[Peter Groom]

Afraid not.
The filter needed is to know when to stop for a break and a drink. His voice is just shot.
Pteer

Post Production Dubbing Mixer

[Peter Groom]

If you’re hitting the input electronics of any recorder you will hear the crushing clipping harshness but the levels after that point can appear ok.
Check bASIC thinks like mic/ line switching and look at what levels your devices re sending and expecting. A pad may be needed to pull down a hot input device to the right side of a sensitive or poor input stage.
I stress I’m not familiar with either device you have but the basic level matching rules apply everywhere
Peter

Post Production Dubbing Mixer

[Peter Groom]

Thats a very restrictive way of working nowadays.
Way back in the days of multitrack machines and limited tracks it was the norm, but theres just no need these days to submix and mix down.
people are used to being able to adjust EVERY and ANY element right up to the last mixdown pass.
That would be so frustrating.
Peter

Post Production Dubbing Mixer

[Peter Groom]

OK
1) I think youll run into problems doing much on a mac mini.
2) Id drop the HD 1080 video file down to a sd file such as a photojepg which is much less priocessor hungry.
3) Id also recommend running the pictures via a third party card. I use a Black magic Extreme.
4) The main reason ive not really moved to pt 11 from 10 is that 10 has a video offset in qtr frames adjustment where you correct for monitoring timings. Ive not been able to find same function in 11 so Im still running 10 even though 11 is on the machine. Catchinsync from the app store is a good tool for setting these delays.
5) Id rekon that running a second machine with the picture files although seems sensible, Im not sure how youd go about making that work reliably. id get a pro end mac and do it all in the 1 unit.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi thanks for that.
The hard drive is ntfs format and works fine on my Mac with fcp.
If that file type us t supported what else apart from pro res is support ed. Pro res seems overkill as it’s just a PowerPoint t recording .
Peter

Post Production Dubbing Mixer

[Peter Groom]

Yes, I think its always been the pre amp electronics that have given me the biggest sonic objection whichis ALl that really matters.
This is ofcourse completely aside from the fact that they use mini jack which makes me hurl.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Izotope RX will be able to reduce some of the background general noise.
Dont go too hard on it or the audio will go “watery”
Did you have a window open? Sounds like it?
Youre lucky the camera was so close.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Also, you should look at a software called Revoice Pro. It takes adr cues that are pretty good, and adjust them with reference to the guide track to make them “absolutely nailed”. It can even change intonation!
I have used it with great results.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi Ty
Im pleased youve had better experience than me in this field, and I trust your comment on it, but Im just not a fan.

I think the only thing that will make me a fan is a re think on the importance of the audio facilities in these cameras by the manufacturers.
I find the mic input circuitry to be harsh and edgy, I dont do mini jacks full stop, Id need the audio controls to be made available on wheels where an operator can get to them all the time, and Id need XLRs, switchable mic and line inputs and powering.
Basically I dont like audio being a poor relation, but Im happy when people get acceptable results, for them.
Many times have people brough DSLR audio to my mix studio saying theyre happy. All I do is book and ADR shoot.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Well, DLSR sound awful.
If its full of mid then eq that back, buti dont expect it will reveal anything sounding less horrible. They just are.
Peter

Post Production Dubbing Mixer