[Ty Ford]

Hello Benjamin and welcome to the Cow Audio Forum.

It all depends on how low your quality levels are. Some folks just use the on-camera mic. Some folks add a mic with a suspension mount to a camera. Others use a light stand with a boom holding gimmick and boom from a distance. None of these really result in great sound, but maybe you don’t need great sound.

Wireless mics and hardwired boom mics are industry standard. So is growing your crew along with your craft. Sounds like it’s time to move up to the next level. 🙂

Regards,

Ty Ford
Cow Audio Forum Leader

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Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Chris and welcome to the Cow Audio Forum.

I’ve done that with Quicktime Pro before.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Patrick and welcome to the Cow Audio Forum.

Get a mono mix from the Zoom. Use a wireless mic to send it to a receiver. Choose a wireless receiver that has a headphone out.

Regards,

Ty Ford

Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Saif,

Making up sounds from other sounds can be a lot of fun. If you do, it can be a very addictive thing. Start by figuring out a filing system by categories, dates, key words, etc.

That way, as you collection grows, you’ll know where to put new sounds and how to retrieve them.

And please keep us apprised of your progress.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Saif and welcome to the Cow Audio Forum.

Budget is everything.

it would probably help if you created a list of exactly what you wanted, so people could see what sort of sounds you needed.

There a re a number of online sound sites. SoundDogs.com and soundclick.com come to mind.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Van and welcome to the Cow Audio Forum.

Hard to believe that Grass Valley would be sporting a 4K software that doesn’t do polywav files, but not impossible. (Shame on Them!)

Dump your tracks into Pro Tools separate them into individual tracks and export them so Edius can get a grip on them.

You might also try Sound Devices Wave Agent software to see if it will detach the files.

https://www.sounddevices.com/products/waveagent/downloads/

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

I don’t see any razor blades or editing blocks!

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Craig,

Your comment about lack of ergonomics (and the other comments made here) echo my own.

Apple’s implementation of audio features in FCP 7 was never that great to begin with. I think Apple is guilty of very sequestered thinking in how the FCP X development team was created. Narrow choosing is not a bad idea, necessarily, but picking the people is very important.

FCP X was a “baby and bathwater” GUI swap out. An interesting approach; throw out most of the well known controls and wait to hear who scream the loudest for what features before adding them back in. It seems like they also scraped off the entire FCP 7 team and tossed the project into the iMovie crew.

Again, not necessarily a bad thing, (yes, some will howl) but why Apple hasn’t used some of the Logic Express team on FCP X (or listen to what they have to say), keeps FCP X’s controls shrouded is mysterious. Maybe it was just money and the roll out schedule. Or, is it the famous “Generational Shift” I keep hearing about? The younger team members just don’t have the operational underpinning to appreciate how the work has been done for years.

One thing’s for sure; wanking on about it in a Cow/Apple Forum isn’t likely to change anything. I reached out to Apple years ago about the audio implementation in FCP 5 or 6. My inquiries were met with tepid response.

Regards (and “Hey” to Noah),

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hi Craig,

Boy, you ask a very good question. I’m pretty mystified by that process myself. Don’t know why it has to be so hard.

Have you tried something simple like dropping a Youtube or other link in?

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog

[Ty Ford]

Hello Craig,

Richard has provided you with a wealth of possibilities.

I’ll add the following. The CMC641 is very directional. Sometimes it’s a case of angle the mic away from the noise. A CMC641 can point straight down, even slightly backwards.

Sometimes, a lav on the chest works better because it’s on the body, especially if the body is between the mic and the noise. The distance between the lav and the mouth can be shorter than between the CMC641 and the mouth.

Izotope RX3 Advanced (and now new RX4) is very good at canceling out steady noise. You do need someone who knows how to tweek it, but it can be very effective. I also have had impressive results with FCP X’s noise reduction in cases where the noise is not that loud.

Regards,

Ty Ford
Cow Audio Forum Leader

Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford’s Blog