Replies – Forums – Daniel Raim

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Daniel Raim
September 24, 2013 at 6:43 pm in reply to: High quality transfer – Hi8 to FCP7 – Digital8 vs. Canpopus

Hey, Shane…thank you for the info! Glad to hear the Digital8 is the best option. Looks like I can purchase a DCR-TRV350 Camcorder for about $150 from ebay. I’ll also spring for a Digital8 Head Cleaning cassette.
Daniel Raim
October 20, 2012 at 4:11 pm in reply to: Feature film recorded in 44.1k

Hi Igor, thank you for the feedback. Agreed, we did all our resampling in Apple Soundtrack Pro and it seems to work just fine.

Dan
Daniel Raim
October 20, 2012 at 4:09 pm in reply to: Feature film recorded in 44.1k

Re: The absolute safest bet would be to transcode all your material to one single format and edit with that.

Thanks, again Jean-Christophe, for your feedback and support. We did all our transcoding using Apple Automator and Apple Soundtrack Pro. The re-linking happened automatically and so far everything seems to work just fine.

Dan
Daniel Raim
October 10, 2012 at 6:57 am in reply to: Feature film recorded in 44.1k

Hi Michael,

Many thanks for your feedback! I noticed that all the lavs where recorded in 44.1k/16 and the boom at 48k/24, so I used Apple Automater and resampled all the 44.1K files to 48K in Soundtrack Pro.

So now I have fixed 48k and a mixture of 16 and 24-bit audio on the same FCP 7 timeline.

At this point, should I set my timeline to 48K/24-bit and just inform the sound mixer that I will be delivering a multi-bit rate OMF?

Thanks so much!
Daniel

(PS, Sound recordist finally delivered the missing audio!)
Daniel Raim
October 10, 2012 at 6:51 am in reply to: Feature film recorded in 44.1k

Hi Jean-Christophe,

Many thanks for your in-depth reply. Digging deeper into the audio folder, I noticed that all the lavs where recorded in 44.1k/16 and the boom at 48k/24.

I decided the best thing to do was use Apple Automater and resample all the 44.1K files to 48K. Although, now I have a mixture of 16 and 24-bit audio on the same FCP 7 timeline.

At this point, should I set my timeline to 48K/24-bit and inform the sound mixer that I will be delivering a multi-bit rate OMF output?

Thanks so much!
Daniel
Daniel Raim
October 9, 2012 at 4:20 am in reply to: Feature film recorded in 44.1k

Thanks for the input, Shane. I think the sound recordist is gonna get a bit more then a smack since an entire shoot day of audio is missing (so far). My next post will be about ADR!
Daniel Raim
September 25, 2012 at 6:15 am in reply to: sub-clip a multi-camera clip/sequence

Thanks Neil – that’s good to know! Too bad about the timecode as I may need to conform back to the original 5K camera negative for color grading, and final output.

Best,
Dan
Daniel Raim
August 6, 2012 at 6:49 am in reply to: Rec 709 to XYZ – After Effects vs OpenDCP vs Resolve Lite

Hi Angelo and Tero – Many thanks for the feedback and suggestions.

I will try the JPEG2000 plug-in and let you know how it goes!
Daniel Raim
March 5, 2012 at 9:48 pm in reply to: Compressor vs FCP for QT with 5.1 Surround

Thank again, Mark. Just tested the QuickTime and everything seems to work great!
Daniel Raim
March 5, 2012 at 8:31 pm in reply to: Compressor vs FCP for QT with 5.1 Surround

Thanks so much for the feedback, Mark!

Another quick quick questions: with all tracks set to dual mono I should set the Config to: Discrete Channels?

And what if I decide to to pair track 7&8 as “Stereo” – do I still set Config to: Discrete Channels or Channel Grouped?

Thanks again!

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