Robert Withers
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COW Coins
8
Premiere Pro Coins
Forum Replies Created
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Piggybacking on your post Jason. And thanks, Shane, for confirming this. I have stereo tracks imported in XML from an edited timeline in FCP7. And of course they came in as dual mono, though there is little difference between them. If I send them to a submix, can I then put keyframes, effects, etc. on the submix? Can’t remember if I tried this.
All best,
RobertRobert Withers
Independent/personal/avant-garde cinema, New York City
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I bought a Rode NT-USB a couple of months ago for just this purpose. Large cardiod with tripod stand and built-in pop screen. Seems to work quite well–solid build quality. B&H sound guy recommended it over similar models in the p[rice range. I didn’t get the blue ball model because it seemed quite large and like it would get dirty.
Cheers,
RobertRobert Withers
Independent/personal/avant-garde cinema, New York City
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BTW, there’s a thread here about inconsistency between Premiere timecode and code with other software. Is your producer using Premiere to view timecode? Maybe to-the-frame precision is not so important.
See: https://forums.creativecow.net/thread/3/991047#991309Robert Withers
Independent/personal/avant-garde cinema, New York City
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I’ve read there is a way to change interpretation of tracks in the project panel as long as they haven’t been edited into a timeline. I haven’t used it because an XML brought in an edited timeline from FCP7 and all stereo tracks were intepreted as dual mono.
Robert Withers
Independent/personal/avant-garde cinema, New York City
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How do you burn the DVDs? Software/hardware?
Robert Withers
Independent/personal/avant-garde cinema, New York City
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Sorry. Keep up the good work.
Robert Withers
Independent/personal/avant-garde cinema, New York City
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My background: I worked in film with Steenbecks and synchronizers. I guess that’s called NLE. Only once or twice in video linear. Which seemed very clumsy. Then FCP7 which had a timeline that resembled a synchronizer, then moved to Premiere which also has a fixed timeline. Still struggling to comprehend the FCPX concept, which seems to write on a page without a fixed timeline. This demo shows how to do certain kinds of edits that I rarely do (switch order of shots) and how they are “easier” in FCPX. Maybe so. But I don’t need them to be “easier”, just want to understand what’s happening on the timeline. I think the FCPX timeline is always in flux, lengthening and shortening, according to content. Pieces on the timeline are linked to each other, not to the timeline. One day I’ll try this out, one day start with a new piece and see what happens. Not now.
Honestly, I could follow this piece to half-way through, then my eyes glazed over..Robert Withers
Independent/personal/avant-garde cinema, New York City
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To Ty, et Ty, and apologies to Phil who started this thread with an ask for help. Sorry, I’m having a lizard brain response here.
Yes, I have been using the Sennheiser 816 for over 40 years. Sorry, can’t accept these condescending suggestions that imply I’m some kind of newbie. Though I’m always willing to learn new tricks.
Yes, I was using the 816 in the 1960s and 1970s on location shoots with Pennebaker and other giants of CINEMA-VERITE and DIRECT CINEMA. That was our philosophy, our style, and our microphone. This was an extremely common mic for many documentary shooters, and is still in use today.
The phrase “run and gun” hadn’t even been invented then, though it’s become popular in recent decades for a certain kind of journeyman documentary/news shooting.
Ty, you know what you know and others of us know what we know. We used the 816 daily and commonly because it was the best choice for the job we were doing, which was not a “quiet set” and not “run and gun.” We shot with film cameras, Auricons, Eclairs, CP-16s and Arris, with two person crews, a cameraperson and a soundperson who carried a Nagra and usually an 816.
Please revisit some the landmark films of the era, such as Drew Associates’ “Primary” and the Maysles’ “Salesman” to see results. It would be also interesting to look at “making of” films of the era (eg, the making of Slaughterhouse Five or Apocalypse Now where you can see the 816 boomed over locations in its characteristic 3′ blimp windshield. I have a poster of a Godard film with the sound person wielding the 3′ blimp.
Ty, it would be interesting for you to offer your recommendations for current models of effective shotgun mics instead of insisting on what generic shotgun mics and the proven 816 can’t be used for. What mics would you use for cinema-verite? Lavaliers became useful choices to add to the shotgun approach. Either with mini-recorders or more recently with wireless. I’ve recently had success with a Rode lavalier with an iphone for some recent shoots.
Like they say, it’s all about what you want to do, and how you choose among best available tools. Horses for courses. Please share your knowledge about specific good options — let’s dispense with conventional wisdom. I’d really be interested in your experience with recording sound in the cinema-verite context.
Robert Withers
Independent/personal/avant-garde cinema, New York City
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Not trying to ride a hobbyhorse here, but many of the giants of cinema-verite and direct cinema, and others working in that field, regularly used the Sennheiser 816 shotgun for a majority of shooting. (That mic was itself about 3 feet long.) Pennebaker, the Maysles, and successors like Barbara Kopple, etc. Regularly at 3-6 feet distance. You can still see those films today.
It sounds like you are talking about current use of some kind of shotgun (which mics?) on controlled sets or locations with interviews or scripted films, in shots with little or no head room. Yes it depends on what you are trying to do. And I have no experience with the Rode NTG4. If I could get that close on a quiet set I would think about using a good cardioid mic for more pleasing sound. Cardioid mics are in some ways more directional than shotguns if you compare frequencies across the pick-up pattern.
Robert Withers
Independent/personal/avant-garde cinema, New York City
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I get those XAVC mpeg-4 .mxf files out of my Sony RX10. I used AME to convert them to Pro-Res files for my producer who works with FCP7 (too many acronyms and codes in one sentence!).
But your question leaves me curious–is there any quality/stability difference in a final product whether you transcode before editing or when finished?Robert Withers
Independent/personal/avant-garde cinema, New York City