[Matt Campbell]

Nate/Bob, thanks for the replies. Nate this looks like idealy what we’d be looking for. But I can already see heads spinning at the expense. Its hard to get ad agency people to understand post production needs and expenses. When I came on board to ramp up our in-house game, it was a tough climb to get the KRKs and an FSI monitor, and was even tougher to get a better than average storage solution. Which we didn’t get. My recommendation of a ProMaxx solution or even a G-Tech eS Pro with mini SAS, was overlooked to save money and go with the OWC Mercury Elite Pro running eSata. Its actually been ok for our needs and I haven’t had any performance issues, but now with another workstation coming on board, we need expand. Are there any other solutions like this, but under 5K?

Is it possible to run 2 workstations off of something like your FastMax solutions? Or are systems like those and our Mecury Elite RAID 5 more for single workstation systems? I’m only running with 6TBs and using 1.5 currently. 8-12TBs would be ideal, but for what we do in-house, we don’t need huge amounts of storage. Especially with switching to Premeire CS6, anything I throw at it just works. I only transcode on output for a ProRes master to file away. No more large file sizes and transcoding to ProRes like in FCP. So we save loads of storage right there.

Our work consists of pitch videos, brand videos, case studies and small client web based projects. The occasional broadcast spot is done by me, but that’s just the offline edit anyway. We farm out the color and conform.

Nate, I might just reach out via your email to discuss some options. Thanks a ton fellas. I’ll just keep fightin’ the good fight!

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802

[Matt Campbell]

Ok, I have no idea what was going on but resetting everything seems to have worked. For now. I tested re-importing the same file and its now working fine. That was a strange one.

Crisis averted for now. Thanks anyway to your comments.

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802

[Matt Campbell]

I’m running CS6 and my ProRes files are only 2-ch. stereo. But like I said, they’ve work for the 20-30 projects I’ve done. Just all the sudden, can’t import video. I’ve even tried rendering our ProRes 422 and even uncaps. Nothing.

Going to try to reset Premiere and/or trashing prefs along with a restart. will report back aft wards.

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802

[Matt Campbell]

I do and have tried with no problems. I even tried rendering out a new file Motion and importing. Nothing. Lastly i tried importing some DSLR footage as a test and that did not work either. Something screwy with premiere. First time I’ve seen this.

I forgot to mention this was originally a FCP sequence which spit out an XML and brought in to Premiere. But as a test I guitar created a new project and still nothing on import.

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802

[Matt Campbell]

Thanks Bill. I went back and took a much deeper look at the two. After extracting both stereo files (in-camera & zoom) to 2 mono tracks (1 for each mic) was able to see that the in-camera audio levels at room tone were much higher at around -35 or so, not too bad. And the Zooms room tone levels were around -45. But yes, as you said I think this is totally acceptable for our newbiz pitch videos. After a little sweetening in Audition and with SFX and music, you don’t notice any ambient nat sound. That room tone is drowned out.

But being the perfectionist I am, I’m going to go back and use the external audio from the merged clips. Better safe than sorry!

And good to know about the AGC. But that cable is great and make for better reference audio.

thx again.

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802

[Matt Campbell]

Chris, I realize this thread is way old and hope you have things figured out by now but your best bet is to take that file copied over from the Zoom and convert in STP (Soundtrack Pro).

What follows is based off of what you said about only hearing audio from the left headphone. This is normal when recording with an external mic, as that is mono. Bring it into a Multitrack project for mixing, double click on that file and open the file it into the File editor. Go to Process menu, Convert to Mono. Then select, Use left channel, hit ok and boom. You have essentially deleted the empty right channel and extracted the left channel and converted your stereo file to mono. Which is how you’ll want the dialogue anyway. Save that file and switch back to the Multitrack tab.

I use this method all the time when recording VOs in the Stereo mode with an external mic. When shooting with a DSLR like your 5D, record in 4 Ch mode. Record stereo sound via the onboard mics. Record external audio from either Line 1 and/or Line 2, depending on how many mics you have. Then in post, you should have 4 channels of audio. 1 & 2 will be stereo (can use as reference sound and then throw away when mixing the final, 3&4 will show up as separate mono channels as long as you have Link 1&2 turned off in the menu. Use those mono channels for your audio mix.

You mentioned export in your posts. You shouldn’t have to export anything. The files on the Zoom are what you want to use. Record at 48kHz, either 16 or 24 bit WAV files. No exporting is needed. If you tried to export your file, that may have been why you heard soft sound. That export was probably mixing the left channel with an empty right and threw things out of wack. If you record between -20 & -6 you should be all set.

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802

[Matt Campbell]

Thanks Tero. So with stereo tracks, the OMF is essentially creating dual mono channels? And you’ll have to know which is which in STP, Audition or ProTools. I guess I figured once the OMF was imported, it would split that stereo file and have them Panned properly, 1 left and 2 right, representing that this was stereo file.

Whats weird is Audition does this but STP does not and show both channels panned center. Not sure about ProTools.

And in the case of merged clips with 2 channels of reference camera audio and 4 channels of mono from an external recorder (boom & LAV mics), the editor, me, should keep those on their own tracks, separate from any stereo files, like a slate or tone &/or music, keeping things organized. That way in the OMF the audio engineer can clearly see what is what. Make sense?

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802

[Matt Campbell]

I realize this is old but I’ve had similar issues. Adobe Audition handles these much better, which I’m slowly making the switch to.

Anyway, from Premiere export an OMF with separate audio files, as you did. With separate audio files, he should be able to link the OMF to them. Yes you’ll get those wacky file names you mentioned, but everything should be there. I’ve used this workflow several times for short form stuff. Although if long form, I could see this being a pain. For some reason STP does not like Encapsulated OMFs out of Premiere. But this same workflow of Encapsulated OMFs does work with Audition. And it maintains the file names.

Anytime I have to send Audio to another facility, I create encapsulated ones. Seems to be working for them. Granted their also using ProTools not STP or Audition. Hope this helps.

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802

[Matt Campbell]

Sure does. Just wanted to make sure going from 29.97p to 59.94i would be easy and clean with just a file based workflow. Its my understanding doing this through an I/O card like AJA or my BMD Decklink card would be hardware based out to tape. Whereas I’m relying on software conversion on export.

Normally i’ll cut at 23.976, export and add pulldown via AE or Compressor. But I’m not adding pulldown with 29.97p. I guess the conversion is simply splitting each P frame into 2 i fields creating 59.94 fields at 29.97fps. Just making sure this is normal practice.

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802

[Matt Campbell]

No. But not knowing the delivery specs completely, it may need to be interlaced for the clients media playback system. Waiting on specs, but need to get started on the edit. This is will mostly be GFX work, but has sections of video.

OSX 10.7.5 with a 3.39 Ghz Intel Core i7 on a built up Hackintosh
16 GB of RAM with OSX on SSD, (2) internal HDDs RAID’d 1 for project files and External RAID 5 for all project assets (media, GFX, stills, etc.)
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802