Colin Mcquillan
Forum Replies Created
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[Ryan Krickow] “how exactly you are getting the audio clips to sync up with the picture once you use the match frame function”
In the timeline I click on the clip so it is highlighted, then hit ‘X’ which marks an in and out at the beginning and end of the clip, I then put the playhead at the beginning of the clip and hit “F” which loads the clip’s source video at the first frame used of that clip into the viewer. Now with the viewer window active, mark an In point. then F10 and voila!
[Ryan Krickow] ” I’m just not clear on what is meant when you say “patch your tracks”
What i mean by this is setting the target tracks in the timeline, as to where the audio is going to go when you hit F10. First unpatch the Video, then move the audio (A1 and A2) the the tracks that you want the audio to be edited to.
[Ryan Krickow] “Also, do you typically merge the production sound mix with the picture or link it?”
Merge or link? not sure I understand what you mean by this? During the edit I keep the production mix in sync with the line cut, unless I’m covering something, or offsetting the audio edit point and video edit point, if thats what you mean.
I also send the line/production mix with the iso’s along to audio post, if thats what you mean.[Ryan Krickow] “what do you usually do with the background ambience track? Do you just leave it on the drive or lay it down on a track of its own? Did you have any music or sound fx tracks in your timeline?”
I put everything I have down. Music, SFX, ambience… everything. If your location sound guy recorded, say, 30 sec’s of room tone/location ambience, I’d throw that patch of audio on a track somewhere within the scene, perhaps off the top so the audio guy sees it, and knows where to look each new location.
How I distribute the audio depends on what it is I’m working. Main thing is be organized, and be consistent.
I do most of my own sound mixes, so I might be a little more anal about this than most video editors. Having worked on both sides of this equation I know how much one can save by being organized at this stage, and it is faster and easier to organize this stuff now, than sending a messy jumbled OMF along to the sound guy to sort out.
Colin McQuillan
Vancouver, B.C. -
[Ryan Krickow] “In that case would it make sense to cut the movie with the production sound mix and then once the picture is locked add all the additional audio tracks to the timeline before exporting the OMF”
I am currently working on a project that came with a line-cut that contained a live mix, and 6 ISO reels, each with 4 channels of ISO audio.
I cut the show using the Line mix and ISO video, then once locked and ready for audio, I went back and pulled the ISO audio into the timeline. It’s a bit of a tedious task, but as long as your timecode is good, not very difficult. just ‘x’ you clip, hit ‘f’ to load it, patch you tracks and F10, then next clip. Once on a roll it moves along quickly, and much better this way than trying to edit your vid with many many audio tracks that need to stay in sync underneath. For speed in this stage, I go through the sequences one ISO at a time, so Im not having to change the target tracks each clip, just once for each ISO.
Use the same tracks for the same reels, no matter what video track the ISO is on IE: map your audio something like this
A1 LINE 1(L)
A2 LINE 2(R)
A3 ISO 1 T1(L)
A4 ISO 1 T2(R)
A5 ISO 2 T1(L)
A6 ISO 2 T2(R) so on…..Your audio guy will really like you for this, and it will save him lots of time organizing the project, thus save you/you producer money.
Colin McQuillan
Vancouver, B.C. -
Try unloading your ram once in a while
go Mark -> Ram Preview -> Clear Ram Preview
I find this helps out bigtime when ever my system slows down while in Motion. It goes from stutter to snappy right away.
Colin McQuillan
Vancouver, B.C. -
NP, glad I could help!
Colin McQuillan
Vancouver, B.C. -
[Erik Naso] “Don’t know if this matches any other prices. I get a email blast from OWC and this one was part of it.
“$90 cheaper than the Dell store
Colin McQuillan
Vancouver, B.C. -
Experimentation is the key with something like this…
And if you have soundtrack pro available, I’d look to do it there.But,, in FCP try adding the 3 band EQ, and drop down the highs, add a compressor play with that a touch, adding to the ratio, and to sell the effect you will need some SFX underneath as-well. if it were a POV after an explosion, I’d add a steady ringing, and some type of droning bass effect, as well bring up the lows of the voice, and use the higher mid range to bring the voice through the bass tones just a touch, keeping the high range low.
There’s many many directions you could go.. all depends on the scene and feel you are after.
Colin McQuillan
Vancouver, B.C. -
[lisa rolley] “My second question is about RAM”
Very easy to install, and you will save a bundle. *Just be sure you install in the right pattern, apple has an online page on this, as do some of the venders. FCP prefers it installed a certain way.
My Mac Pro is full of ram from Crucial, and my Macbook Pro is full of ram from OWC. Both running great and saved me $$$hundreds$$$
Follow this link for a guide on buying 3rd party ram, and where to get it from:
https://guides.macrumors.com/Buying_RAMColin McQuillan
Vancouver, B.C. -
[Josephine Mackay] ” I also divided up the timeline into 15 minute segments (using in and out to designate segments to export)”
I could be wrong, but I believe OMF export will export the entire sequence regardless of in and out points. And the only way to omit specific tracks from the export is by either deleting the track, or by selecting the ‘Green’ speaker button to the left each audio track, making the ones you don’t want appear ‘grayed out’ in the time line.
2gb = At 48k 16bit you should get a max of 6 mono 1 hour tracks. (3 stereo, or 1 stereo and 4 mono…)
At 48K 24bit cut this to about 4 mono tracks.
With a 68 minute program, you may only be able to use 5 mono tracks per OMF export.Colin McQuillan
Vancouver, B.C. -
[Russell Lasson] “(1 to 5 seconds is normally adequate)”
I’d go closer to 5. Small handles make sound guys very very sad.
[Russell Lasson] “divide the project up and export tracks 1-2 first, then tracks 3-4 in a different OMF, then 5-6 etc. “
Simple way to do this is by turning off the green light (not mute) to the left of the corresponding audio tracks in the timeline that you are not exporting. OMF export will only export the active audio tracks.
Colin McQuillan
Vancouver, B.C. -
[Steve West] “does anyone have any idea how I keep “unenabling” clips?”
Control-B is the clip enable/disable short cut. This one gets me once in a while if I’m flying along, as I often use Control-V to slice up clips.
Richard’s suggestion of turing off the shortcut is a good one! I’m surprised I haven’t done that myself yet!
Colin McQuillan
Vancouver, B.C.