Declan Smith
1
COW Coin
Forum Replies Created
-
Not sure about the other units, but the Samurai also has an option to record using the DNxHD codec which is both Mac and PC compatible.
Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase\”it\’s either binary or it\’s not\”
-
I would suggest that you put some time aside and download evaluation / trial versions of some NLE’s. When I switched from PC to MAC in 2009, Sony Vegas to FCP 7, it was not quite what I expected and there was a lot I missed from Sony Vegas at that time. There are things I like about all the NLEs, Sony Vegas / FCP7 / Adobe CS6 / Lightworks etc. There are new and old players in the market and it will come down to the way you work, integration with others & export formats, price, and of coarse, functionality.
Personally, I am still using CS6, as it’s what I know and I just want to be productive, and rarely now use FCP7 (mostly for solid media management and XML conforming), but am also looking to move forward so I can move away from workarounds. FCPX has a whole new way of working, and I am keen to evaluate myself whether that is a step too far, or a real productivity boost. One thing I find lacking in a lot of NLE’s is their handling of sound and their proprietary nature (i.e. not having a true common open cross platform import / export system).
If I were to set aside some time, I would figure out a small project that would include some multi-camera, sound, various formats, transitions, audio effects, possibly also DVD/Blu-Ray creation etc etc, and see which one I could easily work with, and how quickly I could find answers to the questions I inevitably would have for the way I like to work.
I would suggest a few from following for consideration, and they all have demo versions.
Edius (Windows only, although some have it working through bootcamp)
FCPX (Mac only)
Lightworks (Mac / Windows / Linux)
Avid Media Composer (Mac / Windows)
Davinci Resolve (Free version available, Mac or Windows, NLE, Colour Grading, Multi-cam). Also, Fusion is their VFX package, well worth a look.For photography elements, I have switched to Affinity Photo & Affinity Designer away from Adobe Photoshop / Illustrator.
I haven’t listed Adobe CC as you’ve have ruled that out based on the subscription model. I too partly share that view. I have other software that is subscription based and the day I stop paying, my version will be frozen and I can still use it and work with my old projects. That is a much better model in my opinion and one that if Adobe changed to, I would probably switch.
Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase\”it\’s either binary or it\’s not\”
-
Try adding this as your last line. The first part adds the “$” and the rest sorts out the commas. If you want to change how many numbers are needed before a comma, change the the number “7” below to what you need, say 3, which is standard.
"$" + Math.round(t).toFixed(0).replace(/(\d)(?=(\d{7})+(?!\d))/g, "$1,");Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase\”it\’s either binary or it\’s not\”
-
Hi Marc
You didn’t say how many audio channels you need and whether you need to retain the sound in your clips or replace it with separately recorded sound. There are many ways to tackle this, but I prefer to have all the sync sound I need, synched and embedded in the actual video file up front before I start editing, rather than use ‘magic’ merged clip functionality of any NLE. This means that the sound stays with the clip if you copy the file or want to use it in a different programme.
So, here are some options, all of them will require work upfront.
1. If you have two channels of sound recorded externally and wish to replace the sound in the video file, use PluralEyes 3 clip by clip, to sync the sound with the video and create new video files with the sound replaced. This is fairly straightforward.
2. if you have multiple audio channels and/or want to retain the video file audio, then there is a two step process for each video clip. This is going to get a bit deep:
a) Use Pluraleyes 3 clip by clip, to sync the external sound to the video, then export Audio to create new trimmed audio files that are synched and trimmed to the same length as your video clip. Ensure that you drag the audio files and the source movie file to the icon that creates takes so they all line up in the window.
Note that pluraleyes 3.5 only creates one audio file from one of the takes so use version 3! You will build up a new set of audio clips that will be trimmed and synced to the video file they represent but will still be separate. Yes this is manual, but once you’re in the zone, it shouldn’t take too long. This is where organising media and file naming are really important.
b) Use the free command line tool, ffmpeg, to create a new video file containing the video file and the new trimmed audio clips . Detail below show how to do this for a video file and 4 external audio clips. (removing the video files own built in stereo channel):
ffmpeg -i videofile -i TrimmedAudio1 -i TrimmedAudio2 -i TrimmedAudio3 -i TrimmedAudio4 -vcodec copy -filter_complex "[1:a][2:a][3:a][4:a] amerge=inputs=4" -channel_layout 4.0 -c:a pcm_s24le -c:v copye.g.
Video file: S001-1.MOV
Trimmed Audio1: 1_T1_SUN16001_1.WAV
Trimmed Audio1: 1_T1_SUN16001_4.WAV
Trimmed Audio1: 1_T1_SUN16001_5.WAV
Trimmed Audio1: 1_T1_SUN16001_6.WAV
Output video file: S001-1_mc.MOVffmpeg -i S001-1.MOV -i 1_T1_SUN16001_1.WAV_for_S001-1.MOV.WAV -i 1_T1_SUN16001_4.WAV_for_S001-1.MOV.WAV -i 1_T1_SUN16001_5.WAV_for_S001-1.MOV.WAV -i 1_T1_SUN16001_6.WAV_for_S001-1.MOV.WAV -vcodec copy -filter_complex "[1:a][2:a][3:a][4:a] amerge=inputs=4" -c:a pcm_s24le -c:v copy S001-1_mc.MOV
Using media info on this will show the following for my example:
c) Once you’ve done that, import the new video clips into Premiere and select the audio channel that you need prior to adding it to a sequence (this shows what I mean: https://www.youtube.com/watch?v=pw_ewUzl5Rc) i.e. in the project panel select Audio Channels -> format is Mono, number of channels 1. The reason I do this is to keep the timeline simple and have full control over routing channels in a multichannel setup and being able to apply audio effects to channels individually (which you can’t do with Adaptive, it’s not very adaptive!). Multichannel audio support is also different between applications
To make this less of a task, structured file naming should be used so that you can wrap up the file creation with ffmpeg into a script.
I know this is a long explanation but hopefully you will find something useful in there.
Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase\”it\’s either binary or it\’s not\”
Some contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
If I understand you correctly you are looking to have one audio track as 5.1 and the other as stereo built from your source clip containing 8 mono channels, 1-6 used for 5.1 and 7&8 for the stereo? I am assuming then that your master output will be channels 1-6 as your 5.1 mix and 7&8 as your stereo.
1. Ensure the sequence is created as a multichannel sequence.
2. Right click the source clip and change it’s channel preset from “use file” to 5.1. You should then see channels 1-6 being assigned to Audio 1 and 7&8 being assigned to Audio 2 as below:
3. Drag the clip to the timeline and it should created two audio channels, both as 5.1 format, but as per the layout above.
4. Now right click on the audio channels and delete the empty ones so that your two newly created 5.1 tracks are on Audio 1 & Audio 2 as you wanted.
5. Now open up the Audio mixer for your sequence and you will see the two channels with 5.1 format options.
6. On Audio 2, reassign channels 1 & 2 (left & right) to output to channels 7&8. This will separate your source channels 7&8 to map to the master output 7&8 as your stereo pair:
I am assuming here that your channels are recorded as your mix (i.e. 1-6 the 5.1 and 7&8 the stereo which you want to mirror on output).
Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase\”it\’s either binary or it\’s not\”
-
Ok, this has made me do a tutorial that I had been planning on doing for ages. It’s easier to watch it than explain it, but in essence I go through configuring the Adobe Audio mixer to create sub mixes and routing them to provide a stereo mix and separate audio channels in the same multichannel setup, both pre and post fader versions. If you have 8minutes, watch this and hopefully it will show a usable workflow.
Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase\”it\’s either binary or it\’s not\”
Some contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
I am assuming that your sequence is multichannel ?
What I would suggest is to drag your sequence to create a nested multichannel sequence in PP.
Next, in the mixer for Audio 1, click the multichannel symbol and assign outputs 1 & 2 to each of the stereo pairs. Now rendering from this will have a stereo mix on channels 1 & 2
Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase\”it\’s either binary or it\’s not\”
-
As there are many differing opinions on whether you should upgrade or not and no clear “yes it works, no it doesn’t” answer, I would suggest that you try it out for yourself on your setup, but by first ensuring you have a cast iron way back to your existing setup if it doesn’t work. There are many ways to do this but my suggestion would be:
1. Use Carbon Copy Cloner to make an entire bootable copy of your existing system drive to an external drive.
2. Boot to the external drive to ensure it is working.
3. Shutdown you machine, and unplug the external drive.
4. Boot up your machine as normal and upgrade it to El Capitan.
5. Try out all your software including FCP7, if it all appears to work, great, mission accomplished, but if it doesn’t, just plugin in your backup drive, reboot to it, and carbon copy clone it back to your original system drive.A variation on this would be to create a blank bootable drive and install a new copy of El Capitan (as opposed to upgrade), then install each of your software packages so you know whether you can get an El Capitan FCP7 system built from 1st principles. In every case, always ensure you have a full bootable backup of your existing system.
I personally have more than one bootable partition for this very reason so I can test myself what works and what doesn’t, and I have an instant way back to a known working state. In my case I still have one or two things that need Rosetta, and therefore have a Snow Leopard Partition, but I find I boot into that less and less these days as 98% of my apps work in a higher OS version.
Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase\”it\’s either binary or it\’s not\”
-
The procedure I outlined is ideally started at the beginning of the project, however, if your 8 audio tracks are indeed a group of 8 mono tracks, then alt click one of them, then shift alt click another 6 (7 selected in total) and press delete, thus leaving just one of the mono audio tracks. Now you should be able to right click and change it’s audio channel assignment to pick the source.
Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase\”it\’s either binary or it\’s not\”
-
I have had a similar experience with a project whereby there are up to 8 channels of audio that have been supplied. You didn’t say whether these are all synched and grouped already with the video or whether they are separate ?
This all depends on workflow. For me, the entire process stayed within PP (i.e. picture edit, sound design, kind of).
I’ve loaded a short tutorial here https://youtu.be/pw_ewUzl5Rc as pictures say a thousand words, but in essence:
I had separate audio files which I wrote a command line script using sox (and later ffmpeg) to create a single multichannel audio file containing each of the 8 tracks per take. I ended up using the replaced audio in the MOV with the multitrack audio just to keep things easy.
The general approach is:
When imported into PP, from the project bin, I then changed the channel content to be MONO, 1 channel for each of the takes. Now when dragged to the timeline, you get just one audio track always. After the picture edit, you can go to each of the audio clips in the timeline, right click and change the source audio track. For instance, if your default was boom on channel1, then lava on channel2 and lavb on channel3, and you wanted the lav a track, just right click, audio channels, then select channel 2.
If during the sound design you wanted a mix, at that point duplicate the said section on the timeline and choose a different source channel, so you may have boom on audio track1 and lava on audio track2.
Hope this helps.
Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase\”it\’s either binary or it\’s not\”
Some contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
