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Why Manuela returned to FCP after loving Premiere Pro CS6?

Why Manuela returned to FCP after loving Premiere Pro CS6?

A year ago, Manuela Santana migrated to Premiere Pro CS6, but unusual circumstances made her return to FCP.

By Allan Tépper | November 12, 2013

A year ago, professional editor Manuela Santana abandoned FCP X and migrated to Premiere Pro CS6, but has just returned to FCP. This article will explain why an unusual discovery about footage shot with FiLMiC Pro made Manuela go back to FCP.

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Creative Uses of the Range Tool in Final Cut Pro X

On This Week's MacBreak Studio

By Mark Spencer | November 12, 2013

This week on MacBreak Studio, Steve Martin from Ripple Training explores the Range tool in Final Cut Pro X.

The Range tool - found in the Tools menu or invoked with the keyboard shortcut "R" - has a surprisingly large number of uses throughout the editing of a... Read More

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How to adjust audio levels with Blackmagic cameras

How to adjust audio levels with Blackmagic cameras

The third method may be the charm for the Pocket Cinema camera.

By Allan Tépper | October 31, 2013

 

As several people begin receiving Blackmagic’s Pocket Cinema cameras, many begin to ask me how to deal with their audio with them. They want to know how to connect their mics, how to monitor, and how to adjust levels. This has been further complicated by the fact that surprisingly, Blackmagic has still not added any audio metering to their cameras via a firmware update.

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Darren Orange moves from role-playing games to feature filmmaking

Creative Cloud powers the production workflow for Reactor 88

By Eric Philpott | October 28, 2013

Reactor 88 is an independent production company based near Chicago with a unique focus on creating films based on role-playing game narratives. The company’s first production, InSpectres was released in September 2013 and the team is hard at work on their second film, Dead News Report. We... Read More

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Ríchard Izarra covers my book launch with his Canon XA20

Ríchard Izarra covers my book launch with his Canon XA20

Video journalism by PRODU with the Canon XA20 and edited with FCP X.

By Allan Tépper | October 23, 2013

Last night, Ríchard Izarra of PRODU quite unexpectedly materialized in Miami to cover my dual book launch (The Castilian Conspiracy and La conspiración del castellano) with his Canon XA20 camera, which he received recently. Ahead you’ll see a 1:53 (under 2-minute) video package which he edited and published with FCP X early this morning, before leaving for México, together with his continuing commentary about the camera.

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Frequency Adjustments

Equalizing Audio

By Woody Woodhall | October 20, 2013

EQ is an essential tool for mixing audio.  It can enhance recordings by boosting, reducing and removing certain frequency characteristics.  EQ was developed as a way to equalize differing sources to sound similar.  The simplest and most common EQ are what used to be called the... Read More

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The Sound of “Gravity”

Mixing sound on Alfonso Cuaron's latest film

By Matthew Jeppsen | October 10, 2013

Here's an exceptional behind-the-scenes featurette that talks about the sound and foley work in Gravity. One interesting note...the Foley artists used transducer contact mics to create many of the sounds in the film…that is, they recorded vibration from contact, not airborne audio, which is similar to how astronauts would experience sound in space. They also talk about using Dolby Atmos to fine-tune panning and positioning of audio, and how that helped to mirror the disorientation of on-screen characters. It's a fascinating piece, watch below.

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Audio Post For Reality TV

Audio Post For Reality TV

One Mixer's Workflow

By Woody Woodhall | October 06, 2013

I keep busy as a supervising sound editor and rerecording mixer doing, among other things, reality television programming.  It is a fast paced process with rigorous requirements for audio deliverables.  I deliver three or more episodes each week over the course of several different... Read More

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Audio standards and Adobe Loudness Radar

Background and basic tutorials

By Rich Young | September 25, 2013

Recently here on PVC, Woody Woodhall discussed The CALM ACT (Commercial Advertisement Loudness Mitigation), asking "Why Is The US Congress Messing With My Mix?". It's a nice introduction with several wrinkles worthy of further consideration, even if most of us don't use specialized audio tools like the Dolby Media Meter and are now uneffected by broadcast volume standards.

Many of us using more mass market tools will want to follow along with these first steps, and can, thanks to TC Electronic (see their loudness authority), whose LoudnessRadar was bundled with Adobe Premiere Pro CC and Adobe Audition CC.

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The CALM ACT (Commercial Advertisement Loudness Mitigation)

Why Is The US Congress Messing With My Mix?

By Woody Woodhall | September 15, 2013

For many years home viewing television audiences have been frustrated by the loudness of the commercials.  No matter how loud or soft the prior program was, the commercials always seemed to pop in louder - much louder.  In the US it seems that the Congress (don’t worry, no... Read More

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A Brief Introduction

Who Am I?

By Woody Woodhall | September 02, 2013

Iʼm thrilled with this opportunity to create a discussion with the Pro Video Coalition members about my passion - audio for the moving image.

 

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Animating to Sound with After Effects

a video course from Chris Meyer

By Rich Young | August 30, 2013

Although video/film types sometimes say that "sound is half the experience", sound and music are often an afterthought in After Effects. Music industry people who crossed over provide exceptions, like Chris and Trish Meyer of Crish Design, who have provided guidance on audio matters in After Effects since the days of InterActivity magazine.

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Make Dual Mono work between FiLMiC Pro and FCP X 10.0.8 & 10.0.9

Make Dual Mono work between FiLMiC Pro and FCP X 10.0.8 & 10.0.9

Now that we can record “stereo” 48 kHz audio with FiLMiC Pro, learn how to make FCP X treat it as Dual Mono.

By Allan Tépper | August 15, 2013

As I have covered in several recent articles and videos, it is now possible to record “stereo” 48 kHz audio using FiLMiC Pro on an iPad. However, most often pro video producers need to use that “stereo” recording as Dual Mono. Among those cases, sometimes we need to deactivate one of the two channels completely, while other times we need to have access to each one as independent monophonic sources, and be able to manipulate them separately. Ahead you’ll see how to do this using FCP X 10.0.8 and 10.0.9.

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Scruffy.TV transforms workflow with Adobe Creative Cloud

Distributed team relies on Adobe video tools for latest parody, Flight Club

By Meagan Keane | August 15, 2013

Ambitiously aiming to lead the media revolution, Scruffy.TV creates custom content and is building a full, online network that is hosting all-original content. Kanen Flowers is the creative director behind the initiative, which includes That Post Show, Scruffy Thinking, Scruffy Shows, and HERO... Read More

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ENG mic comparison: Audio Technica BP4002 versus Electro-Voice RE50N/D-B

ENG mic comparison: Audio Technica BP4002 versus Electro-Voice RE50N/D-B

A real life, in field comparison between the popular Electro-Voice RE50N/D-B and the Audio Technica BP4002 microphone.

By Allan Tépper | August 13, 2013

In this short video, we compare the sound quality of the popular Electro-Voice RE50N/D-B and the Audio Technica BP4002 microphone. Both are dynamic omnidirectional handheld mics. Ahead you’ll see and hear the difference, plus see a review of why omnidirectional mics generally are most... Read More

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FiLMiC Pro 3.3 adds external audio monitoring + remote

FiLMiC Pro 3.3 adds external audio monitoring + remote

Now users of FiLMiC Pro on iOS devices will get true audio confidence in their ears, instead of just on screen.

By Allan Tépper | August 11, 2013

I am delighted to see that FiLMiC Pro’s palindromic upgrade to version 3.3 finally includes external live audio monitoring via headphones, especially for cases when the renowned sub-US$5 app is used with an iPod Touch or iPhone (which can’t currently work with the DUO-CAPTURE EX field mixer from Roland I recently covered, the way an iPad can). Even when you use an input device with a built-in monitoring output like the DUO-CAPTURE EX with an iPad, direct audio monitoring from the recorder always gives the operator the maximum confidence. FiLMiC Pro version 3.3 also adds wireless monitoring and remote control from another iOS device via a companion app called FiLMiC Remote.

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Secret Clip Selections in Final Cut Pro X

On this week's MacBreak Studio

By Mark Spencer | August 06, 2013

This week on MacBreak Studio, Steve Martin from Ripple Training and I share a couple of tips for selecting clips in a Final Cut Pro X project.

There are times when it can be quite useful to be able to select a group of clips in your project. For example, you may want to put a... Read More

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Roland DUO-CAPTURE EX US$199 field audio mixer for iPad

Roland DUO-CAPTURE EX US$199 field audio mixer for iPad

The DUO-CAPTURE EX audio mixer connects digitally to the iPad, at 48 or 44.1 kHz.

By Allan Tépper | August 03, 2013

The US$199 DUO-CAPTURE EX from Roland (like the excellent hybrid microphone I’ve applauded in several articles and ebooks) connects digitally to the iPad, selectively at 48 kHz (for video and very specialized audio applications) or 44.1 kHz (for general audio applications). This... Read More

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Subframe Audio Editing in Final Cut Pro X

This week on MacBreak Studio

By Mark Spencer | July 30, 2013

This week on MacBreak Studio, Steve Martin from Ripple Training shows us how to edit audio "within the frame" in Final Cut Pro X.

In each second of video we normally see about 24, 30, or 60 individual still images - enough of them to create the illusion of movement thanks to... Read More

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Headphones: a few resources

By Rich Young | July 02, 2013

The secret of the search for perfect sound is that it never ends. In many cases, you might find sound isolation and higher quality easier to afford with headphones. Mixing on headphones works fine, especially with reality checks on audio monitors. You might be tired of standard issue headphones like the Sony MDR-V6 or MDR-7506 (preferred by The Wirecutter), but still want to avoid frequency manipulations of popular lifestyle headphones like Beats Audio. Accurate reproduction and flat frequency response isn't just a matter of more money, but an adventure in trial and error.

While there are a ton of places to get advice and reviews of headphones, dedicated websites provide the best access to information and experience.

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