I've been busy over the holidays producing a new podcast. It's called the Post-Movie Podcast and it's a conversation between two film reviewers on recent films. Radical right?
I've also have a lot of irons in the fire production-wise and I hope to tell you more about it in upcoming shows. I'm going to be busy for a while.
Showing posts with label audio. Show all posts
Showing posts with label audio. Show all posts
Sunday, November 29, 2009
Thursday, July 19, 2007
#34 Wk25 - Non Fiction Narrative
And in the End...
This week it all ends, at least for the current film project. I'm talking about last minute deadlines and the mixed feelings that result. There's always some vague unsatisfied feeling when you finish an all consuming project, as this one was. For me, I'm so glad to get this off my back, but also I realize that even though my mind an nerves are refilling with a sense of ease, there's still a sense of lack. Just putting a name to it is difficult, I still can't articulate it.
I know that I'm looking for a response, feedback, realization, something that I wasn't looking for when I started. Not affirmation, not the satisfaction of a job well done. All those things are welcome, for sure. I think it has something to do with purpose. Either the purpose of this project wasn't realized in the finished project, or it was too small a goal.
I'm just going to sound stupid trying to figure this out in a blog, so just leave it at this, that gnawing unfulfilled feeling you get when you're full, but you're still hungry.
So this episode is about meeting the deadline, the client meeting and review of the finished project. I add a little commentary at the end about gleaning meaning out of the experience.
Lastly I add a brief how to regarding multi-track audio editing between FCP and Soundtrack.
Below are the steps I go through in the podcast:
Select the File menu
Select Send To
Soundtrack Pro Multitrack Project
Make sure both options, Open in Sountrack Pro Multitrack Editor and Include Background Video are checked and click Save.
When you work with the audio in Soundtrack you’re going to be shuffling files between the two programs quite often, so I like to name my files to indicate what program they were saved from and what program they’re to be editing in. So when I export it from FCP I might call it FilmName, then add from Final Cut Pro to Soundtrack Pro. I usually abbreviate it, like FCP-SP, or simply F-S. Exporting it from Soundtrack Pro to FCP would be the reverse, FilmName S-F.
Following the export, Soundtrack Pro launches and opens the file in the Multitrack view. The stereo track from Final Cut displays as a single track in Soundtrack Pro. In Soundtrack Pro you can add additional tracks, such as sound effects, loops and other dialog.
By default there’s only one track for audio. You can add more tracks by right clicking in an audio track and selecting Insert Track Before, or After.
Add your audio and then Export the file, it’s an audio file, it has a .aif extension. Choose File/Export/Export Mix.
Import the audio file into Final cut. It appears as a single track.
Place in the video sequence. If you want to edit it, right click on the audio track and choose Open in Editor.
Soundtrack Pro comes to the front and tells you that the aif file is linked to a .stmp file, a Soundtrack project and asks you if you want to open the audio file or the project file.
Choose the project file to edit the individual tracks
The file opens with each audio element in independent tracks.
Make further changes to the different tracks, or add new tracks, then, as before, Choose File/Export/Export Mix and save it with the name you saved it as in the previous export, it supplies the same name by default.
When you go back to FCP you’ll see the changes are updated.
In this manner you can work between the two programs to keep you audio modifications in sync and still be able to work with each track separately. Without having to deal with a large number of separate tracks in FCP.
This week it all ends, at least for the current film project. I'm talking about last minute deadlines and the mixed feelings that result. There's always some vague unsatisfied feeling when you finish an all consuming project, as this one was. For me, I'm so glad to get this off my back, but also I realize that even though my mind an nerves are refilling with a sense of ease, there's still a sense of lack. Just putting a name to it is difficult, I still can't articulate it.
I know that I'm looking for a response, feedback, realization, something that I wasn't looking for when I started. Not affirmation, not the satisfaction of a job well done. All those things are welcome, for sure. I think it has something to do with purpose. Either the purpose of this project wasn't realized in the finished project, or it was too small a goal.
I'm just going to sound stupid trying to figure this out in a blog, so just leave it at this, that gnawing unfulfilled feeling you get when you're full, but you're still hungry.
So this episode is about meeting the deadline, the client meeting and review of the finished project. I add a little commentary at the end about gleaning meaning out of the experience.
Lastly I add a brief how to regarding multi-track audio editing between FCP and Soundtrack.
Below are the steps I go through in the podcast:
Select the File menu
Select Send To
Soundtrack Pro Multitrack Project
Make sure both options, Open in Sountrack Pro Multitrack Editor and Include Background Video are checked and click Save.
When you work with the audio in Soundtrack you’re going to be shuffling files between the two programs quite often, so I like to name my files to indicate what program they were saved from and what program they’re to be editing in. So when I export it from FCP I might call it FilmName, then add from Final Cut Pro to Soundtrack Pro. I usually abbreviate it, like FCP-SP, or simply F-S. Exporting it from Soundtrack Pro to FCP would be the reverse, FilmName S-F.
Following the export, Soundtrack Pro launches and opens the file in the Multitrack view. The stereo track from Final Cut displays as a single track in Soundtrack Pro. In Soundtrack Pro you can add additional tracks, such as sound effects, loops and other dialog.
By default there’s only one track for audio. You can add more tracks by right clicking in an audio track and selecting Insert Track Before, or After.
Add your audio and then Export the file, it’s an audio file, it has a .aif extension. Choose File/Export/Export Mix.
Import the audio file into Final cut. It appears as a single track.
Place in the video sequence. If you want to edit it, right click on the audio track and choose Open in Editor.
Soundtrack Pro comes to the front and tells you that the aif file is linked to a .stmp file, a Soundtrack project and asks you if you want to open the audio file or the project file.
Choose the project file to edit the individual tracks
The file opens with each audio element in independent tracks.
Make further changes to the different tracks, or add new tracks, then, as before, Choose File/Export/Export Mix and save it with the name you saved it as in the previous export, it supplies the same name by default.
When you go back to FCP you’ll see the changes are updated.
In this manner you can work between the two programs to keep you audio modifications in sync and still be able to work with each track separately. Without having to deal with a large number of separate tracks in FCP.
Monday, July 9, 2007
#33 Wk24 - Non-Fiction Narrative
I've played around with a different recording device, the Mbox 2 plus a Sennheiser mic. I think the quality is vastly improved, but now I have to deal with keeping my head in one position so that you don't get dizzy listening to my voice move back and forth. Isn't learning fun?
This week is the middle of the module on creating a non-fiction 2 minute film. I've tried to describe how we organized ourselves, developed the story and set up the shots. I think the biggest issue during our shoot was the pressure of trying to get the shooting done in time. Also still a big concern is the confidence of knowing how much coverage was necessary. Our footage ratio was 1:25, which is 25 minutes of footage for every minute of the final cut. I think that's acceptable.
The best part is how well we all worked together. It was a real pleasure to be part of a focused, dynamic team. Considering how little time we had, it was a necessity.
This week is the middle of the module on creating a non-fiction 2 minute film. I've tried to describe how we organized ourselves, developed the story and set up the shots. I think the biggest issue during our shoot was the pressure of trying to get the shooting done in time. Also still a big concern is the confidence of knowing how much coverage was necessary. Our footage ratio was 1:25, which is 25 minutes of footage for every minute of the final cut. I think that's acceptable.
The best part is how well we all worked together. It was a real pleasure to be part of a focused, dynamic team. Considering how little time we had, it was a necessity.
Thursday, June 14, 2007
#28 Wk20 - Editing Lab 1
Episode 28 begins with comments from episode 27 regarding the idea of context
I offer my Ballpark view philosophy and consider some ideas for adding variety to the podcast thru
Audio Mixer
We get a quick introduction to the audio mixer in FCP including how to
organize the tracks in the mixer environment without changing the order of the audio tracks in the timeline
recording on the fly mixing changes using keyframes
adding Audio Mixer buttons to the timeline
axporting audio to Pro Tools and Soundtrack Pro
Firewire Firewire Firewire
I note a couple pitfalls to avoid when dealing with external drives
No USB capture in FCP
Reformat your drive when you get it out of the box
Finally, I mention visiting the Bison and Alpaca ranches of New England for some B-roll
I offer my Ballpark view philosophy and consider some ideas for adding variety to the podcast thru
- Interviews
- Editorials
Audio Mixer
We get a quick introduction to the audio mixer in FCP including how to
organize the tracks in the mixer environment without changing the order of the audio tracks in the timeline
recording on the fly mixing changes using keyframes
adding Audio Mixer buttons to the timeline
axporting audio to Pro Tools and Soundtrack Pro
Firewire Firewire Firewire
I note a couple pitfalls to avoid when dealing with external drives
No USB capture in FCP
Reformat your drive when you get it out of the box
- Use the Disk Utility in Applications/Utilities
- It's simple and fast
Finally, I mention visiting the Bison and Alpaca ranches of New England for some B-roll
Sunday, February 11, 2007
#8 Wk3 - Camera and Sound
The Sound and the Frustration
This is the last week for the Camera and Sound module. The class broke up into 2 teams of 5 and continued to use the boom mic and lavalier mic. Tuesday we recorded an interview and a narrative short on Thursday. I spend a few moments explaining the advantages of a Boom over a lav mic.
We’re also using a sound mixer which provides greater control than is available through the camera alone. I explain why it is both simple and hard
We experienced difficulties working with the audio that put us under a lot of pressure to meet our end of class deadline. The big lesson is that no matter what the source of your equipment, it makes sense and can really save your butt if you check the working status before you begin setting up the shot.
Of course all the preparation in the world won't save you if you don't pay attention to details. Despite my best efforts to avoid problems, by coming into class an hour early to prep the equipment, I still managed to miss the fact that the video gain was turned on through our entire shoot.
“Wakey, wakey” as a friend used to say.
We worked up a short story that we would shoot as an in-camera edit, where each scene is shot in one take, as it occurs in the story. Each shot is filmed so that the end and beginning fit in with the next and previous shot. No extra footage because you aren't editing it in the computer, it's all in the camera. It took a lot of planning and discussion to shoot, but it was fun and it worked out rather well. It helped that it was a simple story and it was short, only 3 minutes long.
On the last day of the class we’re introduced to optical stabilization, which makes shooting hand held practical. We didn’t get a chance to use it this week, so I’ll talk about it in a future episode.
I also discuss the need to develop a process for double checking, not only the working status of equipment, but also the settings on the equipment.
Howard Phillips, the associate director of the Film program, will be teaching the next module on lighting, which begins next week.
Chapter times
This is the last week for the Camera and Sound module. The class broke up into 2 teams of 5 and continued to use the boom mic and lavalier mic. Tuesday we recorded an interview and a narrative short on Thursday. I spend a few moments explaining the advantages of a Boom over a lav mic.
We’re also using a sound mixer which provides greater control than is available through the camera alone. I explain why it is both simple and hard
We experienced difficulties working with the audio that put us under a lot of pressure to meet our end of class deadline. The big lesson is that no matter what the source of your equipment, it makes sense and can really save your butt if you check the working status before you begin setting up the shot.
Of course all the preparation in the world won't save you if you don't pay attention to details. Despite my best efforts to avoid problems, by coming into class an hour early to prep the equipment, I still managed to miss the fact that the video gain was turned on through our entire shoot.
“Wakey, wakey” as a friend used to say.
We worked up a short story that we would shoot as an in-camera edit, where each scene is shot in one take, as it occurs in the story. Each shot is filmed so that the end and beginning fit in with the next and previous shot. No extra footage because you aren't editing it in the computer, it's all in the camera. It took a lot of planning and discussion to shoot, but it was fun and it worked out rather well. It helped that it was a simple story and it was short, only 3 minutes long.
On the last day of the class we’re introduced to optical stabilization, which makes shooting hand held practical. We didn’t get a chance to use it this week, so I’ll talk about it in a future episode.
I also discuss the need to develop a process for double checking, not only the working status of equipment, but also the settings on the equipment.
Howard Phillips, the associate director of the Film program, will be teaching the next module on lighting, which begins next week.
Chapter times
- 00:07 Last week recap
- 00:54 This week
- 01:19 Boom vs Lav mic
- 03:24 Reel to reel memories
- 04:20 Mixer revealed
- 05:18 Production problems
- 07:08 Shooting In-Camera edit
- 07:52 Deciding on a story
- 08:26 The other team's story
- 09:21 Our shoot
- 10:17 Critique of video
- 11:16 Optical stabilization
- 12:06 Composition concerns
- 12:46 Checklists
- 13:40 Editorial: Order order
- 15:30 Close
Subscribe to:
Posts (Atom)
