Toby Dalsgaard
Forum Replies Created
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For what it’s worth, Mr Biscardi is correct..I’ve worked at both HBO and Discovery (my best friend actually was a QC tech at HBO as well)…never heard of anything but -20 for broadcast.
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Sorry..yes you can import from a cam, and no the 350 doesn’t have HD SDI out.
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Yes
No
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Sadly you can’t bring out the kick in something that never had kick in the first place. Your question kind of like asking “I just aimed my camera straight at a solar eclipse with the gain at +6, how do I bring up the blacks”?
My last ditch advice would be compression. You’ll bump up the gain a tad without distorting, but it’s not going to get “rid” of anything. If you spend some time tweaking it, it MIGHT make some of the more desirable aspects of the recording SLIGHTY…very slightly. But you’ll also be bumping up some crappy ones as well.
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Hey man-
Thanks for responding, your post makes perfect sense. Can you clarify two things for me?
A.)You are essentially creating a fourtrack “layback” sequence with 2 stereo aiff’s (full mix and mix minus vo)…when you layback, are you changing the output assignments in the audio mixer?
B.)Regardless of your method, does FCP allow a real time assignment of one audio track to multiple outs?
-Toby
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There seems to be an element of confusion going on in the A/V world right now about 96K audio, which no thanks to Digidesign’s marketing dept, many people consider 96k to be “Hi-Def” audio: a technical spec that needs to be married with Hi-Def picture. It’s not. 96k is 96k. It’s has nothing to do with HD picture. You can still edit in HD in 48, 44, or even 32. Frankly, unless you are a Lakeland Terrier, I don’t see why you’d need/want to capture in anything higher than 48K. I’d be very curious as to why that director feels he needs to capture on-set audio at 96k (assuming the reason is legit and not just ill-informed techno paranoia)
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In order for the PDX to work the way it was intended, you will need a deck or camera to export it’s material thru the PDZ software onto the drive. You can’t just drag and drop the sub folder and use the PDZ that way.
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Using the PDZ-1 software to view clips should make for a faster experience. You can just click on the clips instead of having to do a whole drop down menu procedure.
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I’m using the same viewer software you mentioned…..I’m seeking Mac software however.
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This post was really confusing.
Reference tone has nothing to do with headroom and peaks.
It’s merely a way to make sure that the source material you recorded starts at a figurative zero on your destination.
FCP’s tone has nothing to do with a camera’s tone.
Just do this..
Record -20db tone on your camera.
Play footage through FCP. If the -20 tone you recorded on the camera doesn’t show up as -20 on the FCP meters, it means you have to bring your faders up or down until they match. That’s really it.
I’m really wondering what that dude you quoted meant when he said one level of tone was beter than another. That makes no sense.