Rob Neidig
8
COW Coins
Forum Replies Created
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Antony,
The general rule of thumb is that you would want the original files at the highest sample rate and bit depth that you can get. That way, if they need to be processed – equalization, compression, delay, reverb, etc. – then you are doing that at a high rate and the end result will be better when you down-sample to your desired final sample rate and bit depth.
That said, if you are typically just laying in music underneath dialog or narration without a lot of processing, you could easily just download the files as 16-bit, 48kHz to begin with. As you said, for video editing and DVD, 16-bit, 48kHz is the standard.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
David,
The best way to accomplish this is to have two separate videos. The first is the intro that transitions to the menu, all as one file. That version only plays the very first time after inserting the disc. The end action for that file is to play a different version, which is JUST the menu with the music as you desire it. Any “Menu” call should be routed to the second version, with just the menu.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Chuck,
You already know the answer. You either pay for the permit, or you don’t use the footage. Otherwise you are being illegal and you don’t want that. Asking for our opinion on whether or not to disobey the law does not change the law.
Good luck!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Tom,
In their attempt to keep the manual small, Shure have cleverly hidden where they show the switches. I did a Google search and found the manual. It took me a moment to find it, but just below the frequency diagram are three small circles showing how to set the switches for “Flat Response”, “Bass Roll-off” and “Presence Boost”. Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
I see you’ve already solved your issue and I am going to check out Mediainfo myself.
There is another way to get the parameters as well. Since you mentioned FCP7, that means you have Compressor. You can take an MPEG2 file and drop it into the “Custom Settings” area of Compressor and it will create a preset using the settings used to create that MPEG2 file. Of course you’d need to rip the files from the DVD to get them as MPEG2 instead of VOB files, but it’s another way to do it without downloading anything.
Have fun!
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Craig,
As far as manufacturers you might want to check out:
Richard’s idea of a Mackie Onyx is a good one (new or used).
I’d also look at the Presonus StudioLive series.
Allen & Heath is another option.Good Luck!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Sam,
Audition was an audio editing and multitrack application long before Premiere Pro even existed. It started life as “Cool Edit” from Syntrillium Software. It was, and still is, a very capable music application, not just for video.
More info at Wikipedia:
https://en.wikipedia.org/wiki/Adobe_Audition
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Eric,
I believe if you create a multitrack project that it will save any files you have imported, even if you haven’t put them on a timeline yet. If you are just in edit mode, then it will not save the list of files.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Michael,
As far as taking the audio feed, be sure you know whether you are getting a mic level feed, or a line level feed. And then there’s the issue of +4dB professional line level vs. -10dB line level, but with the adjustment capability on the camera or mixer you are feeding the audio into, then you should be able to deal with either.
Then just send the signal out if you have the option to include the audio with the video in the SDI signal.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
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I’d probably try the AT4053b first. On acoustic guitar point it at the neck at the 12th fret. Changing the angle slightly toward the sound hole will give you less/more low end, which can sometimes become boomy. This is usually done with a cardioid pattern mic rather than the hypercardioid AT4053b, but the tighter pattern might actually help you isolate the guitar is this instance.
For the bongos, the 4053 should also probably work. Though the SM58 would probably be fine if you get it in fairly close. If you only have one 4053 and one SM58, I’d put the 4053 on guitar and the 58 on the bongos.
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Not really. That means that the third input is going to be mixed in with BOTH other inputs, making changing their relative levels in post pretty much impossible. If you can somehow record just two inputs to each camera, sending them hard left and hard right, then you would have isolated tracks for each of those to work with in post. Then you would need a third camera – or a portable audio recorder like a Zoom H2n – to record the 5th and 6th sources to. As has been mentioned elsewhere, a multi-track recorder, where all the sources get recorded together in one machine, is your best option. Then you don’t need to worry about sync, drift, or nudging. And I don’t know what cameras you are using to record this, but many video cameras really cheap out on the audio side of things. And some record to codecs that use compressed audio, further degrading your audio. So from a pure audio quality standpoint, something like the Zoom H6 or Tascam DR-680 would give you much better results.
The other option that I think somebody else mentioned already, too, is to hire an audio person to come in and take care of it. They can either record multi-tracks for you, or just do a live to stereo mix for you on the fly (or both). With a good sound person, that live mix would end up better than trying to record 6 sources to two cameras.
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon