Peter Groom
4
COW Coins
Forum Replies Created
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Ive often tracked down some pretty large unused render files etc some months later.
I dont think theres any answer to stop it, other than accept that this software is end of live and end of interest so it will never get any better.
PeterPost Production Dubbing Mixer
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Im curious if any agreement was reached about your workflow going forward?
I think Shane’s advice is spot on, and largely agrees with me.I’ll make one additional point.
Editors nowadays live in a very different world to when I 1st started in TV some 31 years ago.
Back then most editors were on staff, worked and were proficient on the plaftorm(s) from their company. And the number of ways of editing Pre computer and NLEs was far less. Things re very different now. With NLEs being near 100% the platform, but with a number of manufacturers competing, and with staff jobs being the few not the norm, editors are usually freelance.Speaking as someone who hires freelance editors now, I feel that ANY editor working in the freelance space should be equally proficient in Premiere Pro, Avid, Final Cut Pro and FCX (note Ive removed the P from FCX as I don’t see much pro in that software) I expect any editor to be experienced and capable in the craft of the job, NOT only on 1 programme / piece of software. Its like driving a car. Yes you can have a favourite. Other cars feel a bit strange at first, but as a driver, you can drive ANY car.
Peter
Post Production Dubbing Mixer
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HI
I – like you am an AVID fan. But I don’t really understand why one of you cant operate the other software.
I think you’d find that, as I did, an hour on Premier Pro will have you editing happily. Not like an expert of many years on AVID, but you’ll be off and running.
OR your assistant, could with an hours tuition from you, be up and running on AVID, and as he’ll not be using AVIDS finer points, its even easier for him – and after all, he the “assistant”.
Everyone has their preferences, and as I said mine is Avid, but I had to learn FCP, and then Premiere Pro IN addition to AVID.
And Im a better editor for it!NB Dont think theres a way of making the 2 work together.
Peter
Post Production Dubbing Mixer
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Hi Richard.
I am please to see someone else bang on as I have done so mant times before on this forum (youve probably seen) about the importance of wearing headphones and adequate monitoring. I dont understand why this is such a problem for people.Re the audio.
I think the noise the OP refers to is less scratchy in tone to fluttering. It sounds like the RF envlope is being pushed over by something. I suggest
1)Poor antenna placement,
2) mobile phones,
3) anothe radio mic on a similar frequency,
4) some other device on similar freqsBut yes the s/n is poor .
PeterPost Production Dubbing Mixer
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Hi
post a sample so we can hear the problem.
But for £115 dont expect too much.
PeterPost Production Dubbing Mixer
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Hi
I think it seems likely to be the explanation, but as Id NEVER EVER use the on board mics, id not know. Thats because they are rubbish.Just as well the interviews were totally un-important, hence the reason “didn’t listen with headphones, duh”.
Why on earth not? would you shoot an interview and never look through the viewfinder?
Peter
Post Production Dubbing Mixer
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Hi Ty and Richard
re
How do you even mount a mic on the DJI OSMO?
A. The osmo is pretty poor in this regard so ill take and add another photo showing the options.Is there evan a shoe?
Nope its an additional part Ive cobbled together.How far can the mic extend before it’s in the shot?
Not far. Im not looking for excellent audio resumts from it as I understand beeter than most that a sep sound recordist is the way forward, but i would like the sound it captures natively not to suffer from muchg background hash as at present.What are you trying to record and in what situations?
Well im using it as it spictures are fabulously stabilised and you can literally run down the street, but the shot looks like I laid a track!Richard. I agree with you that the mic is a poor mans tool. I just happened across it in a cupbiard whilst looking for a mini mic for my new mount see pic.
Since posting i have discovered with a meter that the sennheiser 3,5mm jack to jack i was using with it is only wired on the tip and sleeve. I think this might be negativlely affecting things too so im going to make a new one wired across all 3 poles when i get a minute.Pictures showing the basic screen with whip mic and 2 showing each side with my souped up mount with sennheiser radio mic mounted, screen and suspension mount for sony mic.
Cheers
PeterPost Production Dubbing Mixer
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Doubt youll find that.
The pink noise is rotated in sequence around the room by a panner calibration set up. not by putting it on a timeline.
also youll need an sound pressure level meter, not your ears
PeterPost Production Dubbing Mixer
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Ok cards on the table, Im a Post mixer.
1) So 1st question is what metering have you got to give you even the 1st chance of getting your levels right.
2) What about Loudness mixing.
3) Are you delivering an M&E
4) are you mixing stems for surround.
5) Where is its use? TV, cinema, neither.?
6) Have you ever mixed anything before?
7) What are your monitors and how accurate are theyUnless you are VERY clear on the detailed answers to all of these questions id pause and seriously ask yourself if you can get it righ and deliver the required elements to the required standards etc?
Perhaps consider taking it to a post house?
PeterPost Production Dubbing Mixer
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Like Ty – i think its too much.
Id err away from normalising and compressing and limiting. Sounds like youre trying to make a brick wall of words here.
If its a film, and therefore for Cinema then the sound platform your’e making for is designed for light and shade, highs and lows. youll have none after all that
Its all about texture. Letting him be loud when he shouts and quiet when its soft.
And as fpr reverb. If you really want or need that, it should be done in the final mix only – in fact id suggest the only processing you do to a VO reccording before the mixing stage is
1) De click and pop
2) Possibly adjust levels if certain parts are way over or under, but not normalising.
Batch processing is your enemy in the creative mixing space as it doens know how your emotions are running right now!Peter
Post Production Dubbing Mixer
