Audio effects process from top to bottom in Final Cut Pro X
When adding effects to audio clips in Final Cut Pro X (or Motion), the order in which those effects are applied makes a difference. Here’s what you need to know.
Audio effects are processed from the top of the Inspector to the bottom. (See screen shot.)
The first effect to apply – if you need it – is noise reduction. Get rid of what you don’t want before you start shaping the sounds you do. Remember, your goal is to reduce noise, not eliminate it. If you want it gone, re-record in a studio.
NOTE: Noise reduction can often degrade the spoken voice. By processing noise first, you can then use effects farther down the “stack” to try to replace what noise reduction took away. This is why we reduce, not remove, noise.
Next, add any EQ or special effects you need to shape the sounds the way you want. You can add any reasonable number of filters here. You can always change the stacking order by dragging the name of the clip up or down.
Finally, at the bottom and ALWAYS last, apply either a compression or limiter filter. This makes sure that audio levels don’t exceed the level you specify. In Final Cut, I prefer to use Audio > Levels > Logic > Limiter.
NOTE: I should also mention that you don’t apply both a compression filter AND a limiter filter to the same track. Pick one or the other.
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2020-11-16 01:30:002020-11-21 10:05:27Tip #1149: Audio Effects Stacking Order is Important
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2020-11-16 01:30:002020-11-16 01:30:00Tip #1172: Apple Updates Final Cut Pro X, et al.
The showrunner is the lead producer of a show from concept to marketing.
This article, written by Jourdan Aldredge, first appeared in PremiumBeat.com. This is a summary.
Take a look at the day-to-day of the all-important television or streaming program showrunner. What can you can learn from this multifaceted role? The show-runner is the lead producer on a film or video project who oversees every element of the project’s creation, from the initial pitch to the final edits and marketing.
Jourdan divides the roles of a showrunner into five categories — development, pre-production, production, post-production, and marketing. Let’s take a look at each.
Development: While not always the case, more often than not a showrunner is the one who comes up with the initial idea or inspiration for a program and begins the process of pitching it around and fleshing it out. Whether it’s to Hollywood producers, studio heads, or local television, the showrunner spends months — if not years — in development just trying to get the concept green-lit.
Pre-Production: Once the project is tapped to move forward, the showrunner begins to put together a core crew — including writers, director(s), cast and crew, and a group of fellow producers that will oversee everything from budgets to contracts to scripts and shooting schedules.
Production: Again, not every showrunner’s role will be the same. Some might be more hands off on the actual production, but there are plenty of examples of showrunners who also serve as directors or remain close to the day to day of production. With so much invested already, a showrunner makes sure production goes as smoothly — and correctly — as possible.
Post-Production: Depending on how a program is being shot and released, the post-production process could overlap with production. This requires a steady hand, as the showrunner guides individual episodes along toward broadcast/release while still keeping an eye on the rest of the season. Additionally, a showrunner’s post-production duties involve managing specialists like narrative editors and color experts while keeping tabs on things like sound design and graphics/VFX.
Marketing: Finally, the role of a showrunner doesn’t end once a program goes live. Instead, it takes on a new life of its own, as a showrunner would be highly invested in making sure the program is favorably reviewed and heavily marketed in order to finds its audience. From viral campaigns to television spots, a showrunner would work with their marketing team to do everything they can to help their show take off.
The article, linked above has several videos with showrunners talking about their work, as well as a variety of links that go deeper into this subject.
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2020-10-23 01:30:002020-10-23 01:30:00Tip #1100: What is a Showrunner?
MotionArray bundles all their services and prices it for team use.
In an email, the team at MotionArray announced the launch of Team Plans to provide better account options for groups of two or more editors needing access to the same MotionArray resources. The primary feature is all team accounts can now download unlimited assets and manage their licenses in one place!
NOTE: MotionArray describes itself as: “The all-in-one video & filmmakers platform. Take projects from concept to completion with unlimited asset downloads, exclusive plugins, video collaboration and review tools, and a portfolio website builder…all in one membership.”
Key features include
Easily Add & Manage Team Members
Manage All Your Stock Assets & Licenses In One Place
By default, sequences are edited as nests – but you can change that with a click.
I’ve been using Premiere for years and have never paid attention to this blue timeline button. Here’s what it does.
When this button is blue, inserting or overwriting a sequence from the Files panel into a different sequence in the Timeline edits it as a nest.
When this button is white, inserting or overwriting a sequence from the Files panel into a different sequence in the Timeline edits it as a separate clips. (That is, it deconstructs the sequence into its component elements.)
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2020-10-06 01:30:002020-10-03 14:07:51Tip #1057: What Does this Blue Button Do?
These two utilities are essential for moving files into or out of Final Cut
As long as you can create XML, you can move your data from one media application to another. However, the XML Final Cut Pro X uses is not compatible with many other applications. While some applications – KeyFlow Pro, Kyno and Axle.ai – support the current version of XML used in Final Cut Pro, most others, including Adobe’s Creative Cloud suite, do not.
Because XML is a core language for moving data between applications, there are two essential utilities that solve this compatibility issue:
SendToX. This converts older XML files into a form that FCP X can read.
XtoCC. This converts FCP X XML files into a form that older applications can read.
As with any migration, common elements – such as media and edits – transfer with no problems. However, proprietary functions – such as color grading or effects – may or may not transfer successfully.
As with all things in media, do a test using your own workflow to determine what works best for you.
These six steps keep the chaos at bay while editing interviews.
This article, written by Joe Frederick, first appeared in PremiumBeat.com. This is a summary.
Editors on interview projects face an overwhelming task: reducing hours of footage into just minutes for the final cut. Eliminate that stress with these six steps.
1. Transcription. Getting your interviews transcribed is the best piece of advice I have for anyone cutting these types of videos. There are many, many advantages to getting your interviews transcribed. If the director suddenly wants to find a particular soundbite from a particular interview, you can easily search the transcription for particular key words or phrases. You can also skim through the interviews when away from the edit suite. The benefits are endless.
Before the transcription, it’s worth forming your multicam clips first, if you’ve filmed from multiple angles, so you can drag the multicam clip into your timeline and export the audio from there. That way, the timecode on your transcription will match the timecode of your interview timeline. This is vital if you want to keep your process efficient.
2. Highlighting. Read all the transcripts from beginning to end, highlighting anything and everything that might possibly be used in the edit. I usually open the PDFs in Preview, which allows you to use different colors when highlighting.
3. Create “Good Content.” Back in your NLE, go through all your interviews, cutting out any of your highlighted segments from each interview into a new project/sequence. Essentially you are building an unorganized selects reel. Put a text slide before each clip with the content of the sound bite. By now, you should have a sense of the organizational structure you are aiming for.
4. Create “Good Content Ordered.” Rearrange the selected sound bites into an order that makes sense.
5. Create “Content Cut.” Duplicate your project and rename it “Content Cut.” Because your footage is now in order, you’ll be able to see when you have repetition in what’s being said and can quickly delete it. Then, get busy deleting and whittling down your cut until it’s the length you want your final piece to be.
6. Create “Refined Content Cut.” Duplicate your project file once again and rename it Refined Content Cut. This is where the final finessing takes place.
By taking your project in stages, it helps you feel more in control which allows you to focus more on your story.
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