between FCP and Soundtrack Pro
- Thread starter enrico
- Start date
CaptainMench
Carbonite Member
How hard is it?
RC - Send To - Soundtrack Pro.
Thanks
CaptM
RC - Send To - Soundtrack Pro.
Thanks
CaptM
CaptainMench
Carbonite Member
Easy Noah... I'm not fighting here.
Yes... I was pushing for a more specific question too. I appreciate the gentle nod to my experiences with FCP over the years... but let's not (especially you and me) jump to any conclusions about intent.
CaptM
Yes... I was pushing for a more specific question too. I appreciate the gentle nod to my experiences with FCP over the years... but let's not (especially you and me) jump to any conclusions about intent.
CaptM
Ok. I didn't mean to cause any confusion. I've sent my audio tracks to Soundtrack Pro, and simply want to get a look at what it can do...good basic workflow related process demonstrations.
But specifically, a question that I have concerns utilizing effective noise reduction techniques, using Soundtrack Pro 2.
And sorry for any confusion, but I have learned a ton from you guys, and heavilly appreciate being able to make films as a result. That's my intent. Thanks for being there!
But specifically, a question that I have concerns utilizing effective noise reduction techniques, using Soundtrack Pro 2.
And sorry for any confusion, but I have learned a ton from you guys, and heavilly appreciate being able to make films as a result. That's my intent. Thanks for being there!
Noiz2
Sound Ninja
STP is pretty much the same as any other DAW and the noise reduction techniques are pretty much the same also. It has some plugins that come with it that are OK but it is mostly designed for broadband noise. There are things that it or almost any other NR plugin or app work very well on and then there's the rest. It really depends on what noise your trying to clean out. Tape hiss and the likes it will probably do a very good job on. Random or evolving noises it may not be able to do anything for. The classic is a kettle coming to a boil in the background. Almost impossible to clean out because it's never the same sound. Anyway I would ask on the audio section since you will get more sound folks. To do serious clean up you are probably looking at buying some more power full tools than what comes with STP. But if you need serious work your probably much better off having a sound person work on it. NR is a complicated task to do with out doing a lot of damage and anything you do and then send to someone else wont be undoable, with out going back to the original tracks.
Sometimes we forget how much we know and what others don't when we respond. I do it all the time.
Others need a basic starting point.
http://www.kenstone.net/fcp_homepage/soundtrack_starting_dan.html
http://www.vtc.com/products/Apple-Soundtrack-Pro-tutorials.htm
Or do a search for a 7 day free coupon at lynda.com and go to:
http://movielibrary.lynda.com/html/modPage.asp?ID=84
Others need a basic starting point.
http://www.kenstone.net/fcp_homepage/soundtrack_starting_dan.html
http://www.vtc.com/products/Apple-Soundtrack-Pro-tutorials.htm
Or do a search for a 7 day free coupon at lynda.com and go to:
http://movielibrary.lynda.com/html/modPage.asp?ID=84
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Thanks for the noise reduction and workflow responses! I will look into them all.
I have had to learn all aspects of production, ground up, and from the beginning, the learning curve has been a jolting steep ride (especially cause I'm not technically savvy). But this is all possible now mainly because of the computer, and I can't pass up the chance to grow (like many others, judging from reponses to this site).
I'm a musician first, now creating a first feature film, and have done a preiliminary stereo mix in FCP, but I'm wondering about tweeking the mix further in Soundtrack Pro 2. I know this is an audio question, but due to the "conform" nature of the program, there are workflow issues between them (eg it seems some things don't translate directly, like cross dissolves?).
Is it better to remix the whole feature soundtrack this way, or only in sections that need attention, such as dealing with "noise"? For something this size (over 1 hr 1/2), is memory drain gonna slow down the flow (I"m using a dual 2.3 GHz PowerPC G5, 2.5 GB SDRAM)?
Does the FCP project have to be up when I click conform?
There are many other details and unforeseen questions I could ask, but in the end, it would be more economical to see someone do it right the first time. So, if anyone else has come across some free, cool mixdown video tutorials with FCP and Soundtrack Pro 2, it'd be heavilly appreciated. As always.
enrico
I have had to learn all aspects of production, ground up, and from the beginning, the learning curve has been a jolting steep ride (especially cause I'm not technically savvy). But this is all possible now mainly because of the computer, and I can't pass up the chance to grow (like many others, judging from reponses to this site).
I'm a musician first, now creating a first feature film, and have done a preiliminary stereo mix in FCP, but I'm wondering about tweeking the mix further in Soundtrack Pro 2. I know this is an audio question, but due to the "conform" nature of the program, there are workflow issues between them (eg it seems some things don't translate directly, like cross dissolves?).
Is it better to remix the whole feature soundtrack this way, or only in sections that need attention, such as dealing with "noise"? For something this size (over 1 hr 1/2), is memory drain gonna slow down the flow (I"m using a dual 2.3 GHz PowerPC G5, 2.5 GB SDRAM)?
Does the FCP project have to be up when I click conform?
There are many other details and unforeseen questions I could ask, but in the end, it would be more economical to see someone do it right the first time. So, if anyone else has come across some free, cool mixdown video tutorials with FCP and Soundtrack Pro 2, it'd be heavilly appreciated. As always.
enrico
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Noiz2
Sound Ninja
I will first say something that Apple and other software makers would rather you not hear, because it's counter to their marketing. Film is a TEAM sport. Your a musician, think of it like a band. You don't want to be a one man band, you know the guy with the bass drum and the cymbals between his knees. He looks funny and he doesn't make very good music. You want to have a team.
OK to your question. If you want to conform STP to your FCP project you only have one work flow. You send from FCP to STP. from then on THAT FCP project and the sent STP project are joined at the hip. You can mix and match and there isn't any back and forth to speak of. You can't send part of the project and you cant start the STP project independent of the sent FCP project And you can't have multiple FCP projects unless they are copies of the original sent project. If you break the rules you you break the link and you wont be able to conform. The conform works pretty well but you have to maintain the link and there is no way to re-link once you break the link. You don't need FCP open to do a conform.
You can and should work on small parts in STP, but you can't send a bit and send a bit later. Well actually you probably could since it would treat it like a conform, but I wouldn't. The link between FCP and STP is a bit fragile and the way it works is very different from traditional conform tools. The up side is that in theory it can do a much more intelligent conform, the down side is it is very strict about workflow, and it only works FCP to STP. So if you wanted to say do some editing in ProTools or Nuendo your out of luck. You can send to those apps but your ability to conform with Apples tool is gone.
THere are probably some tutorials but I sort of doubt that there are free ones out there. I would try to find an editor in your area and get them to give you some lessons, or poss a Junior College class, if there is one.
But keep thinking "team sport" or band. Get some player on your team, it will be much more fun.
OK to your question. If you want to conform STP to your FCP project you only have one work flow. You send from FCP to STP. from then on THAT FCP project and the sent STP project are joined at the hip. You can mix and match and there isn't any back and forth to speak of. You can't send part of the project and you cant start the STP project independent of the sent FCP project And you can't have multiple FCP projects unless they are copies of the original sent project. If you break the rules you you break the link and you wont be able to conform. The conform works pretty well but you have to maintain the link and there is no way to re-link once you break the link. You don't need FCP open to do a conform.
You can and should work on small parts in STP, but you can't send a bit and send a bit later. Well actually you probably could since it would treat it like a conform, but I wouldn't. The link between FCP and STP is a bit fragile and the way it works is very different from traditional conform tools. The up side is that in theory it can do a much more intelligent conform, the down side is it is very strict about workflow, and it only works FCP to STP. So if you wanted to say do some editing in ProTools or Nuendo your out of luck. You can send to those apps but your ability to conform with Apples tool is gone.
THere are probably some tutorials but I sort of doubt that there are free ones out there. I would try to find an editor in your area and get them to give you some lessons, or poss a Junior College class, if there is one.
But keep thinking "team sport" or band. Get some player on your team, it will be much more fun.
Thank you again for your responses!
Does that mean that due to the "conform," the picture has to be pretty well locked at this point? It's wonderful to be able to sweeten the whole soundtrack with all that Sdtrk Pro 2 can do, but first I noticed that the transferred mix from FCP was a little different in Sdtrk Pro 2, ex. cross fades didn't transfer (what about audio effects in FCP, or anything else?), and in sections, the mix has a different sound than the original in FCP. Maybe I've done something wrong there, but is there a way to ensure that the whole mix arrives in Strk Pro 2 exactly like the original?
Outside of working on "noise" cleanup, the biggest challenge is changing L and R track pan settings throughout the film (using many audio tacks). Would it better to do that first in FCP with keyframe pan automation (which I don't know/haven't done), or is that a "mix and match" situation?
When you said, "you can't send a bit and send a bit later. Well actually you probably could since it would treat it like a conform, but I wouldn't."...are you suggesting I do the whole (1hr 40min) mix in one sitting? If I am doing it in one sitting, should I "conform" regularly, or pretty much at the end, but just saving alot? Since this mix is at the end of my long film process, I want to be careful not to upset any carts between the FCP/STP dialogue...leader of the band is FCP.
If i'm not mistaken, I heard you can get a 1 year's worth of weekly individual Apple software training for about $100 (here). Hard to believe, but I'm going to audition that notion.
Thanks for your feedback. It means alot right now.
Does that mean that due to the "conform," the picture has to be pretty well locked at this point? It's wonderful to be able to sweeten the whole soundtrack with all that Sdtrk Pro 2 can do, but first I noticed that the transferred mix from FCP was a little different in Sdtrk Pro 2, ex. cross fades didn't transfer (what about audio effects in FCP, or anything else?), and in sections, the mix has a different sound than the original in FCP. Maybe I've done something wrong there, but is there a way to ensure that the whole mix arrives in Strk Pro 2 exactly like the original?
Outside of working on "noise" cleanup, the biggest challenge is changing L and R track pan settings throughout the film (using many audio tacks). Would it better to do that first in FCP with keyframe pan automation (which I don't know/haven't done), or is that a "mix and match" situation?
When you said, "you can't send a bit and send a bit later. Well actually you probably could since it would treat it like a conform, but I wouldn't."...are you suggesting I do the whole (1hr 40min) mix in one sitting? If I am doing it in one sitting, should I "conform" regularly, or pretty much at the end, but just saving alot? Since this mix is at the end of my long film process, I want to be careful not to upset any carts between the FCP/STP dialogue...leader of the band is FCP.
If i'm not mistaken, I heard you can get a 1 year's worth of weekly individual Apple software training for about $100 (here). Hard to believe, but I'm going to audition that notion.
Thanks for your feedback. It means alot right now.
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