Michael Gissing
195
COW Coins
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DaVinci Coins
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Solve Coins
Forum Replies Created
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I have never tried this but can you copy paste attributes the speed changes from the picture to the sound?
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25 – 24 is 4%. best software for pitch conversion in my experience is Pitch N Time or MPEX3.
The new Sound Track Pro has pitch tools which are worth trying on sync & dialog. They may be good enough but I would suggest keeping the original as well so the sound post people can make a choice.
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Ultimately you might need to have everything on an external if you need to move the project from your suite to somewhere else for grading/ online. I also like the idea that an external can be used as an archive drive for the project. Drives are so cheap these days.
An external esata RAID is probably your best bet. There have been many posts here about recommendations for fast external drives so search is going to be helpful.
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[Arnie Schlissel] “You can get away with that for the 25, as well.”
Will that slow it down 4% altering audio pitch? That might be a problem, although pitch can be corrected.
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How fast is your drive? If it is a FW800 drive then it might struggle with 4444 and HQ, depending on the frame rate. Do a drive speed test. AJA have a speed test utility free to download.
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In the Log & Capture window, check that you have the audio selected to capture and which tracks you have selected.
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Ask your sound post people how they want it broken up. Personally I prefer chunks not a bunch of tracks.
FCP ignores In/Out markers when making OMFs do I recommend you duplicate sequence, delete the second half and make an OMF. Don’t save at this stage. After the OMF is made hit undo and then delete the first half. Make the second OMF and then exit without saving.
By doing it track by track, many systems import the next OMF and default the tracks to tracks 1&2, overwriting or overlaying existing material. Also by doing it in segments, the tracklay can start on the first half of the program whilst waiting for the second half to arrive via ftp for example.
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International tech specs say -10db for peaks in SMPTE countries and -9db for EBU countries. That said, those peaks are achieved using sophisticated peak limiters, not the toy ones in FCP. If the audio was professionally mixed, then they should have set their compressor limiters to that standard. I would never recommend using FCP for this task.
A compressor/ peak limiter should never be set to a threshold as low as -60db. typically mine are set to compress around -20db and peak limit at -10db.
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Unless you needed an alpha channel, why not just export ProRes straight from AE, no transcoding.
Also dropping the animation codec into a ProRes timeline might have worked better. I have not had problems rendering animation codec in a ProRes timeline and having legal levels change. Perhaps the Animation sequence was the problem.
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[walter biscardi] “Yep, should be no problem.
Just have them digitize the media, then export an XML Version 2 and you’ll even be able to open that up which will essentially be their entire FCP v.6 project.”
A small test would be prudent