Andrew Rendell
Forum Replies Created
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Power isn’t the issue, professional microphones use balanced wiring
https://en.wikipedia.org/wiki/Balanced_audioThat’s a different way of connecting audio than having a stereo jack carrying a left channel and a right channel.
It is possible to “unbalance” a balanced microphone signal, but then you’ll have problems with noise, with altered frequency response due to impedance not matching the microphone’s design and with the gain available to you not being in the correct range for the level the microphone would be giving you.
Sorry, it’s a bit more complicated than you might have been expecting.
There are ways around the balanced/unbalanced mismatch but they require the application of some money.
(Aside: it is possible to fabricate useful bits and pieces like balancing/ unbalancing and level correcting circuits quite cheaply if you’re already a soldering hobbyist with some experience in audio circuits, but I really wouldn’t recommend it to a beginner, there is too much that can go wrong).
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Well, much as the H2n looks like an interesting device for some uses, the tech spec for the mic input in the manual says this:
Line/mic stereo mini jack can supply plug-in power
2 kΩ impedance at input levels of 0 to –39 dBmThat’s not directly compatible with a balanced XLR microphone, so a simple XLR to mini jack cable won’t give you the results you need without a more sophisticated adapter.
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Well, I’m making programmes for mainstream broadcast in London (mainly BBC, Channel 4, Discovery, Al Jazeera, etc), so I use systems which have established workflows, i.e., the same ones used by facilities here.
Avid Media Composer is top of the list, I keep expecting each job I do on FCP7 to be the last but I’m still being asked for it. I know a few people who have used Adobe CS (more for the effects than for cutting though) and a couple who have used FCPX for the odd thing. That’s the “3 or 4” in order.
For onlining in facilities, you can add Avid DS and Symphony and Smoke, but that’s quite a narrow market, a few of us freelancers use one or more of them but I’d say that at the moment it’s more likely that we’ll be using facilities’ kit than owning them ourselves.
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TBH, to get a meaningful answer you need to define exactly what you mean by “professional”.
For a general professional = as used by people who earn their livelihood from it I expect all of those you mention would be in use but I wouldn’t like to speculate about how extensive each one might be.
For a more specific professional = relied upon by people who interact with others in the making of mainstream tv and/or film then the list will only have 3 or 4 contenders in it.
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Ah, didn’t think of SD, but yes 16 – 235 is right.
75% on the chrominance is a decent rule of thumb.
TBH, I would advise against using clippers to set maximum levels without at least setting them roughly right first.
I don’t know which video limit effect you’re using, there are a few and they don’t all set up the same.
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AFAIK, the main broadcasters in Australia are members of the ITU, so regular Rec.709 levels are what they require.
https://en.wikipedia.org/wiki/Rec._709
https://www.itu.int/dms_pubrec/itu-r/rec/bt/R-REC-BT.709-5-200204-I!!PDF-E.pdf
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Strange. 16:9 FHA was the standard for SD over here in Europe for several years before we changed over to HD, squeezing the 16:9 picture into all of the 720×576 pixels on (usually) Digibeta tape.
(Squeezing doesn’t mean changing the shape, it’s just another setting of non-square pixels.)
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A little bit of trivia for you to laugh at: over here in the UK if you want to be freelance in tv/film, Her Majesty’s Revenue and Customs will only allow you to invoice gross and not have tax/national insurance deducted as a permanent employee if your job is on an approved list. Assistant Editor is not on the list (in fact quite a few assistant positions aren’t allowed).
https://www.hmrc.gov.uk/specialist/fi-notes-2012.pdf
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Peter, well, er, if there is no comm in the mix, where would the music be dipped in order for the undipped version to be different?
Undipped doesn’t mean not balanced with the sync, sound fx, etc (not over here, anyway).
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You really need proper frame rate conversion software. Something like this may well do the job:
https://www.nattress.com/Products/standardsconversion/standardsconversion.htm