[Ty Ford]

Thanks, John,

I was headed in that direction. I had to do an OS X upgrade on a machine and let it simmer a bit. Thanks for reaching out, John!

Regards,

Ty

[Ty Ford]

Thanks, Joe,
I appreciate your detailed answer. I’ll give that a try.
Do you think converting the 29.97 clips with Compressor is also a solution?

[Ty Ford]

Thanks for your help, Bill.
I’ll look into them.

Regards,

Ty

[Ty Ford]

And surprise! Camera clips got out of sequence with the slate. Once I found the right camera clip, it synced right up to the audio. So maybe that part is solved.

[Ty Ford]

Oh, Jeeze. Thanks Bill.

I’m using external SSD drives. FCP X 10.4.10.

FCP got sticky yesterday and I did a restart. Sync worked well.

However, when the Shooter turned in the cards today, he told me that he was shooting 29.97. I asked him if he remembered us going on about 23.976 at the pre-shoot meeting and he said no. So, I have double record audio at 23.976 and his video at 29.97. It synced with my test footage from yesterday, but he said he was still at 29.97.

Can I convert his 29.97 to 23.976? Do I need to if I want my production to be at 23.976?

Today, syncing with the real footage from yesterday isn’t working. I’m pretty sure I’m using the same settings. Sync option is Automatic. Use Audio for Synchronization. Yesterday I had the test sync clip with one audio track and the two cameras. I could pull the audio down in the video clips and hear just the double recorded audio. (or not) and everything was in sync. Now I can’t get it to sync.

The timeline thing is about moving elements on the timeline. They are not allowing me to slide. They jump to places I don’t want them to.

Thanks,

Ty

[Ty Ford]

I guess it depends somewhat on whether or not you’re using a good limiter. I use Sound Devices mixers. They all have pretty nice limiters. As such I might squink my level up to a little higher if I’m pretty safe with the idea that no one will be screaming. And this doesn’t mean Peaks at -20. With tone at -20, your peaks will be above that.

[Ty Ford]

Hello Bob. Welcome to the Cow Audio Forum.
I’m a -20 sort of guy. Others may differ as Bret says.

Regards,

Ty Ford

Cow Audio Forum Leader

[Ty Ford]

Hello Christopher and welcome to the Cow Audio Forum.

Final Cut Pro X has an overlay that shows time code of each clip placed on the time line. You just create a production, put clips on the timeline and drag and drop the time code element to the clips.

Regards,

Ty Ford

Cow Audio Forum Leader

[Ty Ford]

OK, so you have a Rode NTG3?
Nice mic. Pattern is a little wider than the Sennheiser MHK416, but if you’re doing a two shot, that can be a benefit. The Rode NTG4+ (don’t forget the (+)!! is both phantom powered and battery powered.

You could also just get a battery powered phantom supply for your NTG3. This Mackie is both AC and 9 V DC battery powered. https://bhpho.to/3jq8ZdM

Or, maybe you’ll be doing interviews and need two condenser mics. This box run on 9V DC batteries or an included converter. https://bhpho.to/3mCBK9i

BUT!!!! Would it be better to get a good hyper-cardioid? Nine out of ten times, I’ll use my hyper-cardioid for dialog. It has a tighter pattern, so it doesn’t hear as much of the surrounding noise.

Unless you’re ready to put some real money down for a Schoeps CMC641 or Sennheiser MKH 50, the Audio-Technica AT4053 is a good mid-market solution. https://bhpho.to/3kBF69R
They are also phantom powered, but do not have battery powering. These will need additional windscreens.

As you may have guessed. You’re inching up to getting a mixer. Most good location mixers have phantom power.

Sorry if this seems a lot. Just wanted to give you a look at the landscape.

Regards,

Ty Ford

Cow Audio Forum Leader

[Ty Ford]

Hello Suzin and welcome to the Cow Audio Forum,

Before I make some suggestions, can you please tell me what mic you’re currently using?
Thanks,
Ty Ford Cow Audio Forum Leader