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Thanks but....

COW Forums : Cinematography

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Henry ManningThanks but....
by on Jun 5, 2002 at 4:57:06 pm

considering I've been involved in audio and have access to Pro Tools anytime I want in exchange for the use of some of my synthesizers,syncing audio for music that has no lyrics shouldn't be that hard -;).From what I understand is that w/ the GMT-U I can sync the crystal of the digital recorder(mini disc uses ATRAC compression yuck!)to the camera clock.As far as mini disc is concerned I wouldn't do that.A red book standard audio CD uses about 650MB of data where a MD is 140MB .What ATRAC does is discard the duplicate information and leaves you w/ about a 1/5 of the info of a CD.And not to mention the DVD standards for audio are 24 bit 48khz and 96khz.Using mini disc for recording(mini disc is fixed @ 44.1k, so are CDs)you will have to upsample the audio to 48 or 96.From 48khz to 96 is one thing but when you start screwing the math up by going from 44.1 k to 48 and 96 the computer or hardware SRC(sample rate conversion) has to start chosing odd numbered data.If you stick with 48 and go up to 96 it just has to make a duplicate of the information,and from 96 to 48 it discards every other data event.Nice and simple.When you start doing other SRCs you're forcing a machine to make a decision of what to discard/duplicate.Not too bright an idea.Then we get into dithering which is actually adding digital background noise to make up for the bit difference between 16 and 24 bit data.Both processes can be done w/ quality results provided you use the right gear/software.The only native based DAW software that can pull this off is TC Works' Spark (Mac Only).I prefer to do my SRC w/ my TC Electronic finalizer 96k mastering processor in realtime during the transfer from the recorder to the DAW.Another good hardware device is the Apogee PSX-100.Both the finalizer and the PSX come in at a street price of about $2500 USD.I chose the 96k because of the multi band dynamics processing.You would be hard pressed to tell the difference between the Apogee and TC DACs and SRC algorithms.Maybe in a THX room the Apogee would hold a slight edge.I guess my point of all this off subject audio rambling is Mini Disc is terrible,no matter what HHb and Marantz do in their spare time -;).The solution I'm looking at is using an Apogee mini me into an ibook w/ Nuendo DAW software for my location sound.This way I can record @ 96k and have my Audio set at the proper bits and rates for my finished DVD from the start.MD was,is,and always will be a consumer format.So if anything i'll just use a DAT and the GMT-Audio sync box.But I prefer the portable DAW approach w/ Apogee A/D,we'll see after I do a lil more research on the GMT-sync gear.If you've noticed all the enviroments I'll be shooting in don't exactly lend themselves to location recording so it'll be ADR,and Foley for me thanks.So I'm done rambling but I just wanted to throw out some solid audio information.i've noticed that there is an extreme lack of knowledge of audio on no budget productions by other DIY filmmakers.I hope this info can help someone.It was late last night and I didn't mean any disrespect to anyone.So if I came off that way I apologize.I do find this board to be helpful in my Quest.For economics sake I'm sure i'll end up using the Nikon mount to start with but will quickly switch over to PL.I know proper lenses are important,but I'd rather make the music in a music video be my focal point(no pun intended) instead of worrying about waitng until I had a $14k minimum matched set of lenses.BTW are the Optar illumina primes any good or should I be looking @ used Zeiss.Renting isn't really a good choice for me because of my moody experimental nature.cheers.


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