Daniel Stone
Forum Replies Created
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Are you delivering raw footage or a finished product? Those specs are typical for broadcast delivery and if you’re delivering a finished product you would convert to those specs at the end rather than filming in that format.
We film and edit a lot of broadcast projects in 1080/24p (23.98) with 8-bit DLSRs (5D, FS100, etc) and deliver in 1080i, 422, 50Mbps (via DG FastChannel) with no problem.
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Sorry for the delay – for some reason it’s insane in the office. This is usually our slow time but thing are blowing up this year (not complaining).
We fixed the problem! We took our sound guy’s advice (he’s a freelancer with gear) and bought 3 sets of the Lectrosonics 100 series. In doing research on the G3 system, we found repeated complaints about the same problem we’re having and the solution was always more involved than we often have time for on set. The Lectrosonics have so far been very plug-and-play with not a single bit of interference. Of course they were twice the price (literally) but the aggravation saved on set is worth every penny.
We try to always outsource audio to a professional sound guy with gear. These are just in-house systems we bought for jobs with smaller budgets.
Thank you all so much for taking your time to offer help and advice. I really appreciate it.
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Thanks for the reply, Steve. We do and it doesn’t seem to help.
What does help is making sure the RX and TX can see each other. That means mounting the TX units to the front of the talent and hanging the RX units on the front of the camera. This kind of defeats the purpose of wireless, though.
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Ha, love it! I’ll give it a try. Thanks for the help!
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I’m using a tiny bit of compression on the final. Just enough to level the VO a bit.
Do you think bringing up the level of the non-VO parts with compression and limiting is the solution?
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I see. More difficult than I thought.
Forgive me if I sound like a 10 year old, here, but I very much appreciate your help:
Our spot got rejected because the “Average dBFS” was too low (-33 db). Yet, the LKFS average was -24 LKFS (as measured by Premiere’s Loudness Radar). I only have +/- 2 LKFS of room before the spot gets rejected for that. So, how do I raise the Average dBFS without raising the LKFS? Because once I hit -21.9 LKFS, my spot gets rejected.
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Thanks so much, Eric. Great article.
This might seem like a stupid question but how do I measure average dBFS?
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Figured it out – in case anyone else is having this issue.
My 720p timeline frame rate was set to 59.94 and my export frame rate was set to 23.98. Not sure why only one instance of 3 clips looked choppy but whatever. Fixed.
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Thanks for the reply, Tim.
I’ll clarify quickly. The source footage is 23.98 and is on a 23.98 timeline. Output is to 23.98 (any format). All of the footage was captured at the same time, on the same camera with the same settings and only a couple of the clips render with that choppiness.
Dan
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Sorry, I meant “mids,” not “kids.” My Mac autocorrected me.