Frank Nolan
Forum Replies Created
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The problem you have to deal with is the fact that your mics a probably out in front of the PA speakers. How high is your roof. i.e. how far above the audience did you place the mics? Did you face the mics away from the PA speakers. There is not really anyway to get a totally clean sound from the audience, however with the correct placement of the mics it will minimize the spill from the PA. Is your PA a center cluster or a left and right stack? Without knowing what sort of mics you purchased and where you placed them in relation to the PA and Audience, it’s hard to say what will work best but if you can try and get the mics as close to the people as possible. Lets say you have a 20ft ceiling you could have a metal rod coming down to about 10 ft, with the mics mounted on that, facing away from the speakers
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1) Have you checked the tapes for audio?
2) What Format are the tapes?
3) How are you capturing the tapes? i.e. firewire, capture card, aja io etc?
4) When you go to the audio format select box are the little buttons beside each track choice green or greyed out? i.e. the mute buttons.
Try and give as much info about your set up as possible.>Anybody know what I’m doing wrong?
You could have your tongue in the wrong place-:) -
Do you have the reference terminated?
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By duplicating the clip and putting it on track 2 (holding down option and dragging it down) you are not making the clip stereo. It is just dual mono. Be careful if you use this method as sometimes the phasing will cause the tracks to cancel each other out and you will get horrible sounding audio. Better to just pan the track to center.
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There are many ways you can go but the one you ultimately choose will depend a lot on who you are shooting for and your media’s final destination. If you are doing stuff for broadcast, as you mentioned some networks not accepting certain footage, then you should perhaps talk to the network and find out what their minimum requirements are. HDV is really a prosumer format, so I dont think it was ever intended for a broadcast environment, however some of the new HDV cameras do have the capability of providing an output of the HD images via SDI or component before going to the DSP, which compresses it, to fit on the mini dv tape format. This would mean carting around a deck or NLE that could capture the footage directly from the camera. The best thing to do would be rent a couple of different cameras and try some different work flows and see what works best for your situation.
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Just pan whatever you want to go to track 1 to the left and whatever you want on track 2 to the right. You can do this in the audio mixer which is found under the tools menu. You do not necessarily have to have your dialogue all on the same track but it would make it easier. Probably a good idea to read the section in the manual on audio mixing/output.
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Wes, that would be a good way to put yourself out of business. It’s not a matter or whether you work harder or not on a project. It’s a matter of investment money needed for the extra gear. Your time may still be worth the same but the equipment rental certainly isn’t. Would you expect to pay a private operator the same for a ride in a taxi as you would in a stretch limo? That being said, time is money and I think Walter has some very good points regarding skill level. Your hourly rate should be based on how much you can get done in that hour. If you take 8 hours to get something done that someone else charging $150 an hour can get done in say 4 hours, then you probably shouldn’t be charging that kind of money.
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If the director wants to do any kind of film work on his protools LE he should really invest in DV toolkit. It will unlock the timecode capability in PT and it has digitranslator and a few other apps included. Once he has the OMF converted to Protools the project can then be transferred to any Protools system however if it is loaded on another LE system without DV toolkit then it wont have timecode but you would still be able to open it and work on it. A work around would be to make sure you have a timecode window burn.
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There is a SATA PCMCIA card on the market right now. I spoke to a G-Tech guy at DV expo yesterday and he said they are in the process of running tests right now on their SATA raids with this card. He didn’t have any conclusion yet but said so far there was a slight performance gain over the G-Raid on firewire 800. Here’s a link to the card.
https://fwdepot.com/thestore/product_info.php/products_id/1109
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So Shane did you get to play with the panasonic HVX-200? Or the Canon XLH1? Any thoughts?