Michael Gissing
Forum Replies Created
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mp4 files can’t be used in FCP. You need to make you .mov files in a format that FCP can deal with. I assume your edit timeline is DV so you need to see if Handbrake can make the DVD ripped mpeg 2 files into DV files.
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I assume you have the digi beta referenced to the same video ref as the Decklink card.
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A quick Google tells me that the file is based on multiplexed H.264 with AC3 audio.
People are trying Elecard & Nero software just to see it. Have Sony given you any indication as to how to convert or edit their format? I suggest you search through lots of online forums as there seems to be a few people having trouble with this format. FCP doesn’t deal with it at all. Have you tried opening it in Quicktime?
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For the record, I am principally a sound post facility and neither FCP or STP are pro audio tools for the difficult task of trying to make poor recordings usable. That is why giving proper advice is pointless. The sort of equipment I need to describe is not in your suite, so bat it on to a sound post facility. It should cost more to the producer when they treat location audio as an after thought. “Fix it in the mix” should be expensive.
What gets up my nose is that after mixing over 700 docos that audio quality has diminished over the years. Few programs take the time or care to get sound right. I hear all the editors grumble when there is poor vision and slag off at producers who let picture standards drop in the field. So when an editor asks what magic fairy dust needs to be sprinkled over dud sound it insults the importance of location sound. It also shows an ignorance of what sound post tools can and can’t do. Every day I struggle with wind noise, camera noise, mics in the wrong spot, cheap mics etc. With serious eq/compression tools and noise reduction units that cost four times as much as FCP Studio it is possible to get some improvement over shite. But it is still shite compared to a proper mic used by a sound recordist.
We live in such a visually oriented society that when sound is bad, some think there is something wrong with the picture. Similarly when mixing, some directors can’t concentrate on the sound mix if there is something wrong with the pics.
As editors, trying to fix poor location sound with STP or FCP simply makes the problem worse. I have seen very few picture edit suites with suitable speakers to even judge what you are doing to sound. Would you grade your pics on a $300 monitor? No? – then don’t try to do audio restoration on cheap speakers with inadequate tools. DRW I always get out of bed on the same side. This almost daily “how do I fix poor location sound” question always gets me grumpy. Just give me in focus HD pics and good sound and I am happy.
Please – stop trying editors. You are making the job for sound post pros worse by tinkering at the edges.
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[walter biscardi] “If it’s your only monitor, then no I would not use a consumer LCD monitor.”
My question was have you seen this monitor. Your assumption that it is not good enough because it is a domestic product is likely to be correct in most instances. However your comment suggests you haven’t seen this monitor as the tech boffins at the broadcast tech check think it is accurate and perfectly suited to grading.
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>>Any advice? and What filters do you usually use to sweeten audio?
No. If you have so little regard for getting usable sound on location then I have no advice at all. “sweeten”ing audio is like polishing a turd. No matter what you do it is still a turd.
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Software conversions that change length and sound pitch are not what you want. Correcting the 4.1% shift (around 3/4 of a semitone) requires serious audio processing like MPEX3 on a Pyramix system.
I would go to a pro facility with a Terranex and do a real time dub so that length and pitch are maintained.
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Walter, have you seen the Sharp Aquos LCDs? I am using the 45″ which is 1920 x 1080, component input and the blacks are real black, not purple/grey.
I am using it as my grade monitor for SD and HD and comparing finished masters on a Sony CRT HD monitor in the broadcasters tech check area, I am very happy with the match. In some respects it is more critical, particulalry checking codec blocking.
Also 18ms response so no audio sync problems like plasmas.
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You will have to ask Apple why they won’t OMF import. Have you looked at the Automatic Duck products? They offer all sorts of import export options with other systems like Protools.
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Have you considered Blackmagic cards with the G5? I am very happy with my HD extreme. If you are only doing SD, the SD Blackmagic cards are very reasonably priced.