Spencer Sternberg
Forum Replies Created
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Hi Alex, thanks a lot for your detailed replies. I think in my case, the first option you suggested has worked out well. I exported the timeline (as a way of combining all my layers cause I had a lot) and then created a new sequence so that I could more easily and quickly add the subtitle files in (I needed to hard code then in). Its so much easier to navigate through the video file when it has been bounced down to one avi file, but yes you’re right, it makes the overall file size of a project much more!
I just have to say, your second option is an interesting one and one I’ve never heard of before. So thanks for passing that on, and next project I’ll try it out, I never knew one could do that in projects.
Thanks again
Spencer Sternberg
Music Composer
SpencerSternberg.com
Royalty Free Music Library -
I was exporting to AVI as I had alot of layers, and I wanted to re-import it later so that I could add subtitles and actually join some other edited parts (that had video).
My project is in D1/DV PAL Widescreen 16:9 (720×576). There is actually no video files in this piece. Just images, so I was wondering what are the best (or standard files) for motion images/graphics (the proper term I am unsure of).
On looking at the project, I can now see most of my images are GIFs, ouch! I’m happy with these images however. Can I convert them to another format that will animate better?
Spencer Sternberg
Music Composer
SpencerSternberg.com
Royalty Free Music Library -
Probably mpeg1 or 2 played through a computer onto a medium sized presentation presentation projector. Its strange when I encode as an flv or other forms of compression it seems to render it out better. Is it because AVI there is no compression? Or I’m just not sure if the images I am using are the wrong format for motion graphics, that is gifs and jpegs.
Spencer Sternberg
Music Composer
SpencerSternberg.com
Royalty Free Music Library -
Thanks for posting this. Its really nice to hear stories such as these when it comes to equipment and companies’ customer service. I will definitely be thinking about what you wrote when I am looking into new microphones.
I am also in support of Rode microphones. Their sturdy design and great sound quality have always impressed.
Spencer Sternberg
Audio for Games
https://www.spencersternberg.com -
Excellent. So how did you manage to cut out the wind then? Did you use some kind of board in front of the mics or just cover the microphones in some way? I was lucky in my recordings that there was no wind that night.
Spencer Sternberg
Audio for Games
https://www.spencersternberg.com -
Peter this is great. How nice to have 4 U87s to record with! Great idea with the 2 stereo pairs. It is really useful to have that option for when, like you said, the levels really peak out on those climatic parts.
How did you manage to record 4 channels? Was that to 2 different recording units and the sync them up in post? And was it a difficult task to carry and set up all that equipment?
Spencer Sternberg
Audio for Games
https://www.spencersternberg.com -
My reply comes a bit late for this post, but it may help others coming across this question.
SpencerAnother way you could do it is by using a reverb plugin that allows you to control the wet/dry ratio of the effect output. That is, the amount of effect (wet) versus the amount of original sound (dry).
In this way, you can set dry to 0% so what you are hearing is only the output of your reverb chain. If you choose a hall as your reverb, then your 100% wet signal will sound like you are truly hearing it from inside a hall.
Experiment with what size reverb you want, that is, type and reverb time, and if you can, set the wet percentage to 100, and the dry percentage to 0.
I would probably go with a small sized reverb but a longer reverb time (and 0% original signal, only the output of the reverb). Also, try to layer as many sound sources as you can with slightly different reverb settings and stereo placing.
Spencer Sternberg
Audio for Games
https://www.spencersternberg.com -
Thanks for this link. That’s an interesting read and great to hear another recording of fireworks to cross reference with my own. I hope in the coming New Years celebrations I can try a few different microphones to find out which kind is useful for which kind of firework.
I am really keen to try and record specific fireworks together with pictures, and/or descriptions of the individual firework. There are so many kinds of fireworks and in come countries, like here, you can buy almost all of them.
Spencer Sternberg
Audio for Games
https://www.spencersternberg.com -
The M-Audio Microtrack II is really nice. It has 2 RCA inputs for line in, as well as SPDIF in/out if your mixer has a SPDIF output. It records to Compact Flash card at 44.1kHz, 48kHz, and 96kHz, at 16bit or 24bit. Headphone output to monitor inputs. Can run off USB power too. Lots of advantages.
Spencer Sternberg
Audio for Games
https://www.spencersternberg.com -
I would experiment first with a compressor (to boost levels whilst keeping the output from clipping) and equalization to cut out as much of the room noise you can. If you have access to a noise reduction plugin that would be ideal also.
Finding the balance between boosting levels, equalization, multi-band compression, expanders and noise reduction techniques, is a difficult job, especially when the part of the original sound file you want to boost is so low. I think experimentation is the key.
Another technique you could try, is to duplicate the track several times, so you were playing say three tracks of the same audio track, and use equalization to pull out all the room noise.
I haven’t used soundtrack pro before, but if it has some of these plugins you could be on your way to a better sound file.
Spencer Sternberg
Audio for Games
https://www.spencersternberg.com