Job Ter burg
2
Avid Coins
13
COW Coins
Forum Replies Created
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There is no simple answer, sorry.
Clip Gain works on clips and segments, for the duration of the clip or segment. You can use clip gain to set the level for an entire clip that is loaded into the source monitor. You can change the clip gain for any clip or several clips in a bin by selecting “Clip->Apply Gain”. You would typically use it to bring the levels of fully normalized music tracks down by 9 or 10 dB to bring them closer into the realm of broadcast/post levels.
‘Volume’ used to be called Automation Gain, and in the Audio Mixer, it still is labeled as Auto. AutoGain is keyframable, by placing and manipulating keyframes in the timeline, but you can also record a manual mix session using the Auto section of the Audio Mixer. This will let you ride the levels and record whatever you do (basically generating a whole bunch of keyframes).
They are not necessarily two paths to the same goal. They are more like any typical audio mixer, where you will have an input gain knob per channel as well as a channel fader. You just happen to now have both of these on any clip or segment. Changing very hot music files is typically something you’d do with Clip Gain. Making an actual mix is more what you would do using AutoGain/Volume. But different folks use different methods, of course.
Also realize the order in which sound is routed in MC. Any clip will go FIRST into Clip Gain, then into AudioSuite, then into EQ, then into the track’s RTAS, then into Automation Gain, then into the Master bus.
It is important to realize, because for instance if you have a clip in your timeline and you have an audio compressor on it, raising the Clip Gain will raise the INPUT signal to the compressor (thereby raising the amount of compression), while using AutoGain will raise the OUTPUT signal of the already compressed signal (not increasing compression amount at all, but raising output levels). In cases where you would use a brickwall limiter, you can easily tell why it would be important to know which happens first, because using AutoGain would then let you raise levels beyond that brickwall.
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Avid feature an Op1A MXF export option (File->Export->Op1A-MXF) that I think will precisely match their specs. It’s basically a ‘fake’ XDCAM HD disk export. Choose the 50Mbps from the dropdown, and if they want 8 channels (probably with the mix on 1&2 and 6 empty tracks), just check the 24-bit option. There is not even a way to export less than these 8 channels, they are part of this export format (which is basically XDCAM HD).
As for adhering to loudness standards, there are many ways to do this. A very easy one is to just make your mix, as you like it, then do a mixdown then run that mixdown through Grimm Audio’s LevelNorm: https://www.grimmaudio.com/pro-products/software/levelnorm/
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Are you processing more than one track of audio? If there’s two or more, the garbled, underwater sound may very well be caused by phasing differences between the two tracks. You may only hear the effect when mixing down to mono.
A 32dB increase in volume is pretty insane, though. The source has such a low dynamic range that it is unlikely to become usable (depends a bit on the bith depth of the original recording.
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What is the codec you are using? Does the same thing happen if you export Same As Source?
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That’s the infamous H264 gamma issue in QT. Better export QT Ref or Same As Source, then transcode to x264 or Main Concept H264 in Sorensen Squeeze (you got a Squeeze serial with your MC).
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Also, while you will theoretically have more pixels to start from, the QUALITY of the scaler matters. A lot.
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See if Phantom Marks help you.
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Likely, your computer thinks it’s a file extension and hides it?
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CTRL-A (PC) or CMD-A (Mac) to select all. You will also find “Select all” and “Deselect all” in the menu (I think under Edit), and you can map that.