Chris Harlan
Forum Replies Created
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[Jim Giberti] “And from a production standpoint, it couldn’t possibly interface with Motion worse than fcpx, so nothing lost there.
“Definitely, Man. Where ever I end up, I want Motion along for the ride. Sorry about the trouble. Our work is hard enough without having those kind of technical nightmares.
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[Paul Mullen] “I suspect this would be a bit of a hassle with Avid, but wondered if anyone else has experience of this”
To the contrary, I’m finding moving media around with Avid to be a snap. In fact, for the fun of it I’ve been bouncing around between FCP 7 and Media Composer timelines using the Boris conversion tool, and it has been remarkably easy. Avid thinks of media a bit differently, but not as differently as FCP X. I find it a delight.
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Fascinating. Any idea what the loudness percentage relates to? How would I set that for +/- 10db?
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[David Powell] “Purchase the book “Avid Agility”. Between that and Lynda.com training, you’ll be set.
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Seconded.
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[Lance Bachelder] “if it wasn’t for the limited audio tracks. Just can’t understand why Avid has never improved this? Since I do a lot of animation and sound design as I cut I need more than 16 tracks or 8 stereo pairs – bums me out. No I don’t want to work with mix downs…”
Agreed. That’s definitely one on my current sore points. If I’m delicate, I can live with it. But I’m hoping it is a limitation they will get over relatively soon. As to Smart Tool, you are right–it’s fab. And, man, 6 is a whole lot better than 2.8, which is about where I left it. And, I think I just did not appreciate the rest of the trimming tools at the time. Maybe I’m just a more mature editor now, but I really am enjoying the keyboard trimming. No skimmer, of course; but you can’t have everything.
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[Tom Wolsky] “”Universal peak warning is quite useful, but only if you can set it to monitor peak other than zero. More me, its -10DB.”
Because you wrote that, and that’s not a feature available in any version of FCP, so I thought you were using something else.
All the best,
Tom”
Sure you can, Tom. You’re just not thinking it through. If your goal is to monitor for a Peak of -10DB, you temporarily raise the volume of your sequence from 0db to 10db, you then have a de facto monitor for a -10db. You can mark Peaks at that point, and the small vu meter will also let you know–as you are doing repairs–where your problems are. You can also vary the volume between say 9.75 db and 10.25 db to get a good sensed of the degree to which you are in or out. Then, when you are done, you simply drop the volume of the sequence back to 0. I’ve been using that trick for years, and it is far more sensitive than you might think. Because I do promos and compressed, maximized volume is a big part of that, I focus a lot on ridding and balancing the peak. I’m guessing that is not as much of a concern for you, which is why you’ve never stumbled on this process.
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[Tom Wolsky] “What have you been using? Not legacy FCP.
All the best,
Tom”
Why on earth would you say that? Yes, FCP 7. Same process for several years now. Never had anything kicked back, and I face some pretty stringent broadcast requirements.
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[Jeremy Garchow] “[Chris Harlan] “Can you apply normalization to the entire timeline?”
You can apply a filter clip by clip, or compound and apply, but there’s no “normalize” filter. Just gain. And you can’t really copy/paste single effects quite yet.
[Chris Harlan] “And, can you raise the volume level of the entire timeline by, say, 10DB to monitor the peaks?”
There’s no master bus mixer, so you’d have to compound to raise the global level.
There’s also a “loudness” enhancement available on every clip, you can then click “auto enhance”, but it’s automatic and there’s no control. It’s not all the way awesome.
“So that clears that up. Unfortunately, its another reason that X isn’t yet useful for me. Universal peak warning is quite useful, but only if you can set it to monitor peak other than zero. More me, its -10DB. And normalization is very useful in making sure that you are meeting strict broadcast standards.
Oh, well. Just one more thing.
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[Jeremy Garchow] “Peaks (or peeks) are marked in red.
Gain is a filter.
“If its a filter, is there a way to apply gain to the entire timeline at a set peak level? Can the Peaks markers be set to something other than 0, say -10DB?
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[Jeremy Garchow] “Peaks (or peeks) are marked in red.
Gain is a filter, just like the normalization gain applies a filter in FCP.
No, it doesn’t work exactly like FCP7 does.
“Cool.
Can you apply normalization to the entire timeline?
And, can you raise the volume level of the entire timeline by, say, 10DB to monitor the peaks?