Rob Neidig
8
COW Coins
Forum Replies Created
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I do not have a 744 so I can’t provide specific routings, etc., but the general rule of thumb is to monitor at the end of the chain. In this case, that would be the 744. This way you know that the signal is making it all the way to the end of the line. I assume the 744 has a way to solo each track for monitoring purposes? You can also plug into the headphone out of the 552 occasionally if you want to check what is going on there.
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Where are you seeing anything about only supporting 44.1kHz vs. 48kHz on these systems? The only time the sample rate would come into play AT ALL is when you RECORD it. So either system sends audio from the transmitter to the receiver. You then take the output of the receiver and run a cable to your recording device. At the RECORDING DEVICE is where you set what sample rate you record at.
Am I missing something?
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Sean,
Since nobody else has chimed in, I can offer an alternative. I really don’t know myself if there is a way to put keyframes on an effect in some way. But you could accomplish the same thing by using the multitrack editor. Start by creating two files – one is your original file with no effect on it. The other would be a copy of that file but WITH the effect applied to it and saved as a new file. Put the two files into the multitrack timeline, lined up with one another. Then you can fade from your original to the effected copy at whatever rate you choose. Export that out to a new file if you need to put it into a different multitrack or into a video editor. If you are putting it into a video editor, then you could use the two files and do the fade in that software instead of Audition.
Hope this helps. Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
I am not a lawyer and so my advice is worth exactly what you paid for it, but…
A club does not exist so you can do what you want. It is a private establishment and they have the right to control what can and cannot be done there. If they have let others video there in the past, then they have obviously worked out something with them that they don’t want to work out with you. If the band did not get it in their contract and the venue is not willing to let you record, then I would say you should honor that and wait to record the band when they are in a place that will allow it. Getting pushy with the venue is not going to help you or the band in the long run.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
There is no good reason to use Dual Layer for 90 minutes. At 90 minutes on a single-layer DVD, the bit rate is plenty high to keep good quality with a good encoder. Dual Layers have numerous compatibility issues. I would only use them as a last resort.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Just as another idea, I know I have worked with some of the Sennheiser units in the past that were very sensitive if you touched the receiver’s antenna. That would create just the sort of RF crackle you have. That is easy to have happen if you have several units all crammed into a sound bag and you have fat fingers like mine. You can touch one of the antennas while trying to reach to turn a gain knob. Just another idea… good luck!
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Larry,
And since I see from an earlier post that you have the file in Premiere to begin with, you could also create mono audio tracks in Premiere, then select those two tracks when you drop the clip on the timeline. They are now separate mono tracks that can be controlled separately.
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Larry,
At least in the Mac version, you go to the “EDIT” menu and select “Extract to Mono files. It creates two files, one for Left, one for Right. Voila!
Rob Neidig
R&R Media Productions
Eugene, Oregon -
The format that is HAS to be in to make a playable DVD is MPEG-2 for the video, normally ac3 (dolby digital) for audio. So you need to convert your AVCHD footage and then use DVD authoring software to make the DVD. If you have Final Cut, you may also have Compressor. That is Apple’s conversion software. Their DVD authoring software is DVD Studio Pro. Both Compressor and DVD Studio Pro used to be included with the Final Cut Suite, but if you are using Final Cut X, then those have to be bought separately I believe. There is also conversion software available from Sorenson Media (Squeeze) and others. DVD authoring software is getting harder to find, though. Maybe you have iDVD on your MacBook?
Hope this helps. Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Ty is of course right on with his part of the answer if you are talking about how to deliver the final finished video and audio.
If what you are asking about is how to RECORD the tracks, then the answer can be slightly different. It is normal practice for an audio person when recording a scene like you talk about to pan one person left and the other right. That keeps their individual tracks isolated as much as possible from one another so you can raise or lower the level or add EQ to one person without affecting the other one (as much). If they are really side-by-side then the bleed from the other person’s voice makes that more difficult of course. Even in this situation, you would RECORD with one voice panned left and the other right, but for the final video, both voices should be panned center, unless you are doing some sort of trick 5.1 surround sound delivery. Even then, dialog is usually in the center.
Hope this helps. Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon