[John Fishback]

From FCP export a reference or self-contained movie of each piece. Then, open Compressor and drag them in. This way FCP is not involved while Compressor is working.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870
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[John Fishback]

You’ve got the right idea. You take a mix from the board and feed it to your camera. The board op should be able to set this up for you. If you have to operate the board and you’re unfamiliar with the process, hire someone. Either way, there are a number of pitfalls to avoid.

Most of the time you’ll receive a LINE LEVEL feed from the board, not MIC LEVEL. Be sure you camera’s audio inputs are set for LINE IN. Also make sure the line level from the board isn’t too hot (loud). Have the board op send you tone at “0.” Adjust your camera’s input so the meter reads “0”.” Now, make sure your volume controls are not turned below the half-way setting. If they are, ask the board op to lower the feed’s level. Then you can turn up your volume controls to “0” again. The purpose here is to make sure the feed audio doesn’t overload the camera’s first audio amplifier that comes before the volume controls.

Another thing that can happen is the board op may not ride gain during the show, so if the performance gets loud the audio could clip (distort) in the camera. So you may have to keep an eye on your levels and adjust them as needed. If the board can run a brickwall limiter on your feed, then the maximum level on the send can be set and you can rest easier.

Hopefully there’s a rehearsal or sound check where you can try all this. If it’s possible, ask the performers to do the loudest portion of the show. That way you’ll know for sure.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870
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[John Fishback]

You can nest a bunch of tracks and control the audio that way.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870
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[John Fishback]

Have you trashed prefs and rebuilt permissions? Also, as this appears to be audio-related do an audio mixdown. Another thought re your workflow is to export a self-contained movie of your show, and then use compressor.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870
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[John Fishback]

Your camera is shooting in a 4:3 format. HD is 16:9 so you’ll have to zoom into your image to achieve 16:9. You could leave it 4:3 in the middle of the HD image with black on the right and left or make a montage of images to fill the HD frame.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870
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[John Fishback]

I haven’t done this recently (in FCS2). Last time, I opened the project sequence, highlighted all the clips, and used batch capture. At that point you can specify handles. I don’t think this will work with nested clips unless can you open the nests and batch capture their individual clips. Just guessing there. Hope this helps.

John

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[John Fishback]

Dp you have one or two tracks showing in the timeline?

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870
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[John Fishback]

Not knowing in what kind of space the action takes place, it’s hard to make detailed recommendations. However, it’s probably a matter of level and eq (and maybe pitch) that is making those cues stand out – not reverb. There are some plugins and native programs (Ozone 4, Match EQ in Soundtrack Pro and others) that can measure the eq of the original track and apply it to the new one. Listen carefully to the tracks that don’t work and try to decide what quality is different. Too much bass, not enough, too loud, to soft. Keep your ambiance track underneath, but before you lay in the dialogue, listen to be sure the background matches. If not, fix that first, then lay in the voice. Sometimes it’s a pitch issue. There are plugins in FCP that affect pitch. Try that. It sounds like you’re on the right track.

John

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[John Fishback]

You should do as Walter suggests and cut two timelines one for each screen. Then drag those two sequences onto two video tracks. Use the motion tab to reduce their size and position them as you like.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870
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[John Fishback]

Use the On2 VP6 codec for highest quality. Un-click maintain aspect ratio before entering the 16:9 size. Otherwise it’ll default to 4:3 if that was the last setup used.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870
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Final Cut Studio 2 (up to date)

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