Debe
Forum Replies Created
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The first all digital room I worked in back in the early ’90’s cost over $750,000 to build.
After spending about $30,000, I can do more in my basement now than I could in that room.
Just a little perspective.
debe
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Thanks, Jerry!
I had read through the first one, and found some of what I think I needed.
I’m printing the first one to take with me. Hopefully, there will be good nuggets in there that will help convince them that the system isn’t quite right yet, and it’s really not because I’m not so experienced with HDV!
As always, great resource! Very appreciated!
debe
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This has just happened to me in the past 2 days, as well…
Nothing shows up when I launch Render Manager, in fact, the whole window has changed how it appears on the screen!
I have trashed preferences twice to no avail, done numerous total shut downs and restarts…It has not changed.
I took the gamble and trashed everything in my Render Files folder. (I only had one project, though…) and re-rendered everything, since that’s what I was planing on doing anyhow. No ill effects so far, but no real solution, either. ;-(
If I figure it out, I’ll post it, and please do the same!!
debe
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I’ve worked with grand, award-winning professionals, and wet-behind-the-ears, brand-spankin’ new audio post specialists.
Some do not need the video editor to double check sync because they are masters, others can use a little “nudge” to remind them now and again.
I brought up the phase issues because sometimes it comes up, even under the best of circumstances. I was simply offering my 19 years experience of getting good and not-so-good results from the myriad of audio editors I’ve worked with over the years.
I do have two that never give me a 2-pop because our timecodes always match. Several do supply the 2-pop. Both is acceptable in my experience.
There’s many more ways to do it right, and there are just as many ways to do it wrong. Luckily, the one’s I work the most with don’t usually hand me anything that needs anything other than a mixdown before mastering.
Respectfully,
debe
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Oh, and I always double check sync. You can either do that by adding two new tracks to the sequence you made the original OMF from and listen to make sure the audio is in sync. It should pretty much disappear, however some very slight “tinning” may occur on a few things due to phase. if it sounds like heads are deep inside a can, or you actually can hear double words or sounds, then you do have sync issues that the audio person should be made aware of.
If you have a really great audio person, you likely can just spot check and it’s all done, but even if I trust the audio person, I always give it one last watch as I master to make sure everything lines up right. Even if it’s a sync problem that the audio person made, you were the last pair of eyes to see it and ears to hear it as it mastered, so you’ll likely be left holding the bag if there are sync problems.
Not quite as goof-proof as I may have led you to believe. Gettin’ a little cocky after my first morning cuppa coffee!
debe
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If the audio guy/gal gives you a 48KHz aiff, you don’t need to do anything but copy it to your media drive and import it into FCP using the Import Files command. Drop it in your timeline, do an audio mixdown for good measure, and you, my friend, are ready to master!
If it’s 44.1 K, then, yes, using iTunes or QuickTime Pro to convert it to 48 K is a good idea.
So easy, you’ll think you’ve done something wrong!
(Oh, one last thing, I usually make a copy of my sequence first so I have all the original edits as a backup, just in case!)
😉
debe
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IMAG= Image Magnification.
Fancy word for shooting the stage at an event and putting it up on a screen on stage so the audience can see what/who’s on stage better.
debe
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Your audio guy/gal should provide you with an .aiff file that you “stripe” back to your timeline, if I may use this older, and no longer so precise, term.
Like Shane said, FCP does not recognize OMF on import.
debe
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In any situation that goes bad, take responsibility for your part, no matter how much it may be someone else’s mistake that started it all. (This case, it seems like a fluke and no one’s fault, but in general…) That’s the most professional and adult thing you can do, and consistency will be best for you in these circumstances.
Always take the high road and responsibility for your part. There will always be a weasel or two who will use your acceptance of your part as an excuse to not take responsibility for their part, even if their part was the catalyst and the real screw up. You can’t avoid those people, and sometimes, you may end up being the sacrificial lamb to appease the angry client because weasels will cover their own a$$es and let ANYONE else take the blame for their failure…
But that aside, taking the high road every time ensures your credibility and it IS a karma thing. The weasels eventually get what’s coming to them, and those whose opinions matter will know the truth once the situation has been rationally explained to them.
Do what you think is right and fair to make good, & own up to the faulty connector. Something that makes the most of the situation without making the whole thing morbid, like, “I’m really sorry this happened, here’s what I’m going to do for you to make as good on this as I can, and believe me, next time, there’ll be a second round of testing and backup connectors within reach!!”. If the client usually has a sense of humor, after all the mea culpas, find a tasteful “Technology, sometimes it just has it’s own plans!!” kind of thing to lighten the mood.
Don’t make a huge deal out of it, but don’t avoid it, either. Go until the person you trust most says “Oh, it’s all over now, forget about it.” or something. Then drop it!
debe
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So, I’m hoping the original subject line was meant to be funny, ‘cos Creative Cow certainly has spell-check on the website!!
< tee hee>
debe