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How about Tools->Hardware? Is that what you’re looking for?
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Are you on Mac? If so, check out the ReadMe that came with the installer. I think there’s something in there about AudioSuite issues on Mac, with a fix, which is to remove two problematic dpm files.
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In MC, unfortunately, you will not be able to do this automatically. Depending on the DAW you use, there may be several options. Pyramix allows for several smart ways to postconform. ProTools will allow the sound editor to unpack unused tracks, but this may need some serious prepping, not sure if you’re set up for that (haven’t ever tried this workflow myself). The there’s SynchroArts Titan3, which you can use to open an audio EDL from Avid, add all original BWAVS, and you get an automatic postconform. This requires some smart settings.
Other than that, if this is a short, you might best off simply manually replacing the 2-track premix with the multitrack orginals in the Avid timeline, then export to DAW. This is somewhat dull labour, but there’s less voodoo involved.
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Where and how was your sound synced?
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I disagree. A normaliser takes the loudest peak in a segment, then lifts the entire segment so thet the loudest peak has value X. This does NOT change the dynamics of the segment, nor does it “fatten” up voice overs. Even more so, if your VO recording has ample dynamics, it might do as little as make everything 1 dB louder. That ain’t much.
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You can get a long way with the compressor. You could also try the L2007 mastering limiter by Massey Plugins (only 89 USD), which has very simple controls.
When you decide to use the compresor in AudioSuite, think about the following:
– threshold: at what level should the compressor kick in. For VO, that can be pretty early (depending on your source material, say -35dB)
– ratio: determines the heavyness of the compressor. 2.5:1 is pretty mild, 20:1 is more of a limiter
– attack: how soon should the compressor respond to peaks. For your purpose: fast
– release: how long should the compressor keep the level down after a peak. For your purpose: medium, say 50ms
– knee: how steep or bent should the shape of the response curve be. The softer the knee, the less punchy the result. A too steep curve will sound to harsh, like overmodulation.
When you preview, you can hear the effect, but you can also see the amount of gain reduction that is being applied.
I skipped Gain, because that is the one you determine after setting the rest. You lower the peaks when using Compressor, and after lowering all the peaks, you gain the entire thing up.
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Select all clips for a cam and choose AutoSequence (I think it’s under the Clip Menu).
AutoSequence will place selected master clips onto a timeline, where their source TC equals sequence master TC. -
And beware that new Macs come with Snow Leopard installed, which has not yet been qualified by Avid (yet). See https://community.avid.com/forums/p/76313/426540.aspx#426540 for details, since some folks are making it work.
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Well, if you are thinking about getting a laptop and a workstation, you could also choose one to be Mac and the other PC. Really doesn’t matter, you can painlessly take stuff back and forth.
My studio has a PC-MC and a PC-Symphony on Unity, my laptop is a MacBook Pro. The PC’s are all Vista, and if you plan on doing any longform, LEAVE XP, and go for Vista Biz 64-bit with 8GB of RAM. Frees up a LOT of RAM for the application.
My MacBook has 3 partitions, one for Leopard (to run MC), one for Snow Leopard (for email and fun), one Bootcamp partition for Win Vista Biz 64bit.
On all PC’s (and the Bootcamp partition) I have installed MediaFour’s MacDrive, and on all Macs I have installed Paragon NFTS-for-Mac. That way, you can use Mac and PC drives, without ever having to think about it.
The upside on the Mac side is that you get to install some great helper apps (like the FCS bundle). The upside on the PC is that you have some other great tools there (TMPGEnc, MetaFuze, Nero come to mind).
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In order to get center cut or letterboxed outputs, you need to add a Reformat effect on an (empty) top layer.