[Ty Ford]

[Peter Groom] “Although I accept Ty’s possible suggestion of exporting track files as .wavs or aifs, this idea is a real donkey as you lose the handle data, at which point you might as well just finish it in the FCP if you insist on tying your hands behind your back and making life harder. “

I guess we work differently, Peter. I’ve never really needed handles. If I need some slop for finessing an edit, I just leave that in. I don’t really know anything about donkeys, but I find working with audio in FCP and STP awkward. I know some of this is learning curve, but it would have helped if Apple had conferred with more audio folks instead of computer folks when designing the UI.

If your audio guy will be working on the entire timeline of audio, exporting your tracks as .wav or .aiff beginning at 0:00:00 and running until each one ends works very easily. This even works with PTLE. Slide them to 0:00:00 in PT or PTLE, do your work and export a mix which you slide into place on the FCP timeline. Piece of cake. No digitranslator required.

If you’re working within a production and not from 0:00:00, it’s a different matter. In that case you’d need to bump and slide to resync the ProTools track. Not impossible if you have the original source audio against which to compare, but fiddly. Or, as Peter suggests, use more technology to maintain sync.

If you’re going to be doing a LOT of this sort of work, then it makes sense to have the most affordable and powerful technology to do the job. That’s what a percentage of your hourly rate is for. The billing will pay for the technology expense. If you’re only doing it now and then, the cost of the technology may not be worth it.

Regards,

Ty Ford

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[Ty Ford]

[Peter Groom] “Im in th eUk and am absolutely clear on this issue for the Uk. Im amazed that the uS seems so wooly on it. “

Peter,

In the UK, are the stations run by the government?

Ty Ford

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[Ty Ford]

Hello Eric and welcome to the Cow Audio Forum,

Per the receiver tech sheet below, I’m guessing you have the camera input set to mic and the audio output of the receiver set to line. Switch the camera input to line and see hou you do.

Regards,

Ty ford

Receiver
Technical Data EM 100 EK 100
Receiver type rack mount receiver portable receiver
Receiver principle true diversity non-diversity
Antenns inputs 2 BNC sockets, 50 Ω –
AF output level XLR and 1/4″ (6.3 mm) jack sockets 3 1/2mm jack socket
Max. output level balanced: + 10 dBu unbalanced: + 10 dBu
unbalanced: + 4 dBu

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[Ty Ford]

Hi George,

Sorry. There really isn’t. Locations, and even mic angles at a location, have their own sonic finger print.

Regards,

Ty

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[Ty Ford]

Hello George and welcome to the Cow Audio Forum,

Sounds recorded inside seldom sound like sounds recorded outside because there are inevitable sound reflections inside. You can try an overly dead room and the same mic and preamp that was used during shooting. Keep the mic at the same distance it was during shooting. It’s not easy to do well. Even with big budget movies I can sometimes hear the ADR line. Can you go back to the original location?

Do you have an alternative take where the audio is good? There is a plugin called Vocalign that can analyze the dialog in the scene you want to save and time expand/compress an alternate take so that it syncs with the scene you want. There are limits, but it’s pretty amazing stuff.

Regards,

Ty Ford

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[Ty Ford]

Hello Paul and welcome to the Cow Audio Forum,

Zaxcom, Lectrosonics and Sony make stereo wireless camera hops. Wireless transmitters that are fed by a mixer that send to a two channel receiver on a camera.

Regards,

Ty Ford

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[Ty Ford]

Hello Arne,

I’m sure the 744T has been used in film production, but don’t know any details. Call Sound Devices and ask them.

Regards,

Ty

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[Ty Ford]

Hello Jim

A historical note: SDII, Sound Designer II, is a software created by Digidesign. It’s more commonly seen as a file type these day. The original Sound Designer came out around 1985.

The Digidesign Users Conference (DUC) is an online forum of Digidesign users, both Mac and PC.
Perhaps someone there has had the same problem you’ve had and can help find the SDII files,

https://duc.digidesign.com/

Regards,

Ty Ford

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[Ty Ford]

Hello Steve,

It’s about cancellation.

First there are all the different frequencies made by the sound source. All of them need to be canceled.
Second, they need to arrive at the two mics at exactly the same time. Not likely with an airplane

Having said that, I have used two lavs, one of reversed polarity to reduce (not remove) HVAC noise. You would get some cancellation. Whether or not it would reduce the sound of the plane…..I’m guessing probably not. Change the way it sounds, sure but at what cost to the intended audio.

Regards,

Ty Ford

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[Ty Ford]

Hello Bob and welcome to the Cow Audio Forum,

Randomly picking frequencies isn’t a great way to find an open frequency. You need to know what’s up in your area and not go there. Try this:

https://www.lectrosonics.com/service/tvlookup/tvstationlookup.htm

See what frequencies are available in the geographical location.

You say any mic causes the problem. Which mics?

Call Audio Technica support in Ohio monday and talk to the wireless dept/

Regards,

Ty Ford

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