Michael Gissing
Forum Replies Created
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Phase cancelling the M&E mix to the final mix will not give a perfect cancellation. Firstly the assumption that the two audio tracks are already in phase is false. M&E mixes can be stripped onto a dig master at a later date and are subject to 9 pin sync accuracy. Even if they are in perfect phase they are not the same mix.
The M&E will have been altered to take out dips for narration so it is a slightly different mix.
Ask the audio post people for separate dialog tracks. This should be a basic request for them
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FCP controls external machines via 9 pin or firewire and doesn’t output LTC. Nor does it chase lock to LTC. While it is playing out a timeline, it can output VITC but it is not a timecode generator.
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Could be a malicious redirection. Are you browsing on a Windows machine or a Mac? If it is Windows, then do you have Anti virus protection and malware protection.
If it is a browser hijack then beware that site.
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[Shane Ross] “Watch each one and adjust the audio on each so that none of them peak above -12.”
Better still, LISTEN to each one. Apparent loudness is much more than meter watching. Set your audio monitoring levels with good speakers or headphones. Don’t touch monitoring volume again.
Use your judgment to assess apparent loudness. If you have access to a phons meter, use it.
DVD audio mastering is really a specialist job for audio facilities with EQ and dynamics processors. Shane’s -12 db rule of thumb is OK but broadcast peaks are -10db on a digital scale (FCP uses digital scale) which is a more universal level. If you set the first clip to peak at -10db then use your ears to gauge the rest, relative to that first clip.
To keep a handle on things, jump around within the 30 clips and hear if they match apparent loudness.
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I use Editrace for this with an EDL of both source and recut video track required. I don’t know if AVID have this facility built in as I have only ever been able to get a change list from EDLs, even when projects were cut on AVID. If the facility is available then AVID editors don’t seem to be aware that they can generate such a list.
On a project that we are audio posting now, we have had a great deal of trouble getting and EDl from the AVID as the job was Sony XDCam ingested by file transfer so the EDL was a problem to create. I am waiting for the offline suite to make the EDLs and after waiting days, they assure me they have worked it out. I would love something in the XML world but do AVIDs make XMLs? Again I don’t think so.
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I capture PAL 10 bit uncompressed to Lacie firewire 800 frives without problem. Don’t know about your drive so I suggest you run a drive test. If you have a Decklink card, it comes with disk speed test software. I am sure Kona has a similar tester.
Also it is recommended that both FCP and the SP deck get reference video. If you don’t have an external reference, then your capture card should be able to generate a reference to put into the SP decks ref in.
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After installing FCP 6 I had to go into the audio video setups and check the settings set by Easy Setups that used to work. I found that I had to manually reset the compressor and machine control parameters. Not sure why and I am working in PAL if that makes any difference to the Easy Setups. Once I reset the values it captured OK.
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Chances are they are multi channel wav files. Can youcontact the studio that supplied them and clarify if they are mono stereo or multi channel.
I am pretty sure that FCP 4.5 can’t deal with multi channel wavs.
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Is that 8 bit SD or HD? IF SD then a firewire 800 external should be able to run the files OK. I do 10bit SD uncompressed of a 1TB Lacie drive all the time.
HD will need the files on a much faster drive, either a SCSI RAID or a SATA RAID.
Hope it goes well.
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There was a post recently talking about FCP 6 putting the shift fields filter on AE files imported into FCP 6. Check your filters tab and see if this filter has been added automatically. If so it is likely shifting the fields incorrectly. Disable the filter and see if the jitters go.