[Peter Groom]

Hi Kat
Im a post production dubbing mixer of 23 years. Generally speaking, people might think their audio is fine as is, until they hear the version after a mix. Then they hear the difference.
Bad or average sound will drag down the entire programme with it.
Dont underestimate the audio track – lavish it with effort – as much as the scripting, casting shooting editing and graphics.

peter

Peter

[Peter Groom]

Hi
Digitranslator is an app within Pt that opens up timecode functionality and allows OMF use. But what were talking about here is the fact that OMF doesnt recieve timecodes from the source footage at the Video NLe end, so it wont be present.

peter

Peter

[Peter Groom]

I transfer audio from FCP (and avid) all the time to Pro tools 7.3. Ive never been bothered by the fact that tc doesnt port, but think that this it “might” be one of the main attractions to the new aaf mooted replacement for omf. BUT no one seems to have got aff to work yet so its not really a go yet. Indeed the programmer from Virtal katy told me himself that aaf isnt sorted yet

I think avid may have the option to choose b wav as the embedded material in an omf which may then port the tc, but aaf was def the way to go for usig metadata detail like tc, just not yet.

Peter

Peter

[Peter Groom]

The accepted line up levels are -18db (usually uk) and I belive the US often use -20. This is for digital meters only. Either way, the rules are that 1k tone goes at -18 (or -20db) and the audio that follows it should peak at +8db above that. There is no advantage in attempting to utilise the capacity between -10 which is wher the audio should not exceed and 0 (the point weher all digits becom 1’s aand distortion occurs. Only problems as the audio effect of digital clipping is very offensive and you gain nothing by attempting to go high.

The word headroom should be completely forgotten when talking about digital.
Peter