NLE Mac / Final Cut questions from 2002

[Jeff Donald]

The audio mixdown creates a non-destructive (means you can undo your mixdown) single audio track for playback only. It reduces your playback load considerably. However, you're not playing back. You want to create a file for export. Do you have DVD Studio Pro. If so, you can create your compressed audio file (AC3) in it.

Are you using Cleaner 6 yet? You can also set the audio compression etc. in it also. I imagine you can do it in 5, but I don't remember. Age is terrrible, the mind is the first thing to go.
Jeff

[Paul Sedillo]

I wonder if the next version of FCP will adress the audio issues? :)

[Jeff Donald]

I'm also hoping for improvements in the audio department. I would guess that they might also bundle it with something better than Peak LE.

Jeff

[Paul Sedillo]

I have Pro Tools LE (which came with my MBox) and have not even begun to understand how to use it. Plus it only runs in OS 9, which is the only application that needs that OS. From what I understand, Pro Tools is the cats meow when it comes to audio.

[Rob Lohman]

John,

I was reffering to the output from Cleaner, not FCP. I assume
Cleaner outputs QuickTime?

[Mark Austin]

I have also had one #$#* of a time with my audio in FCP3.0. I guess I'm a geek-meister but after using real audio tools for years, FCP is worse than pathetic, and Peak LE is much harder to use than nessasary. ProTools is actually a very easy program to use hence the fact that it has become the de facto standard for audio editing. It's no wonder that audio is as neglected and confusing for videographers, the tools are poor and difficult to use. Logic Audio is a very robust program but probably too complex for what we (video folks) do, but a Logic Le designed intoFCP(x) would be the ticket, Apple are you listening???. I have used some of the Sonic Foundry stuff (VV, VA, Sound Forge) and they are awesome, truly professional audio tools that come integrated into the program not some cheesy toss in "LE" bundle. I have mastered dozens of CD's in Sound Forge it's that good. Why, when we spend thousands on video NLE software for the Mac, don't we get a real audio NLE included? Sorry to get on my soap box again, but this is a very sore subject for me.
Mark

[Linc Kesler]

Mark, since you like the audio tools in Sonic Foundry stuff so much, how do you feel about the video editing in Vegas Video? My work is in oral history, and getting clean audio (sometimes under less than ideal circumstances) is a real issue. I do my best to get it clean on site, but normalizing levels, and removing the occasional distraction is really critical for me.

Linc Kesler

[Steve Nunez]

Why is it that manuals and refrences suggest we use either a white or 18% grey card for white balancing if their both far off in color (from each other)? Wouldn't using a white card produce a different offset than a grey card- how does the camera achieve seemingly identical perfect white balance if we can use either a white or grey card? Wouldn't it have to be one or the other?

[Phil French]

Thanks Jeff. I went and checked out both Reason and Rebirth. Reason looks like it might be the ticket. Reason looks to be much more flexible and expandable than Storm. I did note that it is twice the price, but looks to be worth it.

[Alex Taylor]

Aliasing happens when square pixels try to make a diagonal/curved image, so you think they would make some crazy new pixel shape to accomodate.. I wonder how feasible circular pixels would be :)

[Vic Owen]

Good question, Steve. I've used both, with little discernable difference. When setting-up in a theater, the grey card in my Portabrace bag is frequently too small to zoom into, so I've used a larger poster board. I keep thinking I should spray it light grey, but not sure why....?

We'll have to wait for the "big guys" to weigh-in...

[Paul Sedillo]

<<<-- Originally posted by Simon Davies :

Is there a way to make those edges sharp again?

-->>>

Simon,

You might just give the opposite a try and soften the edges. If you look through your Effects tab, you will see a Glaussen Blur. Apply it to the clip in small increments and adjust it (settings) to fit your need. When I am having problems with edges not looking good, I usually give this a go. Learned this trick from similar situations in Photoshop.

Not sure if it will fit the bill for you, but thought I might offer a different perspective.

[Robert Knecht Schmidt]

"Aliasing happens when square pixels try to make a diagonal/curved image, so you think they would make some crazy new pixel shape to accomodate.. I wonder how feasible circular pixels would be"

It's pixel size, not shape, that should be blamed for aliasing. Cf. Nyquist's theorem.

[Linc Kesler]

I think that in theory anyway, the white and grey cards should have the same color characteristics, but a different brightness level. In still photography, the gray card represents a mid-level value (zone 3? zone 5? I don't remember!), where the white card gives the highlight level. A reflected metering of the gray card should give the same reading as a metering with an incident light meter, so it's the more general basic reading, but since highlights tend to be the critical loss area for slide film, the white card is often used to check contrast. As to which works better for color balance, I don't know. I guess it depends on the "neutrality" of either on the given card. I do know that if I have my exposure set on manual when I'm setting up (my usual), the camera seems to find its white balance better if I adjust the exposure when focusing on a white card, since it is otherwise overexposing significantly.

Linc Kesler

[Charles Papert]

That's pretty much it, Linc. The "color" of both an 18% card and a white card is the same, it's just the brightness/reflected luminance that differs. For purposes of white balance, either will do. I know that for years I only have used white cards (and continue to do so) and that the first time I have heard of using a grey card was here in this forum, and the reason given that the white card can cause overmodulation in the signal (+100% white). The method I have always used with video is to fill the frame as much as possible with the card, then use the momentary automatic iris to allow the camera to find its best exposure, then perform the white balance.

The gray card is intended to be used both as a metering/exposure aid and to be photographed at the head of a scene to allow for more efficient color correction in post-production.