SOUNDCRAFT GB2R outputs

[Craig Alan]

Thanks Ty. We may just cut between the two sound sources since we have hours of footage and the drift could be significant. I have read that FCP X can adjust sound at a sub-frame level. Never done it though.

But if not now then in the near future I will tackle that learning curve. So my question is: Doesn’t the length of the XLR cords also factor? Our mike on a stand was very close to the stage. Th house board was at the back of the auditorium and our feed from the board was a 50 ft xlr. The xlr from the stand mike was 30 feet to the B-roll cam.

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.

[Ty Ford]

Craig,

FCP X May. I have begun using it, but haven’t tried sub frame bumping. One way to make these adjustments is to wait until after your fine cut. Then export the audio, tweak it and replace it.

Cable length doesn’t really come into it. Audio travels down a wire faster than it does through air. If your mics are close to the stage, you’ll do better.

According to the Haas Effect, sound that is delayed up to about 22 milliseconds is perceived as one reinforced sound. Delays of longer than 22 milliseconds begin to be heard as discreet echoes.

Regards,

Ty Ford
Cow Audio Forum Leader

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[Craig Alan]

https://www.fcp.co/final-cut-pro/tutorials/1191-sub-frame-audio-editing-within-final-cut-pro-x

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.