I am in the process of jumping over to a Final Cut solution after spending far too long editing with Premiere and all its bugs and system crashes.
I have just about finalised the system I am going to purchase (Dual Quad 2.8, 10GB of RAM, 4TB SAS hard drive array at 450 mbs, AJA LHe and a HD-SDI monitor) but would like to know what kind of audio monitoring set-ups people use with their systems for broadcast work.
I generally do a lot of corporate stuff but I have slowly started to get a little bit of work in broadcast (such as some commercials and even a 5-episode series on a cable variety channel; something I am quite proud of considering I live in the world's most isolated city, Perth Australia). I only expect my broadcast work to grow so would consider accurate audio production very important to my workflow.
I realise the Kona card handles all the output issues I should require, so I imagine I should need info on mixers and pro monitoring speakers. But please, if anybody thinks I am missing a big piece of the puzzle out then let me know.
Tim.
P.S. I realise that this is the Final Cut Pro forum (and not an audio forum) but I found that the audio professional forum seemed to be more about workflow, codec and software issues rather than system setups for video editing in mind. Even doing a simple search on "audio monitoring" revealed little info.
Re: Audio monitoring setup for Final Cut systems by Rory Brennan on Apr 16, 2008 at 3:02:08 pm
Timothy,
Could be worse, you could live in Broome.
If you get the Break Out Box for the AJA LHe (Very cost effective) then your nearly there. We use Mackie mixers which suit us well for studio monitoring (they come in a variety of sizes too), and the Mackie speakers are good too. Just a simple 2 speaker setup.
Of course this is just for audio monitoring plus a bit of analog in/out work, but almost everything else is digital workflow.
Although they seem inexpenive and I have persoanlly not auditioned them, Blue Sky does have a good reputation. I really like the idea that this setup has a desktop volume control, thus alleviating the need for a mixer, which frankly is nothing more than an expenive way to raise and lower volume in an NLE bay.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles
POST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW's Business & Marketing, and Indie Film & Documentary forums.
Re: Audio monitoring setup for Final Cut systems by adam taylor on Apr 17, 2008 at 9:24:12 am
If you are doing any kind of broadcast work, then i suggest you also invest in a good outboard audio meter. I use dual PPM meters to ensure that everything i do is within the strict parameters laid down by the broadcasters.
As for monitoring, I take the audio output from the Kona breakout box, using distribution amps to split the signal I send the audio to both the studio monitors and the digibeta deck.
I use Mackies Big Knob as a monitor volume control (its basically a mixers monitor control section), and then feed the signal into a pair of PMC DB1SA monitors (www.pmcloudspeaker.com)....cost about £1000 but are about as accurate a sound as i have ever heard. I tested a huge range before settling on these and i have not regretted it for an instant.
Think carefully about whether you really need a mixer. Many people install them because they have seen them in other suites, but the reality is they only ever get used as a volume control. If you are switching between a myriad of analogue sources, then you probably need one. If you just use digital sources, then you shouldn't really need to play around with the levels during the ingest/output phases of your process.
Re: Audio monitoring setup for Final Cut systems by Timothy Eng on Apr 17, 2008 at 2:46:26 pm
Hi Guys,
Thanks for your advice. I have gone and ordered some Mackie Tapco S5 speakers which I will use with an existing 12 channel audio mixer that I already have (One I purchased for event recording).
Adam makes a very good point about using an audio meter for correct levels. I guess I am going to have to do a bit more research on it to make sure I'm not going to incur the wrath of the broadcasters.
By the way very funny Rory, Broome. I'm still chuckling about that one. Talk about going from isolated to positively marooned!
Re: Audio monitoring setup for Final Cut systems by adam taylor on Apr 17, 2008 at 3:09:17 pm
The Tapcos are not a bad choice, Tim. I actually bought myself a pair for my own home setup (where budget has to be a little more restrained.
I find that i do all my final mixes in Pro Tools before exporting them audio as interleaved stereo files and dropping them back onto the video. For me, FCP is just not up to the task of doing a decent audio dub.
This also means i can use a decent software limiter to prevent those levels from peaking. I use the Waves L2 Ultramaximiser with the threshold settings just a couple of db lower than the allowed limit. With this on the master fader track, and the hardware meters as a confirmation check, i can be confident the audio will be legal. I have not had a single rejection in the 18 months (several hundred commercials) I have been working this way.
