Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
-
An old trick we used to do was feed the sound through headphones and then mic the headphones to re-record that tinny small speaker sound.
These days, I use a convolution reverb with a phone impulse sample. using EQ, use both high pass (set to about 600hz) and a low pass (set to about 4khz). Also a lot of compression helps as well.
-
Can you see the black line only after capture? Is it there when you preview before capture? Is it visible in the camera playback LCD?
Also are you capturing with the correct HDV easy setup or downconverting to DV in the camera?
-
“Can anyone suggest an alternative HD shooting format that doesn’t cost the earth and actually talks to FCP without the bullshit?”
There are many people successfully shooting and editing HDV in FCP, because it is cheap and it works. Yes it is a bit of a fiddle at first but I am doing 90% of my online work on docos that have worked out how to manage the format. When DV first appeared using firewire, there were lots of similar complaints but no-one these days seems to have an issue.
From your post it seems you don’t understand how to setup the camera and the correct easy setup in FCP. Search the forum as it has been covered hundreds of times.
-
Yes this is normal. The scopes reduce the RT capability as they consume system resources to display, particularly in real time. Not so long ago they wouldn’t display real time as they were resource hogs.
-
It would be easier to add the ISO’s afterwards. Hopefully you had a sensible timecode strategy in shooting so resyncing is easy. EDLs are a problem with file based source as it needs both timecode and reel numbers.
I would guess that your sound post people are planning to mod match, which is tedious and expensive. You are better off doing this job your self and sending them an OMF. Bear in mind that the OMF will get pretty big with all that extra audio so you will need to split the project into into segments as 2 gig is the maximum file size allowed by the antiquated OMF spec.
-
I am not sure why it is necessary to change speed at all. A 4% audio pitch change is 3/4 of a semi tone which is just horrible to music and it means the program length changes.
I still think a real time dub through a standards/down converter straight from 50i to 29.97 is not only the best technically, but a real time saver which must be worth the cost of doing it right.
-
Speeding 25 up to 29.97 or vice versa is a lot more than 4%. 24 to 25 is 4%. 16.5% approx is 25 to 29.97.
You need to a real time hardware standards conversion from 50i to NTSC DV so there is no time difference and no audio re-pitch.
-
Walter, STP is probably just panning. The VST plugin that John linked to does a lot of processing using Ambisonics algorithms, which is the surround encoding method used by Soundfield microphones.
-
John,
Thanks for that VST link. I mostly do sound post and I am always on the lookout for clever plugins like this one. I am doing a 5.1 remix of a doco later this month and the music files are all stereo so i will use this device and let you know if it is any good.
It also looks like the right toll to help Nick.
-
Don’t use a DV sequence. It will make your images look bad. You need at least a ProRes sequence or uncompressed if your drives are fast enough.
Also the only way to judge your images is on an external interlace monitor.