Greg Curda
Forum Replies Created
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Hi Bouke,
Ah…I see…a thousand pardons.
Can I assume that the gear in question would be generally considered “pro-sumer”? If that’s true, this is an area that I am not expert in, but would love get a handle on. In the past, if I were confronted with cameras that were not TC capable, I would simply get another camera. I know this approach could be considered “bourgeois”, but I did have the luxury of budget.
I did use TC recorded to audio tracks and fed to Lynx synchronizers in the 80’s with great success. I have also created QTs from separate picture and track that were TC locked, albeit at the end of post.
I am still somewhat confused about “BWF recorders” and “timestamping”, as all my recordings have always carried a full TC track, embedded in the .wav, or so I thought.
Operating under the general principle of, “The more I work, the less I know”, I would appreciate any further enlightenment, as I need to learn more about the world of pro-sumer. Should you have extra time (haha), I would be most interested in a dialogue. Email: gcurda@gmail.com
Thanks,
Greg
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Perfect!
The shops I have done business with are:
Location Sound LA locationsound.com
Coffet Sound LA coffeysound.com
Trew Audio Nashville trewaudio.com
TAI Audio Miami taiaudio.com -
Hi Daniel,
So much of this depends upon your intended workflow and what type of projects you are doing or planning to do.
If you get a PTLE system (less expensive), then you will definitely want the DV Toolkit. Most commercial sweetening can be accomplished with LE.
I suggest an in-depth discussion with a Digidesign rep to get the system that you need. Focus on best integration with FCP.
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Hi Max,
Unfortunately, there are no standard finishing techniques in sound. Our lives would be much easier if there were. Each project is different.
The essential thing is that the dialogue must be smooth and clearly understandable. If it is fighting music, lower the music. The final dialogue product depends on the clarity and sonic balance of the original recording. All enhancements are based on that, and believe me there can be a huge difference in the originals, even take to take. Generally, ant tricks we have learned are based on either common problems, stylistic considerations, or client aesthetics.
In a different post, Peter Groom suggested a milder compression scheme than did I for dialogue: 6dB @ 3:1… Try that first as often, less is more…
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Hi Bourke,
BWF is only a file format, and should have nothing to do with the recording process. That should be a function of each individual recorder.
We all are assuming that camera and recorder are TC locked, either via hard wire or jamming. When you return from your lollygagging (hehe!)…could you detail your workflow for us? Perhaps then we could see where the sync problem is.
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As far as I know, you can always change the connector to match your wireless system. Probably $100 or less. But unless you are skilled at electronics, I would let a pro do the conversion. You could even get a adaptor cable made (current connector to new connector)if you still need the MKE2 to function with its current connector. Also, it’s not a bad thing to have a cardiod lav in your arsenal.
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Hi John,
To echo Ty, yes, your noise floors will add. Go to an audio shop and listen to the 94 in combo with the 93 and see for yourself.
You will not get 3 channels from M/S. It is a stereo format. The 2 advantages of M/S are being able to vary the width of the stereo image (usually in post), and being able to use the recording as mono (ch1, mid only).
The 418 is a great mic, being able to function as a mono shotgun (like a 416) and an M/S stereo mic. It is expensive, though.
There are other M/S mics available as well. I like the Pearl MS8 (about $800). Or the Shure VP88 (about $700).
If used with the Wendt, you will be able to lay down 2 channels, but they will not be “stereo”. They will be mid (mono) and side (mono). The stereo part happens in the matrixing. So, you will need a decoder at least to hear stereo. If you want to record a stereo image, then you will need an encoder, as well.
Most Sound Devices mixers have M/S capability built in.
Either way, I think you will have to spend some $$ aside from the second capsule to make M/S happen.
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PTLE will not open an OMF without Digitranslator (supplied in DV Toolkit). The workaround is to open the OMF in a PTHD session first, then transfer to PTLE. Then it’s fine.
The other issue is that FCP OMFs do not retain the source TC of the audio clips. So if you don’t have to replace anything this is fine. Replacing anything based on TC values won’t happen easily.
Virtual Katy is almost indispensible for conforming various versions of a picture, if you cant wait for picture lock, or for changes after picture lock.
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I’m not that familiar with Dolby E but I will try…
Doesn’t it encode to 2 tracks? Why are you sending 4 tracks to the recorder? Each AES input is a pair, right? I think Dolby E is like a more sophisticated ac3 stream, no?
Setting the deck for EE should be the same as bypassing, so the deck I/O must be a problem. Also you should set for playback, I would think, to make sure the recording is decoding properly…
Maybe I’m not helping, but that’s all I can think of off hand…