[Neil Patience]

I have not tried this however I have used a t2i with various mics and Zoom recorders etc etc and a couple of things spring to mind.
While what you are proposing will work you may end up with some odd results.

The T3i has a single AGC that controls both channels. This is used to advantage where some adapters send a contant signal to one channel to “fool” the AGC into recording a more constant level on the other. So they are linked.

If you have 2 mics, one on each side of the stereo – the levels of 1 channel could be affected by the level of the other.
So if channel a gets loud channel b will go quieter by default.

That may produce some odd levels depending on when and how loud your contributors speak.

You can get a simple cheap splitter cable like this – sorry I am in the UK so its a UK site – must be 1000s of places you can pick one up.
https://www.maplin.co.uk/3.5mm-stereo-to-2-mono-splitter-43086

Are the outputs of the mic on a stereo or mono jack ? You will just need the relevant splitter. (The one in the example is 2 mono to stereo.)

Also the FIIO is a headphone amp – will the output of the mic system be enough to drive that ? – couldnt see any impedence or level data on the 88W so that may or may not be a problem.

Anyway just a couple of thoughts

best wishes
Neil
http://www.patience.tv

[Neil Patience]

Sounds like you are exporting to a Windows formatted drive, Fat 32.

There is a 2 gig file size limit with this format so it creates a spanned file.

If you export to a Mac formatted drive you will not have this issue.

best wishes
Neil
http://www.patience.tv

[Neil Patience]

Hi Noam

From memory you can, (I am editing on Avid this week so cant check just now) but I think that if you go to the import settings tab of the log and transfer tool you can select if tracks are linked stereo or mono.

Hope I am right – apologies if not.

best wishes
Neil
http://www.patience.tv

[Neil Patience]

Hi Thomas

The problem with your question, as David points out, is that you have not told us the format of your pictures or what codec you have used or delivered in the first instance.
Quicktime is in effect a container that can support many different file types and formats. So there are many variables.
So its impossible to say what will be best as we dont know what you have in the first place.

FCP offers additional encoding options over those supported by the standard Quicktime player. ProRes was the example that I gave as one that falls into this category.
So it is possible for you to create a file that will not play on the standard player.
H264 was the example I gave of something that will play on the standard player, your client should have no issue with that.
However the quality of that file will depend on the parameters used to create it.
So what seems a simple question is actually a little trickier to answer than it may first appear.

Hope that makes sense

best wishes
Neil
http://www.patience.tv

[Neil Patience]

[Simon Ubsdell] “[Neil Patience] “While this does suggest that slug, or filler to use the Avid term, is added to maintian sync actually nothing physical appears in the Avid timeline at all. An empty gap is created containing “nothing”.”

This is not entirely true.”

You are right, my description of “nothing” was a little inaccurate but that is why I put it in quotes.
I was trying to distinguish it from filler or slug.
You can indeed trim the “nothing” and move it about – I find it a very flexible way of working although as you point out in another post it does get tricky when there are lots of overlapping tracks and you end up needing to do a bit of fixing.

[Neil Patience]

[Simon Ubsdell] “I hate to disagree but … if Media Composer were consistent in its logic you would be able to select a gap/filler with the yellow (Extract/Splice) segment tool and deleting would ripple the timeline. It doesn’t.”

Perhaps I am misunderstanding you here but if you select a gap in the timeline using sement mode with the yellow extract/splice tool and delete it the timeline does ripple down.
Obviously if there are other tracks that cross the extracted section they will be affected too so you may have to do some repair.

When you have tried it does it stay in place or what happens ? Perhaps we are talking about different things ?

best wishes
Neil
http://www.patience.tv

[Neil Patience]

The reason is that without FCP you do not have all codecs available, PRORES for example comes with FCP and will not play as standard.
So you need to export in something that is standard in QuickTime. H264 for example or any of the Apple Tv export settings will work.

best wishes
Neil
http://www.patience.tv

[Neil Patience]

[Jeremy Garchow] “By the way, you said that you were going to Avid? Check this out, Avid has a gap system as well:
https://forums.creativecow.net/readpost/335/17575

The link above relates to to a Simon Ubsdell post that says:
“Consider this from the Media Composer manual:
When you use the Lift/Overwrite tool, the application adds filler to the sequence to maintain sync.”

While this does suggest that slug, or filler to use the Avid term, is added to maintian sync actually nothing physical appears in the Avid timeline at all. An empty gap is created containing “nothing”.

Indeed Avid offers 2 options here – “lift” which acts as above and “extract” which moves everything up closing the gap like FCPX

best wishes
Neil
http://www.patience.tv

[Neil Patience]

Cant think of a way to get a list however what might help you is to select “open” in the canvas window. (use middle of 3 buttons at the top)
Then select the filter tab in the viewer window.

You can then fast scroll through the timeline and for each shot that filters are used they will simply pop up in the viewer window as you scroll past.
Another thing that might help is to switch the “filters” bar on in the timeline, (bottom left corner of timeline – button with 2 lines) that will underline each shot with a green line that has a filter used so you can more easily ignore those that dont have filters.

That would be a lot quicker than checking every individual shot.

best wishes
Neil
http://www.patience.tv

[Neil Patience]

Hi Efrain

You can start the move before the shot starts.
Double click your clip in the timeline that you want to zoom so it loads into the viewer. Click the “motion” tab.
You should see the start and end keyframes of your zoom and the duration of the shot highlighted in a lighter grey colour.

Simply move the first keyframe so it appears before the start of the shot ie outside of the lighter grey area. Make sure you move it enough to take into account the duration of the dissolve and it will begin to move before the dissolve starts.

Hope that helps.

best wishes
Neil
http://www.patience.tv