Richard Herd
Forum Replies Created
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[Howard Duy Vu] “as a toggle”
Exactly! A preference to turn or off.
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[Howard Duy Vu] “the fade handles are superior”
It should be DAW-style in all NLEs: audio clip collisions create an overlap audio auto-cross-fade.
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[tony west] “Richard, this has been puzzling me for a while on here. If you are sending audio out anyway how big a deal is it.
Am I wrong in thinking that X is geared toward someone who wants to do everything inside this one program?
Isn’t that why logic’s tools and all the plugins and color have been moved inside X?
If I could do everything I needed to do inside one program I would prefer that.”
Tony,
There are some very specific tools in a DAW that I absolutely love, and I do not see why they cannot be in an NLE. I will try to explain them in this post, and I hope X adds them, and I hope other folks can get a chance to use them. These are things you cannot do in Premiere’s mixer, but you can do in Audition, or any pro DAW. If Apple are going to add this capability, then they absolutely must have a mixer, fx loops, sends, faders. In other posts, I have referred to this as the hypothetical Roles Inspector. It’s basically just a grid based on Roles. Once those are in place, any manufacturer should be able to develop a set of audio effects to do the following type of stuff.
Here’s a picture of my mixer board, for a commercial. It’s all sync audio, shot for a local business. The sync audio was captured in various states of good-to-bad. The fix-it-in-post tools in Audition are pretty cool, and I will show that last, because it is unique to Audition.
If you look through the picture, you can see there is a bus, fx loop, sends, eq, and a cool switch for post and pre, and so on.
This next stuff is sidechain dynamic compression. What ever happens on this channel (this picture)…
then make the music do this. Whenever the volume on the first picture reaches the levels assigned in the second picture, then basically the volume turns down on the music. Sidechaining is pretty cool. The other way to do that is with keyframes or automation. I rarely use those methods because I feel there is more control in the dynamics compression fx.
This image is mastering effect for “spreading out the audio.” It’s almost like squishing out the stuff you don’t want. In this case, the actors dumped a bunch of boxes on the table, while delivering a line and someone else giggled. So I wanted to keep the boxes’ audio present in the mix without sacrificing the dialogue and giggle. Everything was recorded separately. If it was not recorded separately, I would do something slightly different: set up a send to a new channel and eq it to the boxes, and still spread it out. You can also notice I added reverb and the exciter so the sound of the boxes was in a slightly different space.
Here is the last pic, and it is simply crazy because the volume is louder as it moves toward white, and quieter as it is black. You can see in the top left a bunch of Photoshop type of tools, where it’s literally possible to paint out sounds. In this case , I erased a whirring heater that we could not turn off because it was 17 degrees that day.
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[Herb Sevush] “For me the biggest pluses are in it’s handling of audio – the track mixer is great and the ability to send to audition for audio repair with the spectrum analyzer has been an incredible help for the work I do”
Really this cannot be overstated. Audition is magic. It’s also an excellent DAW, with side chain dynamic compression, some great mastering tools, and the frequency analyzer is also magic.
Two big giant complaints, for me, about the Audition and PP workflow (CS6 at least) is this:
1. When the audio is sent to Audition it rewrites the audio’s timecode as wherever it is in the sequence. This is a real pain.
2. No way to conform the picture edit changes with audio (like STP and Legacy did).
So I use OMF. If anyone has any details or workflow tips, I’m all ears.
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Also, for the record, they did not have to use a gap clip, they could have used a secondary. It also seems the audio issues with X are moot if the audio is sent to a DAW. But!! there is no OMF out of X and so there is no good way (I can figure) to get an X timeline into Audition. Why anyone is NOT using Audition boggles the mind. It really is that amazing!
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Keyboard, mouse in PP, Audition
Wacom for AE, PS, AI, Legacy. -
I minored in Linguistics and have an obsession with epistemology.
[Walter Soyka] “But back to the off-topic at hand, I do actually think that both (A) and (B) are important for understanding FCP X.
Aside from the argumentum ad hominem I’ve already detailed, I believe the Luddite dinosaur argument also suffers from argumentum ad novitatem.”
I only add that (A) and (B) are necessary for all knowledge acquisition and that it’s reasonable for an editor to (A, forget what they know) and (B, use the software) and therefore also reasonably reject X. Seems like an obvious statement, but I rarely hear anyone making that argument. (So I just did.)
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Have you read Murch’s book In the Blink of an Eye? He goes to great pains explaining how long they discussed story threads before they cut a frame. That was film. That was Apocalypse Now.
It’s a good book.
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[Walter Soyka] “It’s about promoting this idea that everyone would choose FCP X if only they could set aside their preconceptions of how NLEs should work. If only they would drop their legacy workflows. If only they “got” it.
“That is only half the Dinosaur analysis to (A) Set aside preconceptions, a veil of ignorance.
There is also (B) “you just have to use the software to ‘get it,'” ostensive concept acquisition.The fanboy analysis is surely the contrapositive: a veil of opulence and meditation. 😉
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The following video is a fantastic workflow solution. https://tv.adobe.com/watch/short-and-suite/batch-processing-with-ame-adobe-media-encoder-adobe-audition-cs55/
