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Is it worth learning Soundtrack Pro?
So, I’m in video making for the long-haul, and that means learning how to deal with noise in movies and cleaning up other audio problems. Do i want to do this, and therefore spend hours learning, Soundtrack Pro or would I be better off spending that learning curve on a different program? I don’t want to get good at Soundtrack Pro before finding it it doesn’t do everything I need. On the other hand, maybe it’s exactly as good as a program as I need.
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4 Replies
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[Noam Osband] ” I don’t want to get good at Soundtrack Pro before finding it it doesn’t do everything I need. On the other hand, maybe it’s exactly as good as a program as I need.”
What do you need? You won’t know how good the program is at your needs until you test it out. It’s not a big learning curve.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
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Soundtrack has lot of potential. But it’s far from finished compared to pro tools, logic, or nuendo.
I hope the next FCP will have all soundtrack pro plugins implemented.
The quality of the logic pro/soundtrack pro plugins is awesome so that would be nice. -
Are you making feature films, broadcast programs, web content or weddings?
A lot depends on the level at which you will be delivering and your experience. STP is a suitable tool for web vids and weddings, but I wouldn’t use it as a serious broadcast or feature film tool. Besides, the program may be capable but are you a good audio operator. In my experience it is the lack of understanding and experience that hampers video makers doing decent audio, not the tools.
Learn STP, if only because FCP is a lousy audio tool. If it isn’t good enough, you will then be able to move to ProTools or Fairlight and the learning curve to go to the next level will be reduced.
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Interested to see some discount STP as a decent Audio tool in Post.
I would say, being involved in a XDCAM/ProRes 422 HD Working Environment delivering Motorsport nationally on an Australian Commercial Network – that it is suitable on the proviso:
– The base material you are working with is of a fundamental high standard
– As mentioned earlier, the Editor understands Audio.That last point, in particular, is always a challenge. Small production houses always target good vision editors in the conventional sense – yet the Audio Edit is often “near enough is good enough”.
I also agree the basic Audio features in FCP suck…
Dean Neal…
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