Michael Gissing
Forum Replies Created
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As an Australian Jeremy, I must tell you about a T shirt that I saw being worn by a tourist in Sri Lanka. It stated boldly –
“No there are no Kangaroos in Austria!” -
The HDV timeline can be copied into an SD uncompressed 10 bit timeline and rendered, or made as a Quicktime self contained SD uncompressed 10 bit. You can also use Compressor to make the same file. Avoid DVCPro as it is unnecessary transcoding and compressed.
Both HDV & SD uncompresed are upper field dominant. Don’t deinterlace.
If you have a Decklink card, the hardware downconvert is not good enough. I am told reliably that Kona cards do an excellent hardware downconvert so you can go straight from the HDV timeline to SD digi beta.
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Jay,
What I meant is that the whole sound track should be sound post produced and a final 5.1 mix produced. This included your interview dialog. From what you have described you are trying to integrate music 5.1 mixes with dialog that is in FCP. These elements also should be mixed on a sound DAW, EQed and dynamics compressed properly and de noised if neccessary.
I am recommending not using FCP. Your final 5.1 mix can go straight to compressor. No need to load anything in FCP.
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I would be going to a sound post facility to mix 5.1 . FCP is not an audio finishing tool.
It has no surround pan control or multi channel dynamics processing or bass management software. If you wish to sync your 5.1 mixes up in FCP before making an OMFi to take to sound post then that is fine. Open six new tracks and lay the 5.1 mixes alongside the stereo. You might need twelve tracks to chequerboard the 5.1 mixes.
They should be delivered to you as six mono or three stereo wavs, broadcast wav or aif files. I don’t know if FCP understands multichannel wavs or aiffs.
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I am curious if the normalize creates a new clip. If you are sending an OMF to sound post then they would rather take the original clip, not a normalized new clip.
Either the compressor or limiter audio plugin gives lots of gain. Doubling tracks is also a nuisance to sound post people who have to check and usually delete these extras.
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No-one has mentioned reference video so I will.
If you don’t have a sync reference going to your capture card and deck then expect phantom breaks.
I don’t have these issues except when capturing HDV as I have been using a camera via firewire. Digi beta and HDCam are fine with my Decklink card all on house sync. HDV has its own unique issues with timecode and camera stops which helps to cloud the issue.
If you have no house sync, then your card should generated a sync signal to feed into the deck.
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[Sycophant] “Production is already shooting with 2 Varicams – they don’t want to learn a new workflow.”
Simple politic is to make sure the director thinks its his idea to shoot with an interlaced lower tech camera. Then you tell the producer how much it will cost to try and make a Varicam look like a cheap HDV. They won’t thank you but you might get a good nights sleep out of it.
You can alway capture it in via HD SDI with either the Canon camera or the Sony HDR 1500,so from a workflow point it shouldn’t cause grief either.
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So your edit sequence will be 1080 50i. If so then why not shoot the current affairs material on HDV @ 50i. I am sure you can pick up a Sony Z1 really cheap these days.
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Scopes are an important aid but in the end a good monitor is vital
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Microsoft 5 button mouse is my pref. The two side buttons are mapped to zoom in/out timeline