Will Salley
Forum Replies Created
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Isn’t it the “P” key?
System Info – G5/Dual 2 – 10.4.8 – QT v7.1.3 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8
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Great tip, Thanks Ty.
System Info – G5/Dual 2 – 10.4.8 – QT v7.1.3 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8
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[Piper] “my camera’s default setting for reference tone is -20db”
I assume this is for the camera’s internal tone generator. For external reference tone, the camera doesn’t care. It helps if the type of metering (peak or RMS) match that of the mixer. What does matter is that the reference tone levels set ON THE MIXER match the relative levels on the camera. The same level should then display in FCP. If the mixer, in your case a fine analog device, reads at 0dB with 1k tone, the camera’s digital meter should be set to either -12 or -20 (I use -20, but just keep it consistent and make good notes of it). Again, that level should be displayed by Final Cut’s meters as well.
System Info – G5/Dual 2 – 10.4.8 – QT v7.1.3 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8
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Sounds like it’s a bad balancing circuit on the camera preamps. What model of camera? Are you using battery or power supply on the camera? Check cables and connectors!
System Info – G5/Dual 2 – 10.4.8 – QT v7.1.3 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8
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The timecode format is irrelevant because there is no way to get useable timecode out of the HVX200. The best solution is to buy or rent a Sound Devices 744T (4-tracks with full timecode i/o) and send TC into the camera on an audio track. In post, they will need an external TC reader. I also agree with Frank about acquiring at 44.1 – unless you have a way to convert the audio (and the time), shoot at 48k, otherwise it will be a syncing nightmare. I think FCP will playback both rates on the timeline but it requires extra processing and eventually a mixdown to do it.
System Info – G5/Dual 2 – 10.4.8 – QT v7.1.3 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8
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David, I don’t know what your equipment budget is, but this is probably the best solution to what you’re looking for – https://www.soundfield.com/
Combined with a hard-disk recorder such as the Sound Devices 744T, you could record in the Soundfield “B-format” and decode to 5.1 in post. It’s very pricey, however. Mic-$5000+, Recorder-$4000A less expensive option would be to purchase a Fostex MD-8 ($400 – records four tracks simulitaneously in 16 bit/44.1Khz) and four matched small-condenser mics. Arrange the mic tree in two x/y arrays, one facing forward and one facing reverse. Phase reverse both of the rear facing mics. Experiment with the angle of the rear x/y pair – you can enhance the surround effect by increasing the angle of coincidence to about 110 degrees. Since the Fostex is AC powered, you would be limited to locations.
There may be other 4-track portables out there that I’m not aware of.
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I also exported to an XML. This was the workaround but I still lost several hours of editing as a result, but at least that’s better than several weeks. What’s scary is that it affected an autosaved file that, when it was saved, was fine.
I forgot to mention earlier that I did trash and re-build the render files. I also had some un-compressed footage that I was using on the timeline and I re-digitized that to the Blackmagic DV codec. Neither one of these actions prevented the sequence from corrupting.
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Bill,
I have had similiar issues with some of my Lacie FW800 drives, which are the FW800 extreme (500GB). After some troubleshooting (actually a lot of troubleshooting), I discovered the Firewire bridge had suffered a static shock and while it still allowed data to pass, it did the “hiccup” as you described. The other drive in the array was not affected and could pass data at around 85MB/s sustained- by itself. Of course the Firewire bridge was not cost-effective to replace but a new second drive was much cheaper than the one it replaced.Another odd behaviour was a very high-pitched squeal eminating from the Firewire card in the Mac when the bad drive was mounted.
By the way, You can buy a Wiebetech traydock to use your old drive in, just remove from the Lacie housing and insert in the Traydock.
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I’m not as experienced mixing 5.1 as many, but I have done enough to weigh in and try to give an opinion. I’ve used a single stereo source to build a 5.1 mix with excellent success. As you mentioned, the center chaneel can be derived from L+R source, but I would leave the L+R sources intact and use only the mono interview source for center channel, care should be taken not to simply combine and boost the L+R sources for center channel. This is where I prefer M/S recordings. These can be decoded for your LF+RF source, and the M channel can be split for center and Sub sources. The next step is to take the original decoded M/S tracks and process them for the proper space and ambience (a 100% wet mix of reverb or delay, etc.) for the LR+RR sources. Mix the matrix to your liking and you’ve got it.
You can also buy a slew of plug-ins for Pro Tools to do some of this for you.
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[Will I Am] “Sebsky Tools is needed to bring BWF files into FCP with the Metadata intact”
This feature was added -and works well – in version FCP 5.1.2.
When doing film work, or any recording for other editors, ask them ahead of time what format they want (bit rate/sampling rate/timecode format/mono or poly/wav or bwf). If they leave it up to you, or you just can’t get a good answer, which is all too often, go with 24-bit/48k/29.97/mono/.bwf. It’s not a “standard” but it is the most compatible with FCP, Avid, and Pro tools. Pro tools will not open poly files directly. A general rule of thumb is that if the film is transferred for TV use, it should be slated and audio should be encoded with 29.97 (NTSC) or 25 (PAL), regardless what the actual frame rate is on the camera. If the piece is going to be cut on film or will be for theatrical release, 23.97 is the preferred rate.
Many post houses I have worked with still take the audio data files to the transfer house for syncing during the transfer. If appropriate, explain to them that they could possibly save money by syncing the shots during editing instead. Many producers are still uninformed of the ease which these files will sync. On the other hand, it may not save money if the transfer house charges less for audio sync than the post house charges for similar work.
I use my 744T with an external HD to capture (I also go to the internal HD). When the shoot is over I simply give the producer the HD and log sheet. They can use these files directly and have the drive available for future use. It’s well worth the $250 for the drive.