[Craig Alan]

We’ve used the Audio Technica AT4053b and it sounds really nice. However, it is quite directional and the boom operator must keep it aimed correctly or you will have drop offs to deal with in post. If you can, have the boom operators wearing headphones during the shoot. Even though it is directional you will still pick up any and all unwanted sound from the environment. To boom correctly requires a lot more coordination than wireless lavs. The cam operator, lighting designer, boom operators, audio engineer, talent and director all need to work together to pull it off. Even then you might need to use some ADR so be sure to capture some room tone while you are on location. Even if you do not record dialog ADR the room tone can fill in gaps if say a part needs to be deleted due to an unwanted noise. Make sure as many people as possible are monitoring the sound with headphones. You might also have some means to playback the scenes with a good sound system on location so you can hear any problems. Another thing to consider is that some people sound boomier and/or muddier than others even with the same recorded levels. So the boom operator might practice with the talent before the shoot. Because you are aiming down at the subjects, any prop or set movement that generates sound will be unnaturally amplified. You might consider a Zepplin style windscreen as well. Make sure your talent is expecting multiple takes of each scene. Be sure to have barn doors and some flags to control shadows generated by the boom. Try to use stand-ins to work out the lighting so that the actors don’t become exhausted. Even basic sound levels can be pre-set but obviously adjusted for each actor. The audio engineer should know when an actor’s voice level will increase dramatically and determine when to lower the levels in anticipation. The mike too can be pulled back for those moments.

MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Panasonic AG-HPX170, Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Is your media and/or system drive over 80% full? Is anything rendering in b.g.? Do you have too many apps open for the amount of ram you have? Are you using a new codec? Have you tried trashing FCP permissions? Have you tried repairing permissions on system drive? Try disc warrior on media drive and or system drive (Back-up first).

MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Panasonic AG-HPX170, Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

No matter what type of mike you use the basic physics is the same. They need to be close and directed at the speaker’s mouth. A major variable is the talent. If the talent knows how to use a mike that helps a lot. If this is run and gun and not professional/experienced talent then I would go with the clip on lavs. With those you can experiment with where to place them and basic settings. Then when you actually use them in the field you can adjust the levels to the speaker.

Booms require a boom pole operator for each mike. This is a difficult job that requires skill. For an interview I do not see the point unless its in a crowded news event and you do not have a feed from the mike stand.

MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Panasonic AG-HPX170, Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

This might be a stupid question but why not just put the movie on the Iphone rather than using it as a key screen?

MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Panasonic AG-HPX170, Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Hi Andy,

I have no problem with FCP X being more democratic. In fact as a teacher I chose it because I need a starter program and heard from other media teachers that kids are enjoying FCP X and producing “projects” quickly. I might reverse course and go with PP, but for now I’ll use FCP X and Avid MC (for advanced students). Need to learn both.

[Andy Mees] ” a favored selection that you are choosing to preserve.”

Thanks for that. I just need a way to explain each elements in my own mind and to teach it.

Subclip makes more sense to me, but I”m willing to learn a new language.

If I had wanted to rename things which I didn’t, I would have used ‘favorite’ in place of ‘default’.

Not hear to complain. Again thanks for getting me back on “track.”

MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Panasonic AG-HPX170, Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks Andy,

What gets me is it acted like it took the edit but then it just didn’t save. At least give me an error message pop up.

I also don’t get why its called a favorite.

But at least i can get back to learning now. So a favorite has a fixed I O points with no other favorite allowed within that range within that clip. So if instead I can use keywords for an unlimited variety of “subclips” then I guess favorite would be the favorite among them? The one without a name. I assume even a favorite can be adjusted once on the timeline?

MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Panasonic AG-HPX170, Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

I tried going back to master clip setting new IO points and saving with F key or star button. Nothing. Any ideas what is wrong.

MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Panasonic AG-HPX170, Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

OK I emailed the above. Obviously from the article it can be done. Just a question of copying files to KI PRO rather than the other way.

MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Panasonic AG-HPX170, Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Just make sure you test it out before the shoot. You need to learn the interface and set the Ki Pro to the right settings. Any problems call KiPro support and they will help you through it. Incredibly simple work flow.

MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Panasonic AG-HPX170, Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks.

MacPro4,1 2.66GHz 8 core 12gigs of ram. GPU: Nvidia Geoforce GT120 with Vram 512. OS X 10.6.x; Camcorders: Panasonic AG-HPX170, Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.