[Peter Groom]

This is soooo much an open ended post.
Lets start at the top and work down

TOP
How about the AMS Neve DFC. 99% of th worlds biggest grossing feature films are mixed on this. Its the diamond of mixers. You should get change of a million USD in the current climate!

Bottom
Theres a spirit folio on ebay for £150??

Peter

Sorry for the attitude but we need more – much more

[Peter Groom]

I full realise the circumstances, but faced with those problems I would NOT have proceeded without rectifying them. But its easy to be wise in hindsight,

As i said in my reply
You could try applying an eq filter to see if decreasing the Lf will “lessen” the ambience. using more of the closer personal mic will surely lessen the reverb as it only picks up in a smaller area around the capsule.

There are removal tools like izotope rx that I like as they lessen external noise considerably, but are quite pricey. Depends how bad your problem is and how much you want it lessening (not gone) as to if youll shell out for isotope. (https://www.izotope.com)
Peter

But do be aware that the audio is basically broken with these external factors. In Tv the whole lot would be ADR’d (dialogue re recorded to picture sync.

Audio is a bit like a ming vase dropped down the stairs. No amount of superglue can get it back to mint condition. Only a new vase.

peter

[Peter Groom]

Hi

Your man is right. All 3 pin XLR mics are mono. The confusion here arises from the fact that mono signal sources with 3 pin XLR to 3 connector jacks (screen, hot, cold or tip ring sleeve) are not stereo they are “balanced”. Those with tip and ring only are “un-balanced”

Nothing to do with stereo or mono. But you need to put a balanced plug into a balanced socket, or else the connections inside will short out causing no end of problem. (This can often be aidd by half pulling out the jack to undo one of the mis matched terminals inside the socket.

NB RE your FCP import. You have to tell FCP if audio is to be paired stereo or not. This affects its left right panning arrangement default. Its a button on the timeline. Hovver over them to find out which one it is as i cant remember. I dont like fcp so rarely touch it.

peter

[Peter Groom]

Yes I’d expect so, as any EDL will fundementally be timecode based. If the seq in pt isn’t against the same tc base then itll struggle.(fail)
Id forgotten that PT charge extra for the DV toolkit to open up tc and omf etc. Ridiculous.
Peter

dubbing mixer

[Peter Groom]

Hi
Youve got an out of phase cable or link in there somewhere, or FCP may have a phase switch (although I doubt it) which is depressed on 1 ch.

Basically, when 1 channel has a positive rise in amplitude, the other channel is negative. When you mono both up, they phase cancel each other out as theyre 180 degrees out of relative phase to eachother.

So
either find your phase inversion and fix it….
or take one channel in fcp only and pan center.

Cheers

Peter

Dubbing Mixer

[Peter Groom]

Do you mean youre doing the audio mix, as thats really the correction in sound terms.
In picture terms colour correction is done at the conform stage. Are you editing it or what?

NB Id suggest that for either tasks, you need significant amounts of calibtared kit. More than most have at home.

For colour correction youll need at least a grade 2 (pref grade 1 monitor) correctly set up and calibrated before you have a hope in hell of getting something “correct” so that it looks right on air.
And ofcourse some cc software, not to mention a whole stack of time and ability. Colour correction is a black art as Ive observed in 23 years in TV

For sound Im less clear on your role. Im a Tv and film dubbing mixer. Its at the mix in audio where correction takes place. Once its mixed, you cant correct the component parts, only the whole mix (which is completely wrong.) Or is it all bad?
But, youll need at least levels Metering up to 5.1 if its in surround. Software, and finishing speakers / monitors. Like picture cc, anything less will not be correct except on your speakers (which is not what the audience is listening on)
Again youll need a whole stack of time and a lifetimes experience (well at least a few years in pro audio)

Sorry to be negative but I think you may be on a hiding to nothing here, completely apart from what do you charge. Id be considering how much do I get sued for if i arse it up?

But of course you may well have all this kit and experience, in which case I take iit all back, and youll know exactly what the rates are in high end post.

Peter

[Peter Groom]

whats the nature of the problem?
Peter
Dubbing mixer

[Peter Groom]

It needs a 1.5v dc power to work. Your camera must be delivering this, but your pc soundcard wont be. Im sure an email to https://www.trammicrophones.com tech support will tell you what you can get to power it externally.

Other than that – cant you plug the camera in and use it as a bridge?
peter

[Peter Groom]

No chance.

Studio to live sound – easy
Live to sudio – impossible

Peter

[Peter Groom]

Hi
Speaking as a TV / Feature film dubbing mixer of 23 years, you need to know the answer to your q how much do you mix together?
Ideally – nothing ever.
Its like a cup of tea, once youve put the sugar in you cant get it out, only make a fresh cup.
Dont commit the mix to anything as you have no idea when you record, what, when or how the audio may need to be used and in what context, or be mixed with anything else.

Its more than enough for a field “recordist” to do just that, and get it right, good clean, crisp well recorded audio. Dont mix.

If however you physically have to mix then you have to try to work out which 2 elements can live with being unseperable. This is a poisoned chalice and one you have little hope of getting right.

Peter