[Dan Sudkamp]

Thanks for the suggestion! That’s the way we are leaning.

(I wasn’t sure what would be a more appropriate forum from the list, and was hoping that there might be other Audition users who had attempted a similar setup with their booths so that’s why I posted it here. Sorry!)

[Dan Sudkamp]

Thanks for the reply, Bruce!

We will definitely continue to go wired whenever possible, but lately have had a series of situations where wireless was necessary, hence the investment in the AVX.

We do have a clapper but rarely use it. 90% of the time I just run the footage through Pluraleyes and it does the job fine, but because the Zoom H4N is pushing out a single stereo file it syncs them as one file, so they remain slightly out of alignment due to that latency. I guess I can just start manually separating the tracks before sync, rather than after – that is probably the only solution with our current hardware loadout, as I haven’t figured out a way to separate the tracks inside the Zoom.

[Dan Sudkamp]

Ah, I see, sorry, I misunderstood your initial post to be saying that the preview images had to be pre-comped prior to animation. Did not consider that the keyframes would remain in the original comp. Still learning things about AE every day, thanks for the patience and the assistance!

[Dan Sudkamp]

Thanks Dave, that makes sense. Unfortunately on my current project I’m too far along to apply that method, but will definitely do it that way in the future. Much appreciated!

[Dan Sudkamp]

Thanks Richard and Steve for the feedback. Unfortunately we are shooting with Canon 7Ds without any accessories to allow XLR input. I won’t be100% sure of the environment until we get there, but I would expect it to be a classroom, and I too was worried about potential reverb issues in that setting.

Assuming we are able to keep the groups at 3 students or less, we can just lav them + the adult and run it all through the H4n’s. Was hoping to keep all the audio on one device but quality is more important than ease of use, I guess. Thanks for the help, guys!

[Dan Sudkamp]

Aaaaaand I answered my own question. As soon as I rendered the timeline, the changes I had made took effect. And then I remembered that I’m working with proxies, and while it does make sense that changes to the RED Source Settings aren’t taking effect on the proxies, it’s a frustrating issue that kinda defeats the purpose of using the proxies in the first place, at least for me.

I realize that I probably shouldn’t be using proxies for color grading, but with my relatively outdated system it’s the best solution for me to work in a timely manner. Oh well, next time I’ll make those kinds of adjustments prior to proxy creation. Thanks anyway, and hope this revelation helps someone else!

[Dan Sudkamp]

This was my best guess also – I have an e-mail out to the DP hoping for some info that might confirm that. As I continued to edit, I noticed the ghosting on a few other shots that were pointed at windows, which has me thinking an ND filter in a matte box is the culprit. A bummer, but I just went ahead with the edit and cut around the bad clips.

Thanks for the response!

[Dan Sudkamp]

Thanks Chris. Unfortunately this in in the raw footage itself. But thanks for the thought!