Andrew Rendell
Forum Replies Created
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Not quite my own experience of being a freelance editor, but definitely a few lines that are oh so true…
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I’m guessing that the EDL from Sadie will have audio tracks only, so I’d have to modify that to Video + Audio before importing into FCP (or make a duplicate for the video and match them together in FCP). Which doesn’t seem too bad.
Any thoughts about exporting WAVs with timecode?
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[Steve GERGES] “why should the Avid codecs resolve my problems !??”
because if you encode to the Avid codec when you create the QT, it drops into the Avid without the Avid having the chance of doing a level change on import (which it can do).
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I’ve had a handful of that kind of impossible task come across my path and very quickly learned to take the approach of saying that I wasn’t the right person for the job, pointing out that they’d only get inexperienced crew for that kind of money and wishing them the best of luck with it. A couple of times I’ve then been reapproached a couple of months later and effectively given the option of writing my own check! At least once it became apparent that the person contacting me was new to the business and didn’t know any better and their boss/supervisor shouldn’t have put them in that position.
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Rec.709 is the international standard for HD, scary technical document here: https://www.itu.int/dms_pubrec/itu-r/rec/bt/R-REC-BT.709-5-200204-I!!PDF-E.pdf
One important thing is that black level is at 16 and white level is at 235 on an 8bit (0-255) scale. The scopes in Color ought to be right, but it’s worth checking how they’re set up.
Monitors have to be calibrated regularly for you to be sure that what you see on your monitor is going to match what anyone else sees, so you should check how well your Barco is lined up.
If your monitor and scopes are right, then the problem is probably the settings for how you make the QT.
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AFAIK Audacity can work at 48kHz, so it would probably do the job (not tried it myself though so I can’t really say for certain).
What are the “pro mics” you’re planning to use? A lot of professional mics are condenser designs which need phantom power. If your M Audio interface doesn’t have it (some do, some don’t depending on the model) you can get separate phantom power supplies reasonable cheaply (be careful with phantom power – you can fry some mics that aren’t designed for it).
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Ha ha ha… Godwin’s law in action 🙂
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In trying to work out where I heard that (possibly dodgy) information, I’ve just found this https://vimeo.com/18401652
which does support the assertion, it shows that iso 1600 is much better than iso 1000, etc, so I think it’s true… (you need Magic Lantern to get the intermediate settings)Some contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
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I read somewhere (on another forum, but I can’t find the thread at the moment, doesn’t that always happen) that the 550D gives the best results at multiples of 160iso, so 160, 320, 480, 640… for some arcane reason. I haven’t done any tests myself to check that out yet (so it could be rubbish).
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I would think that that interface would be good enough quality, but I’d check a couple of things: can you record at 48kHz and can you record unlimited durations? The M-audio box ought to do those things but it depends on what software you’re going to use to capture with.
Also put some thought into how you’re going to sync up the sound to the pictures.