Chad Brewer
Forum Replies Created
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Paul is right. I’ve learned that jumping out of FCP into Soundtrack Pro and exporting back into FCP for things that Soundtrack Pro was designed to do that FCP was not designed to do can save you time in certain circumstances.
chad
https://www.televersions.com -
True, without Apple addressing this yet, it is still a manual effort (just like pumping gas.)
Check out this helpful chart I found by someone nice enough to take the time.
It got me in the ballpark for doing video speed vs. audio pitch adjustments. Once I was in the ballpark, it was minor adjustments after that:Hope this helps.
chad
http://www.televersions.com -
Jeremy’s your man on this.
He’ll respond while brewing his morning coffee.
Stay tuned for his response.Damnit, I posted again!
I need to leave these things to the trained professionals!chad
http://www.televersions.com -
I’m sorry. Jeremy’s tutorial is about native MXF editing – probably not applicable for the problem discussed.
I will stop posting until I am in crisis mode.
Jeremy will want to kill me.
I will buy him lunch. We both happen to eat lunch. I can find him.chad
http://www.televersions.com -
Jeremy is lying to you about his love for having many clips named as “clip 1.” That’s too easy for him. His favorite clips start with things like “0027J7.”
That is why he has a great tutorial on the COW about workflows to circumvent the labor involved in such cases. Check it out!I have no link to it right now. He will provide.
chad
http://www.televersions.com -
Frank,
Post this in the AJA Kona forum and someone will surely start attacking your problems with you.chad
http://www.televersions.com -
Thanks! for the input Bob.
If you’re ever in Chicago, look us up. Our chief engineer here might as well be your twin brother you never knew about – old school, but with that new school know how. We take no prisoners here.chad
http://www.televersions.com -
Bob, I’m a friend of Jeremy Garchow. Our companies work together in Chicago. Our facility has both Panasonic (BT-LH1700W) and TV Logic monitors because it seems that the TV Logic ones are the only ones doing HD closed captioning support which we need. Yes, it sucks working with CC. Sony’s monitors suck. Flanders doesn’t want to touch CC right now. I don’t blame them.
What are your thoughts on TV Logic as a whole and what Panasonic’s best LCD is opposed to plasma for “consumer grade” client viewing, big or small in size.
By the way, we’re not using them for color grading, we don’t do that.chad
http://www.televersions.com -
Rick,
Did my response help in outputting to BetaSP? The thing to understand is that FCP is all digital and anything you bring in to it is then digital, even if from a non-digital source, hence the term digitization. In order to master analog or digital tapes from any NLE for broadcast and not have the broadcaster reject your tapes, it’s key to understand the differences between digital audio (in this case in FCP) and analog audio and how they translate on different VTR’s.
Personally, I’ve never understood why FCP’s default tone is set at -12db. Professional standard is either -18 or most commonly -20 as it allows more headroom.chad
http://www.televersions.com -
For broadcast on an analog tape format like BetaSP, here’s what you want to do.
Set your tone in FCP for -20db. That’s professional standard.
That digital tone should come into your BetaSP deck, translated to 0db analog.
Adjust your program audio around this reference level so that audio peaks occur between 0 – +3db analog.
General audio program levels should also around -3 – 0db. Broadcasters usually look for no more than a 6db dynamic range for analog tape formats…You can get away with having the audio hotter than this as long as it doesn’t distort, but peaking around +3 is the professional standard for ANALOG. Keep in mind, these things are a bit different when we’re talking about digital formats.chad