X.”

You can and cannot do what exactly? How does measuring the db level change because of the CALM Act?

Thanks!

[Richard Herd]

[Oliver Peters] “Of course, a mixer may deliver a spot or show within spec and then it gets jacked up down the line, through distribution and transmission”

In reality, the spots I master are almost always louder than -12, and I am the guy who fixes it — yes, in Premiere CS6. The Dynamics filter is great and the audio mixer is too! The files I export sit on an ad server waiting for tone, then they are broadcast. Lots and lots of Toyota.

[Richard Herd]

I could only give you one +1. So here is more +1 +1 +1 🙂

[Oliver Peters]

[Richard Herd] “You can and cannot do what exactly? How does measuring the db level change because of the CALM Act?”

To properly create a compliant mix, you have to have the appropriate loudness metering – either hardware or software. Assuming software, then we are talking about a plug-in that needs to be in the signal chain of the NLE – usually at the end of the line, with a compressor preceding it.

In FCP X, I can only do this by adding a plug-in to a compound clip. But the mixing has to occur inside of that compound, where I gain no benefit from that metering, because I can’t see it while I’m making the adjustments.

In Premiere Pro CC, I can add a meter (TC Electronics Radar) at the end of the line on the master. But, I can also create subgroup busses and route my signals through these, such as for DME stems. I can add a meter on EACH of these, as well as on the master. Since nothing is nested or compounded and I have real-time automation, I can quickly make any adjustment anywhere along the line to be compliant. For instance, adjusting the effects stem/submix bus as a group without messing with the dialogue.

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Craig Alan]

[Oliver Peters] “I think Apple’s engineers would argue the + or – of a specific color is more intuitive than the color wheel model. “

Both and not either or. + – would be more intuitive if lowering the puck in the green area just decreased green saturation. But your image turns redder. Therefore its more intuitive to use both – and the color space gradually shifting to red.

This whole make it more intuitive approach is for beginners that can used as you get more advanced. But since every other program uses the color wheel and for good reason, this simpler GUI should include the complimentary relationship between the colors.

In the two programs I have used for color correction – and I’m not on your level – Aperture and FCP 7 (3 way color corrector) – there was a window that contained way more than one adjustable color variable. I do not think it would be hard for FCP X to toggle on a color correction layout that gave you several of the components they are offering.

I think that could be the next huge step forward for FCP X – using an old concept of theirs – spaces. Not just little animation windows connected to the timeline or small sections of the inspector, but the entire screen dedicated to a particular operation of the program – be it color correction or audio editing. I know different topic.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

[Oliver Peters] “I think Apple’s engineers would argue the + or – of a specific color is more intuitive than the color wheel model. “

Both and not either or. + – would be more intuitive if lowering the puck in the green area just decreased green saturation. But your image turns redder. Therefore its more intuitive to use both – and the color space gradually shifting to red.

This whole make it more intuitive approach is for beginners that can used as you get more advanced. But since every other program uses the color wheel and for good reason, this simpler GUI should include the complimentary relationship between the colors.

In the two programs I have used for color correction – and I’m not on your level – Aperture and FCP 7 (3 way color corrector) – there was a window that contained way more than one adjustable color variable. I do not think it would be hard for FCP X to toggle on a color correction layout that gave you several of the components they are offering.

I think that could be the next huge step forward for FCP X – using an old concept of theirs – spaces. Not just little animation windows connected to the timeline or small sections of the inspector, but the entire screen dedicated to a particular operation of the program – be it color correction or audio editing. I know different topic.

That said, I agree with everything you said and I am using X’s color correction boards without much difficulty. Once you get used to moving the puck into the color you want to adjust it works pretty well. Once you bring up the scopes adjusting exposure works well and the consistency of always using highlights, shadows, mid-tones, global works well. What I’m expecting from FCP X and Apple, and maybe this is an unfair expectation, is that by learning the program you learn the basic concepts behind its use and in so doing are also more prepared to use a higher end program along side it.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.