HDV Mono vs. Stereo – Already captured 20 hours in Mono!!

[Jeremy Garchow]

What’s the audio? Are they two discreet channels? A concert?

You can alwyas change it to stereo without recpaturing.

Jeremy

[Lisa Rolley]

its all interviews pretty much, yes 2 discreet mono channels indeed

so but hoping to get some more info about the differences and why if at all i would switch it to stereo pair – also how would one go about making this change if at all?

thanks
lisa

[Jeremy Garchow]

If you have two discreet mics, then no reason to switch to stereo pair unless you wanted that for effect.

Pick the best sounding mic track and delete or mute the other track. Stereo pair is best left for stuff like music. For discreet voices, there’s really no reason. There are times I will double the selected voice track then make that a stereo pair for more of a dynamic sound, but that’s rare.

Panning clips stereo can be done a number of ways in a number of different places.

Hate to do it to ya as it’s a cop out answer for me, but if you bring up the final cut manual from the help menu and type pan in the search box, you will find the ways to do it.

Jeremy

[Lisa Rolley]

oh so i pan the left mono 1 to the left and the moni 2 channel to the right? but with all of these clips thats alot and is why i asked if there was a better way to do this or by converting them all to stereo.

thoughts?

[Scott Davis]

Lisa, usaually interviews are shot using 2 mono track. One track being a lav or boom mic; the other the on board. I go through and find the channel that the lav/boom is on and delete the other. Just be carefull because sometimes it is channel one sometimes channel 2. You will get cleaner sound this way.

Scott Davis

[Scott Davis]

Lisa, usaually interviews are shot using 2 mono track. One track being a lav or boom mic; the other the on board. I go through and find the channel that the lav/boom is on and delete the other. Just be carefull because sometimes it is channel one sometimes channel 2. You will get cleaner sound this way.

Scott Davis

[Jeremy Garchow]

[lisa rolley] “oh so i pan the left mono 1 to the left and the moni 2 channel to the right?”

No. You leave them mono (center pan) and choose which one you want to hear. Then delete the other or disable it or turn off the track or turn the level to zero or whatever method you want to use to not hear the unchosen mic.

Jeremy

[Lisa Rolley]

so will 20 hours of footage and an eventual 90 minute sequence when its locked, what will be the best / fastest most efficient wait to adjust the audio accordingly for delivery?

thank you all for your responses you guys rock!
best
lisa

[Jeremy Garchow]

Lisa-

What do you need to adjust? I don’t understand what you don’t understand.

[Jason Porthouse]

Lisa,

You should digitise the rest of the material in 2 channel mono, as the rest of your footage is.

Assuming the sound/camera op was consistent, choose the channel most appropriate for your shot. For instance, if I have an interview with tieclip on ch1 and on-board on ch2, I’ll never use the onboard mic. So I’ll load clip in to viewer, go to the A2 tab, mute it (level all the way down) then pan A1 centre (if it’s not already). Then whilst editing I’ll only ever cut V1A1 in to the sequence.

If it’s a tieclip and a boom, and the difference is less marked, I may cut both audio channels in. For ease of use I may then mute whatever one I think is worse – but keep the clip in the timeline. This I find particularly useful if going to a dub, as it gives the dubbing mixer an alternate that may be better for their needs.

So your selection of what goes in to the finished film is made really at the cutting stage. I’m assuming that you use the clip to viewer>mark in/out>cut into sequence method rather than dragging clips to the timeline – I think you have better control over track assignments this way (though I may be wrong). I rarely use stereo clips (unless recorded as such) as they’re a PITA to un-link of I need to delete one or the other.

HTH

Jason

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