I tried it again. Final Cut Pro X, Apple’s oops of a slap in the face to professional editors and post production workers – especially those who depend on collaborative workflows. One of the basic phases of post production is audio mixing. As a former audio engineer, this is my comfort zone. In normal NLEs (non-linear editors), you can export the audio tracks, then bring them in to a DAW (a Digital Audio Workstation) for mixing and sweetening. In narrative film work, you might also re-record some dialogue (automatic dialogue replacement, or ADR), or record Foley (like footsteps and door slams). This workflow would be something like: Read More…
It seemed so simple… Just speed up some clips, creating a faux-time-lapse sequence. It would be cute, save some space.
It seemed so simple…
I am editing the DVD (and BluRay) packages for Sunnyside Environmental School’s Spring musical, Video Killed the Fairytale Star. Three performances, each shot with three cameras – plus an 8 or 16 channel ProTools audio recording. And then there is about seven hours of single-camera material from rehearsals. It is a lot of work – including trying to squeeze the best bits onto a DL DVD.
So I decided to time-compress some bits. Well, Avid Symphony and Boris BCC effects both have time-warp/velocity remapping effects – plus, there is Avid’s traditional clip speed controls. But – no good. They all work for video only.
Fine. I have ProTools HD, with a nice selection of Waves plugins (thanks, @Donny Wright at Super Digital). I’ll just time-warp (or velocity remap) the video, then change the speed of the audio to match, and voilà…
What Waves Soundshifter only goes up to 400%? Really?
OK, I’ll try going out to Premiere Pro for that bit, right? No, wrong – at least I can’t see an easy way. Probably not too hard in After Effects, but I didn’t go there.
OK, in desperation (well, really in pig-headed stubbornness) I fired up iMovie Pro (also known as Final Cut Pro X). I had to work a few things out, but in the end it was very easy to get just what I wanted. I chopped up the tape into clips that needed retiming and clips that didn’t, applied a 20x speedup, and it was done. There were only limited choices – 8x, or 20x, but nothing in between. And no keyframes, so no easing in and out or such. But a faux time lapse effect – for video and audio – with very little effort.
Bringing ProTools audio into the Avid was harder than it should have been. I exported an AAF file from Protools, but the Avid would only ingest it if I exported an AAF with embedded media, then imported into Symphony. I should have been able to export an AAF with links to the actual media, then linked with AMA into the Avid Symphony. But no matter what I tried, it kept showing up as “media offline.” Sigh… It’s only hard disk space.
I am not brave enough to try a two hour multicam show with 14 additional channels of audio in Final Cut, though. Are you?