[Darren Edwards]

If you have Adobe Audition, a quick way to ready your audio
for TV and film is the following:

– Export your audio as one .WAV file.
– Import it into Audition
– Apply: Effects/Amplitude/Hard Limiting, and set a value
of -8db (or whatever) in the automatically pre-selected top
box ‘Limit Max Amplitude to…’
– Save as .WAV and reimport back into PPro (or during your
initial export keep the ‘add to project’ box clicked so it’ll
automatically update itself in your asset palette).

Whatever your audio app is, it’s a ‘limiter’ that you
need to be looking for.

Traditionally, -1.5db used to the norm limit for TV and -6db
for film, although this is quickly changing now that people
have replaced their rinky-dink portable TVs for 7.1 surround
mega-cinemas capable of sub-bass frequencies, etc. It’s
still a useful reference to work to though, and if they
limits are slightly loud, then the broadcaster is usually
capable of turning it down and conforming it for broadcast.

Whatever you do, though, don’t ever rely on PPro’s
‘Broadcast Safe’ filter as an all-in-solution.

Darren.

x-gf.com

[Darren Edwards]

A digibeta workflow is cheaper and quicker than a HD one
and its 4.2.2. footage will up-res to HD to an agreeable
(for now, anyway) level if needed. But given the (budgetary?)
choice, what’s there to think about? Tech people who say
‘HD looks like a well-shot digibeta shoot’ are normally
comparing the digi to a probably badly-shot HD film.

I’d go with HD, unless the HD camera is actually a mid-range
HDV camera with limited options, i.e. the Z1/Z1e.

D.

x-gf.com

[Darren Edwards]

‘Online’ is universally thought of as the process of bringing
everything together and/or replacing footage etc for the final
edit, but there’s another definition of ‘online’ too – used by
friends of mine at the BBC, anyway.

An online editor is also someone responsible for pulling
together replys and montage sequences etc. which are quickly
required during, for example, a live sports program. In the
BBC’s case, usually on a Quantel suite.

Learning off-/online is now mandatory with HDV becoming
affordable. Although, media/asset management – which
is what it is all about, really (film, music, CG,
HD) – is evolving quite quickly, and affordable
render farms will also change the face of off-/online.

D.

x-gf.com

[Darren Edwards]

Reading this a week or so later, I’m now fully
customised. Although the bulletin all-in-one
page was appreciated.

D.

x-gf.com

[Darren Edwards]

Which version of PPro are you using, by the way, because the
‘offline’ info available upto ver. 1.5. is not particularly
useful; you tend to go around and around in circles when
reading it.

D.

x-gf.com

[Darren Edwards]

Mr Goohan,

What you’re describing is the offline-online process, and
PPro is as good as any other edit-suite for it. As Adobe
were quick to point out, some of the rushes from the last
Superman film were ingested into PPro for offline editing.

There is a little bit of studying to do, though, before you
get started, because, to understand offline-online, you also
need to understand Timecode (TCR), Edit Decision List (EDL)
and, eventually, Batch Capturing.

PPro’s Help is stacked with info. Open Help and do a Search
for ‘Offline’ and ‘EDL’. What you’ll learn there will stand
you in good stead for any pro edit-suite in the future.

Darren.

x-gf.com

[Darren Edwards]

The shutter on the DSR was 1/50 too.

I like the judder, I simply wasn’t expecting so
much of it.

My query was about After Effects’ use of interpolation.

Darren.

x-gf.com

[Darren Edwards]

For SD work, any of the following will be fantastico:

https://www.jvcpro.co.uk/prod/monitors/index_html#mo15

For a 15″, without any concession, you’ll be looking
to pay about

[Darren Edwards]

Be careful with interpretation presets when it comes to
After Effects, too. AE will normally default to an interlaced
‘Lower (or Upper) Fields’ first for any imported footage –
which is fine if you’re working with interlaced, but not
needed if you’re working with progressive. If you’re working
with an uncustomised copy of AE, and progressive footage,
always give your imported footage a right-click/interpret
footage check before working with it. 🙂

Darren.

x-gf.com

[Darren Edwards]

Zvi,

If Blast’s suggested software doesn’t work, spend
some money on the way we solve this on our studio.
Buy another VHS recorder and a timecode generator.
Whilst duplicating the cassette the timecode box
will insert a TCR signal which can then be batched
captured in PPro like anything else.
One example: https://www.vtx.co.uk/time/v50trg.htm

Darren.

x-gf.com