Simon Billington
Forum Replies Created
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I’m more of an Apple user, they can be quite progressive when they want to be, as can Adobe, but Blackmagic has to be the most progressive developer I have seen
I am genuinely impressed at the rate they update their software and the kind of features that get added. I mean, Audition and Fusion in Resolve!! Plus Resolve is now a full fledged editor, complete with third party plugin capability and an amazing tracker…. WTF!?!!
I’m only hoping that it will light a fire under Apple and Adobe and they rise to the occasion.
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It is a bit odd, I’ll give you that. It wouldn’t be the first time that Adobe’s software wasn’t 100% compatible with something.
I assume you’re fully up to date with the software and OS. Have you also considered firmware and/or driver updates for the Ultrastudio??
Oh check it’s not a frame rate thing. I’ve never used an Ultrastudio, so I don’t know what kind of settings it has. Though, audio will fall out of sync if the frame rate is wrong.
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What you need is a small “audio interface.” There are many companies out there that make them. On the plus side, the converters built into these things are often much better quality than the “jacks” in our computers. Less noise too.
You can pick these up for second hand, but new ones are relatively affordable too. To get you started, try looking at Focusrite, Audient, https://www.m-audio.com“>M-Audio, Presonus and Waves.
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It could somehow have something to do with FCPX thinking that REC709 clips are actually in REC2020 format, so the colours aren’t getting mapped properly.
Have a look through your project settings and media metadata, it may possibly shed some light
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There may have been an update at some point that may have somehow triggered this issue. Have you tried deleting the cache?? Although, it’s not known for audio to be stored in cache.
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Another reason for this problem, potentially, is if you have latency inducing plugins on your audio. Linear EQs are known for their latency, as one example. Some limiters with a “lookahead” value also induce latency.
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Yes the quality of the transcoding comes into play. However, there is lossless transcoding out there, where you wouldn’t loose any information.
Transcoding is generally faster to work with, but that’s because there is a reduced amount of information going to and from the drive. Lossless files are bigger than lossy, but they can cut the file size down to roughly half, or even further, lightening the load. Depending on the cam though, the data may already be installed ins some kind of lossless format. However, there is still performance benefits gain from transcoding to a format that your NLE (Premiere) is optimised for.
Even if it is lossy, it will still be better playback for editing purposes. Then you could relink your cuts with the original RAW footage before going to colorgrade.
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4k is alot of data to be pushing, so perhaps the problem is with the HDMI?? It may take extra time to “parse” and display.
Why not just go with TB2??
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There is a plugin that will do this, but its a bit pricy, Unmix Drums
You could also try a bit of Transient Enhancing/Shaping, that might help a little, but I don’t think Audition has one of those either. Although, looking around, this one is on sale currently, Smack Attack. It’s not much, but its not guaranteed to be too helpful either. Effectively with this you want to focus on bringing up the attack portion and push down the sustain. Unfortunately, this may also enhance other attack elements in the song, so may not be that helpful.
Fort any of these plugins to have an effect on the audio waveform, you will need to render the processing, which will ruin the original. So make sure you are doing this on a duplicate.
One trick you may benefit from, though, without having to buy anything is tapping the Marker shortcut key in time with the music as it plays back (the ‘M’ key I believe). Then just use the markers as a guide and delete them when you’re done. Also bear in mind that most music has a static tempo (beat) which means that, if done properly, the markers, or main drum transients, should be equal distances apart.
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Well given they are from the same voiceover session, you may not even have to go that far, unless you have different voices.
In this instance, I’d try to get away with using one track. Adjust any individual clip volumes if necessary, but only top to around +/- 3dB, as they are the same session and should be pretty close any way. Then I would process them all together. Denoise, eq, compress limit, that kind of thing.
You could then export them as one long region and splice it later in your editor, or go through the painful task of doing one by one.