Alan Okey
5
COW Coins
2
DaVinci Coins
Forum Replies Created
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[Dave LaRonde] “Don’t mix ’em: it’ll just sound worse. You’ll want to choose one or the other, and you’ll only know which is better when you boost both and then check out the results on a test clip.”
To expand on that, the reason not to mix multiple mics on a single source is phase cancellation, which occurs when two mics at two different locations are used to record the same subject. The effect is a hollow sound. There are some pretty good threads on the subject if you search here in the Cow.
I have on occasion mixed in only the extreme high frequencies from a boom mic with a lavalier in order to improve vocal presence. The mics were recorded to separate tracks. The sound on the lavalier track was a bit too muffled, so I applied a high pass filter to the boom mic channel (allowing only frequencies above 4-6kHz to be audible) and added it to the mix. In those cases, it worked well.
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[David Roth Weiss] “Jeeze, you New Englanders are so darned practical.”
Must be the cold weather. We’ve evolved to take the shortest path possible in order to avoid freezing to death…
🙁
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Connect both computers to the internet and run Software Update.
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[Andreas Fehrle] “When cutting both the XDCAM and the newly converted Pro Res clips into a Pro Res 422 sequence the render bar is green. Is this something I should be concerned about? “
It shouldn’t be an issue unless you start piling filters on the XDCAM EX footage. In that case you might get a red bar, which would mean that rendering would be required to play back the footage in realtime. The only way you would avoid green bars completely would be to transcode everything to one codec that matches the sequence settings, but it’s really not necessary unless the green bar really bothers you. The green bar is simply an indication that the footage does not match the sequence codec, but will play back in realtime without rendering.
My personal preference is to work in ProRes sequences, but others might suggest that you could just as easily work in an XDCAM EX sequence, then change the sequence compressor to ProRes only when you’re ready to export. It really just comes down to the proportion of XDCAM EX footage to everything else including graphics/text, and when/how you want to render.
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[Gareth Randall] “My 2c, for what it’s worth, is that you should reverse-telecine your 60i/29.97 material to 24P (you use Compressor and/or Cinema Tools can do this – sorry, can’t be more specific as I’ve never actually done it myself) before you start editing.
“It sounds like this footage is native 29.97i, not 24p over 29.97i with 3:2 pulldown. Reverse telecine is only for footage that’s 24p shot over 29.97i with 3:2 pulldown. Cinema Tools is not appropriate to use in this case. If the footage is native 29.97i, you’ll need to use Compressor to convert 29.97i to 24p (23.98). I’d recommend converting to ProRes 23.98 and cutting in a ProRes 23.98 sequence.
Enable frame controls in Compressor. Set Output Fields to Progressive, set Deinterlace to Better and set Rate Conversion to Better. Be prepared for long render times. Note that using Best settings for deinterlacing and rate conversion will not offer appreciably better results, and will have staggeringly long render times.
No need to transcode the XDCAM EX stuff, it will play nicely in a ProRes sequence.
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720p60 will downconvert to NTSC SD more cleanly than 1080i, but as others have said, find out what your deliverables will be and work backwards form there.
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Creating a Destination
You use the Destinations tab with the Inspector window to create and assign a destination and to add file identifiers to your output file. If you want to save your output media files to a remote destination, you need to enter information into the Remote dialog so that Compressor can successfully access the remote server.
You can create the following destinations.
Local: Any directory on your own computer
Open Volume: Any shared volume open on your desktop
Remote: A directory in the default location of an FTP or iDisk server, if you have suitable access privileges and permissions
To create a remote destination:
Open the Destinations tab.
Click the Add (+) button and choose Remote from the pop-up menu.
The Remote destination dialog appears. For detailed information about the remote destination dialog, see About the Remote Destination Dialog.
Enter information in the relevant fields, as necessary.
Click OK.
Once you have at least one destination in the Destinations tab other than Source, you can set a new default destination.
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[Bob Tompkins] “How to I make it louder? Towards -20 dBu or towards -65 dBu.”
To make it louder, go toward -65dBu.
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Adjusting levels on tracks in the timeline only gives you +12dB of gain, whereas adding a gain filter allows you to add much more. Add a gain filter before the compressor filter in the effects chain and boost to taste. Also be aware that adjusting gain in the timeline is post-filter, so if you set a limiter threshold to -6 and then boost the levels in the timeline, you’ll go over -6.
I dislike the audio filters in FCP. Much of the time there is no realtime feedback in payback while adjusting parameters.
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[Shane Ross] “You will need to get an external monitor that connects directly to the camera.”
In this case, it sounds like the “camera” is an iPhone.
I’m not aware of any hardware or software that would let you view what an iPhone is recording with its built-in camera on an external device, either wirelessly or via a cable.