Michael Gissing
Forum Replies Created
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Gee thanks Jerry. So when he turns up in online and wants it recaptured HD its a total pain. Sorry but if you shoot time of day code, then you wait for FCP to capture the code breaks. I can assure you it is much quicker to do it this way than sit eye matching later in an online.
If you never need to reconform for any reason then go ahead and ignore the timecode.
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Prosoniq make the MPEX3 software that I mentioned being part of a Pyramix system. The stand alone app is the same software and it is the best.
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Line hum is either 50 or 60 hz depending on country. A notch filter can be used set to the frequency, rather than using STP to noise reduce. YOu can usually get a cleaner removal with good tight notch filtering.
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15- 20% is a lot to correct. In my experience the best time dilate/ pitch tool is MPEX3 software which is often part of Pyramix audio systems. I have gone 10% on speech without problems. The way to do it is to speed your video clips up, export the audio as an OMFI and then change the pitch back to normal with the MPEX3 software. Export as aifs and drop back into the sequence. Better still, mix the dialog and export an aif mix file. Pyramix is a great mix tool with good EQ and dynamics.
Protools pitch & time is said to be good, but I know a facility with this software and they sent a telemovie to me to be pitch corrected with the MPEX3 software so they thought it better than Protools. I haven’t used the Soundtrack Pro time tools.
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Insert won’t work if you have marked an in or out point during a transition like a dissolve. Also if the points are in a gap between clips, insert slug. The insert needs to be marked in and out on clips.
Strangely FCP tells you the edit can only be one frame, but it really indicates that the in/ out points aren’t valid.
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Don’t expect free VST plugins to work with FCP. The plugin architecture is not VST.
Meters in FCP are a useful guide but FCP is not a proper finishing tool for audio post.
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FCP edits from an HDV camera like the Sony Z1 either as an HDV native file or a downconverted DV file (offline/ online reconform)were the HDV is recaptured via HD SDI as uncompressed or DVCPro100HD. Camera and firewire cable into your FCP computer will get you started.
There must be hundreds if not thousands of archived posts on this subject both at this forum and the HDV forum. Please do a search as this very basic issue has been discussed a lot.
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As a picture and sound post facility, I can assure you that the one feature I don’t need is to transfer any level information from any edit system to the audio system. I even make sure that clip levels don’t translate.
The reasons are simple. Mixing for broadcast requires that pre mix stems are generated. So when you pull down the clip level on a music track under VO, I have to take that dip out and actually apply it to the stem return signal. Undipped pre mix stems are a delivey item so every one of those clip level manipulations has to be deleted.
Secondly, most edit rooms have poor audio monitoring. Mix judgements are often less than ideal.
Thirdly audio post is much more than just levels. Once EQ is applied and dynamics processing like compressor/ limiters then the original clip levels simply don’t work as a mix.
Fourthly, getting levels correct for broadcast specs is not likely to be close from a system like FCP. So again, your levels are not going to be useful. If you give a sound facility rendered aifs, they should say thanks, but no thanks. No handles, locked in levels that should be changed – not much use really. If offered, I usually don’t even waste time loading them. Sure, put a mix guide track on your seqeunce playout.
If you need a quick and dirty mix, then stay in house and use Sountrack.
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Thanks for the tips. Speed is critical as it is timed to music.
I will pass on the link to the plugin which seems to be the ticket.
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Or with either the Kona or Decklink cards, down convert from HD to SD in real time to an external DVD recorder. This is the fastest way if you just need a quick & simple DVD.