Frank Nolan
Forum Replies Created
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[walter biscardi] “The Universal upgrade is ONLY for owners of PCIe systems. If you don’t own a PCIe system, then you don’t need i”
Walter I dont think that is true. The PCIe machines ala the quad G5 and the new dual core 2.3 and 2.5ghz run quite well using the regular FCP studio software and have been since they were introduced. The universal version is only for people using the new intel based machines, which as of this point the only ones on the market are the new imac and the macbook pro
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So why is it then with say a sata raid you can get maybe 2 or 3 streams of RT playback with 10 bit uncompressed but with the same set up you could get about 7 or 8 streams with DV25?. Or even with an Xserve Raid you could have more layers with DV25 as oppossed to an uncompressed codec?
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[Dave LaRonde] “Absolutely not. As long as the footage in a timeline uses the same codec as the timeline itself, you should be able to maximize the realtime capabilites of FCP”
I may be wrong but wouldn’t that depend a great deal on the drive capabilities? For instance if I’m doing something in a 10 bit uncompressed SD sequence with 10 bit SD footage, are you saying I am going to get the same RT performance I would with a DV25 sequence with DV25 footage?
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[xtothed] “How can I assure that the -18db in Final Cut is -18bd on the tape.”
You do not want -18db to be -18db on a beta sp tape. That’s why your levels are low on tape. The meters in FCP are digital and beta sp is analog. The setting should be a tone of -20dbfs (db full scale) = 0db on beta sp.
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[Barry Green] “DVD should be finished up by the end of this month.”
Was it all shot with the HVX? -:)
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Yes there is a setting in the user preferences to automatically render every xx minutes. But IMHO that would be a major PIA if you’re in the middle of cutting something and all of a sudden something starts to render.
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[Espnetboy3] “As far as levels, should i try to recreate about what it sounded like. For instance if it was a further shot make it lower and so forth?”
Well you want the “sound” to match as close as possible to the other lines around it. So as far as levels goes make sure you capture a good level. You can always turn it down if need be later but if you capture too lower level it is hard to turn it up later. The main thing technically is mic choice and placement to get the sound to match. You want to try and match the adjacent production sound as close as possible, so the ADR doesn’t jump out at the viewer and sound like it was recorded somewhere else. Then you would also need to add “fill” later, which is the ambient room tone of the scene. Otherwise it will be hard to have the ADR blend in with the surrounding production dialogue. The next challenge is “the actor”. To get a good reading from them you need to try and make them feel as comfortable as possible in the studio. For new actors especially, recording ADR can be a very daunting experience. I found one of the best things to do before you record a cue is to loop the playback of the line with the beeps at the start and let it play about 10 times so they can rehearse and get into the rhythm of it. Also if there is a large amount of dialogue in a row, you may want to break up each cue into a sentence or two at a time.
Good Luck! -
The canon does not shoot true 24p. If you are indeed capturing straight from the HD-SDI out of the camera on set, then this will be the “best possible image”. The frame rate you choose to shoot at will depend on the look you are going for and the delivery format of the video. As Shane suggests do a few test shots to see what looks best and what works best with FCP.
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The correct term for this is ADR (automated dialogue replacement) or, it is also referred to as “looping” which goes back to the day of film and mag reels for sound, when they would create a loop of the lines in question and load that on the projector so the actor could keep going over and over until they got it right.
Anyway the standard way of setting up for the actor is to have a set of 3 beeps placed at even intervals before the line, so the line would start on the 4th beat. To keep it simple, create a 1khz tone 2 frames long then place that at 1 second intervals before the line, so the line would start on the 4th second. You need to be able to send that to some headphones for the actor to hear so they get the pacing of the beeps, so as to know when to start speaking. You could also create what is known as a “streamer”, which is a visual cue. It is a solid vertical line that travels across screen from left to right. The main thing is to have some sort of reference or count in for the actor so they will know where to start speaking.[Espnetboy3] “(Perfect Storm I heard was shot with no audio at all until they got into the studio Post)”
That would be incorrect! They would have still shot with audio even though they knew most of it would be unusable due to the large fans and water noise on set. If you dont record the sound, no matter how bad you know it will be, you will not have any reference audio to sync up the ADR to later in post. Also the editorr wouldn’t know what the hell was being said if all they had was a set of moving lips. Unless of course they could lip read-:)
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Do you have the RT set to safe or to unlimited?