Bouke Vahl
Forum Replies Created
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Not sure what is best or most feature rich, but you can spend between free and high 4 digit numbers on software.
What i do know is that you do not want to do subtitling in Avid.
A standalone tool is way easier, but comes with a learning curve.
(there are a lot of handy tools in a subtitle program that cannot be found in a text editor)To get the subs into Avid is another story. I hate the subcap effect for final output (it does not look good, is buggy as hell especially on Mac, but it does do the job for screeners on PC.)
AAF would be nice, but not sure what software does this.
My trick is to use a QT with alpha if i need to do in-vision subs.
If it is a one time off, outsource. If you want to dive into it yourself, do have a look at my subtitler:https://www.videotoolshed.com/?page=products&pID=12
But do remember it’s a craft by itself that needs to be mastered, where the main focus is jiggling with language, not technical stuff.
A beginner can easilly spend a couple of days on a feature and still don’t get it right.Bouke
https://www.videotoolshed.com/
smart tools for video pros -
Is it QT or MXF you are delivering?
For QT, it’s easy, just import the cip into FCP and use the ‘modify timecode’ command.
No need to export, the file you’ve imported will be changed.
(the video itself does not change between df and ndf, just the timecode…)Bouke
https://www.videotoolshed.com/
smart tools for video pros -
well, you could try my subtitler:
https://www.videotoolshed.com/?page=products&pID=12But i don’t understand why Belle Nuit is getting buggy. It’s not that it has changed recently…
Did you contact Matthias?hth,
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
What is so wrong with the approach om making a good mix with the levels as they are, and the amount of play you have in FCP?
The way i see it, it’s just a matter of putting your monitoring a bit louder, and you can forget your build in audio meters (which you don’t need anyways, as you’ll be mixing on your ears without any risk of overmodulating).
If the mix is nice, most of the work is done…
If you must amplify your sound, as Michael said, don’t normalize, but amplify. To retain TC, put the BWF’s in a QT container, add timecode and process that.Bouke
https://www.videotoolshed.com/
smart tools for video pros -
You can reconnect in FCP after moving clips, but follow the rules:
NEVER EVER rename or alter the source files, and keep the relative pathnames.
If you need to reconnect, you then only have to point FCP to one clip (it will ask for it), and it will find the rest by itself.If you’re afraid of this (and with the media management of FCP i can understand that), media manage your current project to your new drive.
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
I don’t know of an app. that does this, but there probably is one..
Nevertheless, the sound was recorded low for a reason. 24 bits has a HUGE dynamic range. The recording was probably made with that in mind, to avoid clipping at sudden peaks.
My suggestion is to check with sound post. Chances are they have no problem adjusting the levels.
For you that means lowering the rest of the sound to get a good sounding mix, no matter the levels. (And of course stay in 24 bits!)
For screeners, just gain the mixdown…hth,
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
There is no reason in the 48 vs 96 to get out of sync.
But really, why do you need 96Khz? Are you ears good enough to hear frequencies above 48K?
I’m a bit deaf at the moment, my hearing goes up to 8 Khz…
I admit, that’s a bit low, but i doubt it very much you can find anyone amongst the seniors that can hear above 14Khz.Besides, how exactly are you going to distribute your sound @ 96Khz?
Last but not least, scroll back a bit and you find a quazillion answers about proper sync….
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
That video is almost 12 minutes long.
I cold explain the process in 25 lines of text, readable in less than a minute…What is it with these stupid videos that people like?
Does everyone but me has actually time to look at something that could be described in a simple manual way shorter, with an option to fast scan if it is indeed well written?Only reason i would watch is to find out if anything is said about Avid crashing all the time using PPmulator.
I have a strong feeling it won’t and i’m NOT going to sit out 12 minutes to find out i’m right.
If someone does it and there is a solution, i’ll watch it, but to make my day write it down in 21 words or less.
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
well, you can have timecode on any recorder if you have an audio channel to spare.
Use that to record LTC (audio timecode).
Good cameras can provide that, so if you put that on a free channel of your sound recorder you are good to go.If the cam does not have TC out, you can use Jumpstart on an Iphone (or any Mp3 player with an LTC signal, i can provide that), to be master clock to feed both cam and sound recorder.)
Don’t be afraid of drift, that does not matter as both devices get the same signal!Avid can read this signal, for other NLE’s you need this:
https://www.videotoolshed.com/product/26/fcp-auxtc-reader
(and there is a newer version coming, contact me if you want to toy with it)
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
eer, it is mac and win. But the mac version is paid as it can write back to XDcam (and altering the xml and stuff to make it a valid XDcam disc)
The Canon support was added for the BBC.But your comment on reshoot is a bit strange. For the price of a reshoot you can buy a good PC.
For the price of my Offloader Mac you can buy a decent second hand PC< convert the files and be done with it.
Or you can learn to use open source tools, even script them and be done with it for free.
Bottom line, you may be right about getting the correct workflow, but suggesting a reshoot is way beyond reason.Bouke
https://www.videotoolshed.com/
smart tools for video pros