Richard Herd
Forum Replies Created
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[Andy Field] “the number one reason we avoid FCPX is audio mixing”
To me, “audio mixing” means compression and limiters, and X’s are very superior. I’m not sure how you mix audio, but in 7, I used STP, in CS6 I use Audition, but in X there is no need to leave the NLE, for compression and limiters. They are very clean and amazing, combined with Compound Clips the workflow produces outstanding results, with flexibility, and speed.
If to you, “audio mixing” means key framing the audio levels, I would point you to those other tools (in any software you care to use): compression and limiters. There’s also more fancy-pants type of compression like side-chaining; it’s a series of skills and techniques worth investigating.
EDIT: Definitely curious about your audio workflow.
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Thanks! I’m definitely familiar with zone (in Anjali’s class).
For example, though, today I shot on f/4 and the camera zebras set to 100% show up at 8, and the wave form monitor showed the highs at 125%. I”m not sure what to believe anymore! The color correction software still allowed me to pull things into broadcast safe. So I’m struggling with a creative challenge, I guess. What on earth would I put in those high-lights, if I had additional stops?
(Also note, I like to mix color temp, so that the key is tungsten (the white balance), the hair light, for today, was daylight, and the background light was daylight with a 1/2 sheet of yellow gel. I’m not sure if that affects/effects the above mentioned zones, ergo yellow adding contrast in the luminance the way yellow adds a sky in b/w film-photography.)
(I know you teach there, hence I added my alumni info.)
Thanks again!
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Thanks!
(Yes, shadow with detail; highlights with detail)
Creatively and compositionally, what do you do with the rest of the latitude? Are there words that describe them the way “shadow” and “key” are describable by their particular f-stop?
Thanks!
Richard
(BFA MPT AAU, SF 2005 🙂 -
[Jeremy Garchow] “directly to me from China”
Yep, ordered an Air i7 for my wife — directly from China in a couple of days! It was a bit interesting to watch the email updates on where it was and when
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Whoa, grinner! Glad to read you post!
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[Clint Wardlow] “crappy old”
Can you make my film look more digital? The aesthetics of the contemporary era are trippy.
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Whoa. Hope I’m not too late, since it’s Thursday.
That’ll be really hard to edit because live recording vary from take to take. Usually when you make a music video, the band plays to a pre-recorded track of the song, they lip sync. Then the edit will always be in sync from shot to shot, take to take.
If they want a live feel, then they have to perform it once perfectly and you have to film it once perfectly. Since they want a film language that is kinetic, you need many cameras.
There’s some cheats here and there, though. Film the kinetic thing a few times. Then film it again but this time use lots of close ups — guitar hands, drums, singer on the high notes, etc. and use those as cutaways/insert shots. They probably won’t be in sync with the main live track, but you’ll be able to slip and slide pretty closely, and you can use speed ramps for an effect.
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[Gary Huff] “seems nothing more than someone who reads a lot of posts about things as opposed to having actual, first-hand experiences”
You may be right, but ought the reasoning you employed be applied to all things, ergo Final Cut Pro X? That is, how can anyone without “first-hand experiences” have an opinion?
Just a wink, nothing to see here, move a long … all in good fun.
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In corporate culture (aka commercials), money actually defines value. They said, “It must be a good commercial. Look how much it cost to produce.”
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[Bill Davis] “Somewhere on a shelf in Hollywood is that show from ABC, or CBS that played for a season or two and then everybody quietly forgot about. “
I may be alone in my fond memories of “Joanie Loves Chachi.”