Michael Gissing
Forum Replies Created
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At a guess I would think the problem is that the files were captured using QT vers 7 and you are now playing back using QT vers 6. This will result in audio being almost inaudible. I don’t know if you can upgrade FCP4.5 to QT 7. Better would be to upgrade FCP 4.5 and then upgrade your QT
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Actually we sound editors want the program broken into chunks not tracks. That way we can start on the first 20 minutes while the rest loads into the system. Breaking into tracks means we have to load everything before we can start.
Always ask your sound people what they want. When you break it into chunks, make sure the chunks are at the correct time code. You do this by duplicating the sequence and deleting before or after a set point. If you copy paste into another sequence you have to locate to the correct timecode before pasting.
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I am doing uncompressed 10 bit HD and the scopes are not real time.
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Scopes in 5.1.4 were only real time for SD. In HD they weren’t. I haven’t tried to open any HD projects in FCP6 yet to test that.
What is better in FCP6 is there is an adjustment for the brightness of the scopes and a scale brightness. Eventually I am sure the later versions of FCP6 will be able to remember the settings which at the moment are lost each time you restart.
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Compressor settings are always going to vary depending on the actual level of each clip. You need to adjust the threshold so that the b/g noise is just below the threshold level. That way when the talent stops talking the noise is not being dragged up.
That said, are you recording with manual levels or auto gain on the camera, because auto gain might be the actual problem, not the compressor.
I don’t know the FCP compressor as I use more serious external units (Penny & Giles PP20 for the audio aficionado’s)but 4:1 on dialog is not heavy depending on how good the compression algorithm is. Use fast attack times. I use .5msec attack and 80msecs release on dialog. Slow attack times means hard attacks are not contained. Conversely fast attack starts to introduce slight distortion.
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I would be interested to have someone time the two work flows to see which one is faster. Using Media Manager to transcode might be slower than a reload but I would like to test that theory. A lot would depend on the machine used to recapture. I am going to hire an HDV 1500 soon to test how fast it can locate and lock. Reloading from a camera is slow but a decent machine may be the fastest way.
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In theory an AC3 file can be recorded as an AES stream to a digi beta or HDCam tape. The reason Dolby developed Dolby E was to have a better quality interchange than AC3 particularly as broadcasters were likely to decode and then recode as AC3 during transmit. Also it sit in an AES stream better and can be edited.
Have you tried dropping the file into FCP? That may be a way of getting it as an SDI embed. Be careful not to monitor this signal as it will be very high level noise. You can’t touch the gain or the data will be corrupted.
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Don’t export as aif’s. This is no use to an audio post facility that needs an OMFi to get clips with handles. It also locks in offline audio mixes. As a rough guide they are barely worth loading.
Sometimes OMFis have corrupt media. Try doing the OMFi track by track to isolate a potential problem clip. Frankly I have never had a problem creating and loading FCP OMFis since version 3.
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“Assumption is the mother of all f**kups” – old wise saying.
I have compiled four documentaries shot on a Sony Z1 in 1080 50i using the Canon XL H1 as the capture device in FCP. I use it because it gives me HD SDI out. If you shoot Cineframe 25 on the Z1 then I would not expect the Canon to play it back but I don’t know as no-one I know is using Cineframe mode on the Z1.
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Yes we do but there is no hue control in PAL