Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
-
You can do all in one timeline as you have realised and then go straight to Compressor in FCP to make the web file. Making a self contained file is an extra step which some people recomend. Personally I have always just gone to Compressor from the timeline.
H264 is the likely web codec which is slow so consider purchasing the Matrox H264 accelerator card.
-
And just another recipe for getting that sound – A convolution reverb with a small speaker impulse response sample will do the trick. These reverbs are not available for FCP but are cheap and there are hundreds of free IR files available on the web, including small speakers.
Have a look at SIR2, a low cost VST reverb that works with any software that supports VST plugins. There are some free ones out there.
-
Who needs manuals? Most people just ask the COW and even then they can’t be bothered searching or reading the FAQ.
TIC:)
-
Thanks for that Jeremy. I often bounce mix files from the audio post room into FCP and have never had that issue with wav or aif but I am working at 25fps.
-
Most of my work involves projects being moved from edit to online for me to grade etc. I have not had this problem when simply moving the project via the original external drives. If you need to move to an alternative external drive, I recommend using Media Manager to make a copy of the project to the new drive.
This avoids having to relink offline files. I have seen that error message when people just copy folders over. Not sure why but relinking is such an unnecessary pain and too often files are missed – usually a bit of music or a graphic that was saved to the desktop.
-
Just curious Jeremy if this is a wav/ broadcast wav issue and if aif files do the same thing?
-
If you are talking about a 24 to 25 frame speed up, that is 4%. If it is 23.98 to 25 it is a bit trickier.In theory it is 4.1% but on a long form show the sync will drift as you need to calculate to about 4 decimal points to be totally accurate (4.106 is a quick calculator estimate). I had to correct a two hour telemovie a few years ago and I needed to trim to 5 or 6 decimals to get perfect sync. It was a bit trial and error and I wish I had written the number down.
To correct pitch I only recommend MPEX3 or Pitch N Time.
-
Lyric shadow highlight followed by facelight, plus watch the Limit effect 3 Way CC tutorial that Richard Harrington did here at the COW (search is your friend).
I have rescued worse with a combination of all these plugins and techniques.
-
Sony HDcams do a poor job of of on the fly pitch correction. MPEX3 or Pitch N Time are the only software solutions that I recommend.
If the correct length and pitch is 25 then the 24 master can be run at 25 without pitch correction and an HDCam dub made.
-
It is always much easier to record the effect as a wild line on the day of the shoot. Talent lies under tarp and presto – it sounds right. Just muffling with EQ isn’t the same thing as you are finding out.
It could be re-recorded in a booth. You might even try feeding the signal out to a good speaker under a covering and re-recording the signal. There is also convolution processing, but only if you have an impulse sample of muffled under tarp.