David Patterson
Forum Replies Created
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I caved in and bought Neat Video’s product. I really like RedGiant’s tools, but their Denoiser vII is insanely slow. Time is money, and I simply can’t afford to wait for MB Denoiser. That’s not to say Neat Video is fast (hardly!), but it is much, much “less slow” than MB Denoiser.
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If the luxury of perfect recording environment acoustics isn’t available, definitely consider audio surgery in post. When no other options exist, I employ parametric EQ, noise filtering or audio gate tools in Adobe Audition, and find they can go a long way towards minimizing background noise issues. I think your audio could easily be improved in post.
I advise not trying to remove the background noise completely, as this will encroach on frequencies of the dialog and some natural ambience that you may need to retain. This process requires experimenting with settings to get good results, so do not expect a quick and simple fix. However, in cases where you are stuck with bad background noise, some fixing in post is certainly worth trying.
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Ed – Did you get this issue sorted out? I have read some posts that some SD cards don’t work well with the 552. I just ordered a used 552 and would like to know about issues to be aware of, so please post your results if you have anything to share.
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Paul – Thanks for the tip about changing a video clip to an adjustment layer. Great trick!
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FWIW, I believe you can set your previews to a lower pixel resolution, which can speed up editing time on a slow machine. My program monitor window size is always smaller than the final image resolution. I often edit at 1/2 resolution, so there is little need to have my previews created at full resolution. The only time I set my program monitor to full resolution is when using MB Denoiser (which requires full resolution to work), or when checking mattes, text and fine detail work.
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If your limiter is limiting or compressing regardless of the threshold level, your input signal must be very hot. If you think the input level is normal, and your limiter only has threshold and release controls (no gain stage controls?), revisit the threshold control, as that control determines if and when the limiter will be activated. The settings may be counter intuitive, but just experiment with different settings while talking into the mic. As one extreme the limiter should not be active at all, and at the other extreme the limiter will kick in at even the slightest signal level. From what you’ve said, it appears that your threshold setting is causing the limiter to kick in prematurely.
The release control effects how long the signal remains compressed/limited after the initial transient. Long release times will keep the signal compressed, so start off with a short release time first.
Good luck.
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You might consider placing your lav mic farther away from the person’s mouth. If the lav is clipped to a lapel, the proximity change will be more drastic than if the lav was clipped lower (like around the sternum).
Compressors and limiters can do wonders, but expect to spend a bit of time learning how to use them without the audio sounding overly compressed. Heavy compression will bring out nasty artifacts, like sibilance and “pumping” of level changes.
For future recordings, you might try recording to two audio tracks; one at a normal level and one at a lower level. If someone speaks so loud they produce clipping, just fade that section of audio down and let the softer recording level replace it. This is a common recording trick for recording with unpredictable changes in volume.
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This just started happening to me, too. I have a project that has a LOT of sequences, and every time I reopen the project, I have to sift through sequences to find where I was working last. It also happens if I switch between editing and color correction workspaces. Resetting workspaces doesn’t help.
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Alex – Thanks for the reply. Yes, I’m thinking external drives. I have FW800 (preferable over my Mac’s USB2), but would consider a controller card if that makes sense or is mandatory for RAID 5. To be honest, I’m confused between RAID 5 and RAID 3, and have to study this further.
My main interest is getting better throughput for editing in CS6 Premiere Pro. I have a Mac Pro 5,1 tower, 32GB RAM and 4 internal drives (system + apps, work files, scratch disk and time machine backup).
RE: What interface do you need it to have? USB 3.0, eSATA, FW800 are the usual suspects.
Speed requirements?
Probability of failure / data loss: RAID5 sets do fail, especially with high capacity desktop drive due to the infamous “URE on rebuild” problem but they’re in general more reliable than RAID0 sets. What I am trying to say is that it’s reasonable to expect nearly any RAID5 set to lose at least some data over its lifetime, when using high capacity desktop drives. So use it with caution and back up your data.
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I hope this is an appropriate thread to ask this:
I want to buy, or build, a 4 disk RAID 5 for Premiere Pro, and would like to know if anyone can recommend a reliable brand to look at.
I was considering OWC or G-Technology branded enclosures or their pre-configured RAIDs, but I’ve read rants by recent users about quality problems and failing 4 drive systems. Any suggestions would be greatly appreciated.