[Peter Groom]

Thanks Jon
Sorted
Peter
Have a good New Year

[Peter Groom]

But no way of dissolving “live” during a multicam vision mix?
Peter

[Peter Groom]

Hi
Ok ill do it that way.

Is there a way of making the avid perform a dissolve rather than a cut when switching in multicam mode. Id quite like to map this to a key too
Peter

[Peter Groom]

Hi
I am doing exactly that but as there is unwanted media before the action moment on all cameras, although the avid does sync them in the group successfully, it lays down loads of unwanted media on the timeline which is not required. I then have to trim this off.
Thats why i ask if it cant create the group that SRARTS with the in point

Peter

[Peter Groom]

Hi
so is there no way of marking up clips with an in point in the source monitor and have avid group them for multicam from that point ( a point of use) an not group from an aribitary moment the cameraman started rolling or the arbitary moment the capture started?

And how do you cope with tape changes etc.
Peter

[Peter Groom]

HI Jon
Thanks for that. Your reply has put me on the right track.
Seems that I have to accept that Avid places the FULL clip (from the start of the earliest source tc on the timeline, and then plays the second clip in the correct time in multicam, so all i need to do is trim off the extra at the head. That works ok for me

How do you cope with the fact that a long camera shoot may well have tc breaks or tape changes. These all need syncing up on the timeline as far as i can see before you vision mix the whole lot in a pass.

Im keen to get my head round this as i agree its a good feature, but seems a little iffy to me at the moment.
Peter

[Peter Groom]

Hi and thanks for the reply

There isnt any black at the head od the dource clips, and yes they are of different length (but they would be.
What can i do to fix the sync relationship between the clips. The only place i can sync them is on the timeline, then match frame and mark an in point, but that doesnt seem to do it as they each start not together in the grouped clip to be vision mixed but staggered.

Peter

[Peter Groom]

HI Andrew

You really cant use a VU to try to guage a peak value. This is because the attack of a VU is very fast, but the decay is fast too, and so unless the audio is at a constant level to read, the next audio will average out the level of the first audio. Thus the VU will not ever reach the true peak which is what you need to see. Its a mean value. It will give an approximation – but speaking as a studio dubbingmixer, if you recorded footage supplied to me on a VU and the overs caused problems in the dub, that youd never even seen on location meters, it would be only a short while before we had a telephone conversation.

I say stick with PPM for accurate peak monitoring.

Cheers

Peter
dubbingmixer

[Peter Groom]

HI Laura

It really doesnt matter what level you send tone at. What IS important is the relationship between that tone and the peak of the audio that follows it. That relationship has been worked into an industry recognised standard and therefore its easiest to follow that standard.

In the UK it is 1k tone at -18dbfs = PPM 4. The peak audio level is then +8 db above that. But to re iterate it is a standard that people follow and take for granted, but you could pefectly correctly put tone at -14 to PPM 5 as long as you document this on the tape report that this is the rule that you are adopting for delivery so the receiving engineer could calibrate to that.

I dont really know what the US standards are, but all this spec will be documented on the website tech area of whoever the ntaional broadcasting governing body is in your country. In the UK its the EBU (European Broadcasting Union).

The same rules apply to the bars that preceed delivery copy. The Bars can be 75% or 100% and it doesnt matter as long as you document what is usd.

Peter

Dubbingmixer

[Peter Groom]

Hi Ty
If youre doing audio post for Tv or film, you need to use some of the handle on just about every cut.
The last feature film I did had over 5500 audio cuts on the timeline, and by the end of the tracklay there were 75 tracks of raw audio with extended handles, and 18 auxes with verbs and other effects.
I think not having access to the handle information on every cut is missing a real trick and frankly Id rather go work for a bank!
Peter