Michael Gissing
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COW Coins
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DaVinci Coins
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Solve Coins
Forum Replies Created
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As soon as you do the join through it will need to re render I suspect, so what have you gained?
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Firstly search this forum as I have seen posts on this a few times. Also when you export what method and settings are you using. Without some more details it is hard to guess.
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[Trevor Ward] “I don’t think that’s the recommended workflow.”
Having a backup is always recommended, as you have discovered, even if it isn’t in the manual. Did you look for your autosave? Just copy paste the audio from that over the STP sent.
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[Trevor Ward] “I agree with the other person who said you should get the camera that offers the features and performance you want if you don’t care about workflow.”
To clarify, I said that workflow was solid for either format. I would never say don’t care about workflow. Indeed I spent most of my time advising the opposite. The point is that lenses and ergonomics are very important factors too.
Re Shane’s comments about HDV GOP, I think the difference between Mpeg2 or 4 is not great above 20 megabits per sec, so the real difference is between the data rates of HDV versus AVCHD (25 Vs 35). Yes it is a real consideration if you shoot fast action material. That said, may people want to shoot 24p which is also a poor choice for fast action material.
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Before sending did you duplicate your sequence as a backup? If not, then you might have to search for the last autosave to get back your original sound track elements.
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Search this forum about how to do an upgrade. It has been covered here many times and the resounding advice is a clean install of OS and FCS on a new drive, keeping the old drive as an alt boot so you can boot either.
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Many here recommend converting HDV to ProRes which can be done during capture,but with the penalty of losing original timecode. (search for Chris Poisson’s tutorial here at the COW).
That said, I have done many docos that were captured and edited as HDV codec without any real issues. The final grade in Color ends up rendering the grade as ProRes so at the time it matters, a better codec with 10 bit resolution is used.
So there is no real difference in terms of codec conversions. The big question is whether you prefer the archive method of backup drives versus tape. The other issue for me would be which camera has the best features, lenses and ergonomics.
Workflow, although different, is solid for either format.
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Your data rate is about 1/15th of the camera original and a long way down from ProRes. Try a higher data rate. You may have to do a test with a small section till you find a compromise between size and banding. I presume you used Compressor and not quicktime conversion. Compressor is better.
H264 is supposed to be very good with lower data rates but if you go that low, something has to give.
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I don’t know how audio could be panned like that in FCP. Can you check the original music files?
That sort of panning sounds like an auto panner plugin which may have been done in the original recordings. If you pan the stereo image into mono it will stop the effect but may make the music levels surge slightly depending on whether the panning was equal energy or not.
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All you are doing is setting the maximum peak to a fixed setting. That isn’t going to make for a mix or balance. Peak levels do not equate to apparent loudness.
Just like grading is a shot by shot interpretation using scopes, audio is also an interpretive art using meters to help and also to check for tech acceptance.
EQ & Dynamics control via compressor/ limiters are how to get both a balance and be within tech acceptance. It is just as much an art as grading or editing so either pass it on to a pro or spend the time to make it right. After all sound is much more than 50% of your final work so either take it seriously or get out of the way and let a sound post pro take over.
Ironically it is the cheapest way to add value to your production and the skill that many editors seem to lack. Ignorance about sound is a constant amazement to me.