[Will Salley]

[Byron Campbell] “Sorry, you will never get a mix in the box (FCP/AVID) like a real pro can using Protools or a main stream DAW”

I disagree!

For documentary production like Ian is doing, it is no problem to get excellent results from FCP or Soundtrack. I happen to own several Pro Tools systems and several FCP workstations and I can achieve very similar results with both. Especially hen one considers the time involved in outputting and transferring files to be used in Pro tools, a great deal of the same work can be achieved in FCP – and you don’t have to have your video “locked”.

Actually, Apple Logic would be a good fit for someone using FCP and needing the extra capabilities of a DAW. More importantly, your edit system should have a good signal chain and monitoring setup that can be trusted to reveal an accurate mix. Beyond that, I don’t know of any good training books specific to audio for video post. Not saying there aren’t any, I just haven’t heard about them.

My advice would be to get as much experience doing it on your own and when you run into a specific problem or question, ask it here on the COW.

Primary System Info
Mac Pro 2×3.2 Quadcore – 10.5.4 – QT 7.5 – 6MBram – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro (v6.7)- Open GL 1.5.6 – Wacom Intous2 tablet

[Will Salley]

Here is a post regarding these:

https://forums.creativecow.net/readpost/30/857881

Primary System Info
Mac Pro 2×3.2 Quadcore – 10.5.4 – QT 7.5 – 6MBram – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro (v6.7)- Open GL 1.5.6 – Wacom Intous2 tablet

[Will Salley]

You sure that’s not AES Broadcast Specs?

Primary System Info
Mac Pro 2×3.2 Quadcore – 10.5.4 – QT 7.5 – 6MBram – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro (v6.7)- Open GL 1.5.6 – Wacom Intous2 tablet

[Will Salley]

Exterior dialog has no natural reverb so you don’t need to add any. In certain locations, such as in alleyways and thick forests, there will be a very, very small amount of echo (delay), otherwise, no effects should be needed if the ADR is clean. A little high-pass shelving may help.

Nat sound should have been recorded on the location to help with this; If not, it’s easy enough to get. Depending on the scene to be covered, find a suitable similar location and record the ambience for the length of the final scene. Mix that under your dialog and you should be good.

Primary System Info
Mac Pro 2×3.2 Quadcore – 10.5.4 – QT 7.5 – 6MBram – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro (v6.7)- Open GL 1.5.6 – Wacom Intous2 tablet

[Will Salley]

There are basically three types of mics, dynamic, condenser, and ribbon. Ribbon mics are pretty rare and operate similar to a dynamic mic, so I won’t describe that type further.

A dynamic mic uses a diaphragm attached to a coil to transfer acoustic (sound) energy to mechanical energy, and finally to electrical energy. The coil moves around a fixed magnet and creates a slight electrical charge. This charge (voltage) is sent by a cable to an amplifier and transfered back to acoustical energy by a loudspeaker.

A condenser mic works by applying a small voltage (requiring a battery or external power) to a coil, which is aligned with another coil attached to the diaphragm. The movement of this second coil causes a change in the voltage flowing through the first coil. This change in voltage is summed with a negative, but equal voltage and then passed on to be amplified.

Because it presents less impedance to the circuit, a condenser is much more sensitive than a dynamic mic. Condenser mics are typically louder than dynamics for this reason as well. If you can hear a mic connected to your Mac through a 1/8″ jack, you probably have a dynamic mic – but if it has a battery, it is a condenser. Some condensers get their power from a battery or what is known as “phantom” power, or both. These are known as electret condensers. Most higher-end condenser mics do not have batteries and are called true-condensers.

There is no single way to tell visually if a mic is condenser or dynamic with out removing the windscreen and observing the electronics. Since this is not advisable, look for marking that may indicate that power is required such as “+48”. Also, true condensers (with no battery) rarely have on/off switches, although they often have low cut and/or attenuation switches.

Primary System Info
Mac Pro 2×3.2 Quadcore – 10.5.4 – QT 7.5 – 6MBram – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro (v6.7)- Open GL 1.5.6 – Wacom Intous2 tablet

[Will Salley]

..and thus my affinity for the B6 AND TopStick.

On synthetic materials, I often put a piece of Topstick (about a third of the full piece) against the B6 right below the element on the cable. If the fabric is really noisy, I’ll go directly on the element. A Rycote undercover will fit exactly over the Topstick/mic and finally a u-shaped piece of topstick around the undercover. This last piece can be used to hold a loose garment and prevent it from moving around, and thus, rubbing on the undercover. This works well with noisy, but sonically transparent synthetics only. On cotton fabrics, I usually find a buttonhole or neck vee to position the element. The super thin cable on the B6 and the position of the Topstick below the element negate the need for the loop, but it certainly won’t hurt.

i always advise the person being wired not to remove the mic after the shoot. The Topstick can wrap around the cable and become very difficult to remove. I usually say something like “if it gets in your hair we’ll have to cut it out – like bubblegum” Works everytime.

And don’t forget the tie rig!

Primary System Info
Mac Pro 2×3.2 Quadcore – 10.5.4 – QT 7.5 – 6MBram – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro (v6.7)- Open GL 1.5.6 – Wacom Intous2 tablet

[Will Salley]

Luke, with the primary (23″ Cinema Display) monitor disconnected, the second monitor (20″ Apple dipslay) displays correctly. When the two connections are reversed, the primary monitor is corrupted. So the problem stays on same physical output of the video card.

I also switched the main desktop in System Preferences to make the second monitor become the main desktop. It was still corrupted.

I’ve run the hardware test on the Mac to check the video card. It did not report any issues.

Primary System Info
Mac Pro 2×3.2 Quadcore – 10.5.4 – QT 7.5 – 6MBram – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro (v6.7)- Open GL 1.5.6 – Wacom Intous2 tablet

[Will Salley]

Thanks Luke,
I had already done the OS and QT updates -just forgot to update my profile info.

I also had the video output set to black, so that doesn’t help. The second monitor also shows some serious graphics corruption when dragging windows across to that side. It stays up for about half a second until the screen refreshes, which is about every half-second.

Any other suggestions would be appreciated.
Thanks,
Will Salley

Primary System Info
Mac Pro 2×3.2 Quadcore – 10.5.4 – QT 7.5 – 6MBram – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro (v6.7)- Open GL 1.5.6 – Wacom Intous2 tablet

[Will Salley]

Which Charleston?

Primary System Info
Mac Pro 2×3.2 Quadcore – 10.5.3 – QT 7.4.5 – 6MBram – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro (v6.7)- Open GL 1.5.6 – Wacom Intous2 tablet

[Will Salley]

Thanks Ty, nice review. Did I hear a slight boost around 2.5k on the Rode? I can’t believe how little self-noise the Rode exhibits.

How’s that 788 working?

Will Salley

Primary System Info
Mac Pro 2×3.2 Quadcore – 10.5.3 – QT 7.4.5 – 6MBram – nvidia8800GT – SATA internal & external storage – Blackmagic Multibridge Pro (v6.7)- Open GL 1.5.6 – Wacom Intous2 tablet