Best Soft Synth for Film Score...

What's the best Soft Synth for Film Scoring. Not the Orchrestral stuff but the more contemporary stuff that you hear in the top TV shows etc. Thanks
MacBook Pro 17" 2.33 Core 2 Duo Mac OS X (10.4.9) LogicPro 7.2.3

Linplug Albino 2 and 3 is probably the best bread'n'butter preset synth there is. If you're not happy with the Rob Papen presets that's included you should definetly check out some of the extra presets that Linplug sells on their site.
Atmosphere is wonderful aswell, but seeing as it's samplebased Albino will dance circles around it in terms of routing and sound possibilities.
Albino 3 is rather heavy on the cpu though (probably uses atleast 2x oversampling), so I usually go for ver2 atleast until I've upgraded my Logic computer.

Similar Messages

Soft Synths for Electronica

I'm interested in expanding my sounds for trance/electronica/whatever and I was wondering what soft synths you guys have and would recommend?
I have Crystal and the Remix jam pack. I'm not necessarily interested in loops but mainly software instruments. Thanks.

More or less, yeah. It comes with a huge suite. You can download the plugin reference but it does come with tons of synths, 1000s of programs, samples, it's immense. It may not be everything but as a $700 upgrade for your DAW and synths it's worth it. The probably the best value upgrade you could make IMO. It's not at all short on stock library presets or functionality.
As far as what to avoid, there are alot your computer won't like very well because most 3rd party products use alot of CPU. Some of the cross platform synths aren't well ported for OS X. As far as sound or programming wise, that's fairly subjective. I really like control, maybe why I like Reaktor so much? But it is a CPU killer (cubed).
Cheers

Extracting parts for film score

I am scoring a film, and I need to record live strings over my sampled strings.
I have quantized most of the score, but when I was working with the director and editor, I had to sometimes manually slide the in-point of the cue to line up with a specific frame or spot. When this happens, I often fall off the beat- meaning, that when I am in the matrix edit window, the first note may appear between two 16th notes, or something like that. Is there any way to adjust the arrange/matrix window to have the first beat land exactly where my cue begins so when I extract parts, they will land on a down beat? Otherwise, my part is going to be all over the place. Hopefully this makes sense…
Best,
Adam

Hi Adam ... how about this for a solution:
1 - create a new document for the cue that needs to shift. Save your document as "Cue Experiment" or something..
2 - set your left locator at the very beginning of the document - bar 1 or OO.00 -
3 - Set the right locator at the very beat that you want to become the downbeat (select the note, go to it with SPL and then set right locator by Song Position Line. making sure you zoom in very big because you are making such a small change
4 - Select all then go to the Menu: Region>Cut/Insert Time>Snip: Cut time and move by locators ... this will shave off a fraction of the time and could move the whole cue forward onto the right beat.
This may or may not do the trick but I am sure the film scorers on the Forum will surely come up with the right answer

Score Editor: best key commands for attaching symbols?

Does anyone have suggestions for the best keys or a logical system of what Key Commands to use for attaching Score symbols.. especially these below?
[IMG]http://i364.photobucket.com/albums/oo82/dogliege/ScoreEditorKC.jpg[/IMG]

well personally i use KCs that most closely resemble the articualtion.
eg (and very obviously) a stoccato is a full stop. ( . )
my accent varieties are on the key § which is next to one and i use mofidiers to get the other sorts.
i use apple brackets for crescendo descrescendo and brackets by themselves for slurs.
stuff like that. i guess i try to have the most commonly used KC as single stroke, and then for varieties add modifiers.

What is the best soft wear update for a mac desktop with   System Version:     Mac OS X 10.5.8

What is the best soft wear update for a mac desktop with   System Version:
Mac OS X 10.5.8

It will depend on the actual model you have.
Upgrade Paths to Snow Leopard, Lion, Mountain Lion, or Mavericks
You can upgrade to Mountain Lion or Mavericks from Lion or directly from Snow Leopard. Mountain Lion can be downloaded from the Mac App Store for $19.99 while Mavericks is free. To access the App Store you must have Snow Leopard 10.6.6 or later installed.
Upgrading to Snow Leopard
You can purchase Snow Leopard through the Apple Store: Mac OS X 10.6 Snow Leopard — Apple Store (U.S.). The price is $19.99 plus tax. You will be sent physical media by mail after placing your order.
After you install Snow Leopard you will have to download and install the Mac OS X 10.6.8 Update Combo v1.1 to update Snow Leopard to 10.6.8 and give you access to the App Store. Access to the App Store enables you to download Mountain Lion if your computer meets the requirements.
     Snow Leopard General Requirements
       1. Mac computer with an Intel processor
       2. 1GB of memory
       3. 5GB of available disk space
       4. DVD drive for installation
       5. Some features require a compatible Internet service provider;
           fees may apply.
       6. Some features require Apple’s iCloud services; fees and
           terms apply.
Upgrading to Lion
If your computer does not meet the requirements to install Mountain Lion, it may still meet the requirements to install Lion.
You can purchase Lion by contacting Customer Service: Contacting Apple for support and service — this includes international calling numbers. The cost is $19.99 (as it was before) plus tax. It's a download. You will get an email containing a redemption code that you then use at the Mac App Store to download Lion. Save a copy of that installer to your Downloads folder because the installer deletes itself at the end of the installation.
     Lion System Requirements
       1. Mac computer with an Intel Core 2 Duo, Core i3, Core i5, Core i7,
           or Xeon processor
       2. 2GB of memory
       3. OS X v10.6.6 or later (v10.6.8 recommended)
       4. 7GB of available space
       5. Some features require an Apple ID; terms apply.
Upgrading to Mountain Lion or Mavericks
To upgrade to Mountain Lion or Mavericks you must have Snow Leopard 10.6.8 or Lion installed. Purchase and download Mountain Lion or Mavericks (Free) from the App Store. Sign in using your Apple ID. Mountain Lion is $19.99 plus tax. The file is quite large, over 5 GBs, so allow some time to download. It would be preferable to use Ethernet because it is nearly four times faster than wireless.
     OS X Mountain Lion — System Requirements
     OS X Mavericks- System Requirements
       Macs that can be upgraded to OS X Mountain Lion
         1. iMac (Mid 2007 or newer) — Model Identifier 7,1 or later
         2. MacBook (Late 2008 Aluminum, or Early 2009 or newer) —
             Model Identifier 5,1 or later
         3. MacBook Pro (Mid/Late 2007 or newer) — Model Identifier 3,1 or later
         4. MacBook Air (Late 2008 or newer) — Model Identifier 2,1 or later
         5. Mac mini (Early 2009 or newer) — Model Identifier 3,1 or later
         6. Mac Pro (Early 2008 or newer) — Model Identifier 3,1 or later
         7. Xserve (Early 2009) — Model Identifier 3,1 or later
To find the model identifier open System Profiler in the Utilities folder. It's displayed in the panel on the right.
Are my applications compatible?
         See App Compatibility Table — RoaringApps.

Best settings for film based 25fps PAL to Progressive 23.98fps NTSC?

I'm trying to get the best possible results for transcoding film-based 25fps PAL to 23.98 progressive NTSC. However, I'd also like to add back in the 4% slowdown to make the NTSC file look as close to an NTSC derived film transfer as possible.
I've tried various settings, but when I attempt the slow down the audio goes out of synch. Can anybody help? Are there any reference guides for such things?

Well it must be 24 over 29.97 then because it is working with it. I have been able to create timelines and export quicktime movies, etc. The item properties (in FCE Browser) of the clips definitely say 23.98fps-- as I would expect because I know I had the camera set to 24p. However, the frame rate of the sequences i've been editing on say 29.97. This is without me having made any conscious effort to manipulate any settings for the sequences at the outset-- I didn't even know the sequences had settings for this when i started. I just began dragging and dropping footage out of the browser and it must have automatically set the sequence to 29.97. Who knows what I had the Easy Set up set to when i brought the footage over from my camera two years ago. I knew even less then. Are the settings on Easy Set up critical when bringing the footage onto your computer from your camera? What processes are the Easy set up settings governing?
Even with all of that said, you would recommend burning the DVD as an NTSC? An NTSC in a new PAL DVD player will look better than an NTSC burned as a PAL? I suppose I could send them both versions and see which one looks better.
Thanks for you help Tom.
P.S.
On the true 24p issue, I did find this:
There are many posts out there about the Canon XH A1 not having "true 24p".
I think much of that misinformation out there maybe stemmed from (correct me if I'm wrong):
Canon Frame Mode on the standard DV cams was a "simulation: of the 24 frame look.
The Canon HDV 24p actually records each single frame progressively, but using an interlaced method.

What is the best Internet security soft wear for mac

What is the best Internet security soft wear for mac

Cameron897 wrote:
What is the best Internet security soft wear for mac
As others have already said, you already have it. Here are some details, depending on what version of OS X you are using:
Mac OS X Snow Leopard and malware detection
OS X Lion- Protect your Mac from malware
OS X Mountain Lion- Protect your Mac from malware
About file quarantine in OS X

Best settings for film based PAL to MPEG2?

There's a fair amount of useful information online regarding the best settings for film based NTSC footage export etc but I'm unable to find anything regarding the best Compressor settings for the export of MPEG2 from PAL video from a 25 frames per second film sourced master.
Can anybody help?

Okay, so after reading heaps of stuff on interlacing and progressive, my head is hurting. Since my 1080i50 Pal footage captures into Final cut interlaced and setting field dominance to NONE doesn't do much, I realise I need to de-interlace in an another application. Ken Stone has a great example of what to do in compressor though I dont have the current version (3) and am not sure how to reinterpret this for Compressor 2. I had a go without much luck. I am in the process of trying to use MPEG Streamclip to deinterlace and trying getting the right settings. Will see how that goes. I also have tried using JES deinterlacer but also wasnt sure about settings etc with this application either.
Which is the best to use and what settings should I set. I wish to use my footage for watching on our macs primarily and also from our mac server which is hooked up to our hdtv. I can then convert to other formats for iphones and web etc. But my main problem is this interlacing issue. I have a nice new HDV camera but it certainly isnt looking too much better atm than my old dv footage.
PLEASE help!

Using one controller for two Soft Synths

Hey guys,
Does anyone know how to use one MIDI controller to play two soft synths? In particular, I would like to use the bottom half of the controller's range to play one instrument, and the top half to control another. Any suggestions?
Thanks!

Sounds easy enough. All you need to do is split your controller, and send each range of keys to a separate MIDI channel. Then, set each of the sounds you want to control to only receive MIDI from that channel and record enable both tracks.
I think there's a way to set this up in the environment too.

Setting up arpeggiator for soft synth...

Does anyone know how to set up an arpeggiator to trigger a soft synth. I am a bit baffled by this.
Thanks so much,
Mike

Disregard. I figured it out. I was having issues finding my answer in the backlog of topics.

Recording Stand-alone Soft Synths & Virtual Instruments in Audition 3

Hi People,
Have a little problem which I'm struggling to figure out.
I have been using Cool Edit Pro for several years. My set up has always enabled me to record any standalone Software Synths via my sound card. I have always had it set up so my sound card plays through patch one and records through another patch enabling me to record in the multi track editor with no problems at all and my set up records only the soft synth/instrument, and not any waves previously recoded. Instead just plays them back so I can build up my music and play along at any given time. Although this is a rather different approach to doing things, it suites me down to the ground and I'm happy to create this way
My problem has come upon whilst trying out the new Adobe Audition 3, which is based around ASIO Drivers. Because of this I can no longer run another program (Stand alone soft synth), because Adobe hogs the ASIO driver and will not allow another program to be run at the same time. I can use the Adobe windows driver for audition no problems and I am able to continue recording how I did with Cool Edit, but I would much prefer to go along with auditions ASIO drivers to make sure I am recording with the best quality and reliability.
My Sound card is an E-MU 1616 with breakout box. I have tried numerous ways with the patch mixer to get around this, for example I have tried using my sound cards driver for audition and ASIO4ALL2 for my soft synths. One of which is Hypersonic 2, and the other being SampleTank. I cannot for the life of me get my set up and running how it was with cool edit.
I must admit that although I have played around with my settings, it could be something simple I need to do that just hasn't jumped out at me yet. My evaluation of Audition 3 runs out in 20 days and I'm almost sure that there is a way to enable my set up to work how I want it to before I can go out and buy Audition 3. I'm very comfortable with audition 3, naturally. I love the changes and extra features it has now along from the cool edit days.
I have looked into other solutions as well after scouring message boards, one of which was Cycling 74 Soundflower, this sounded like it could be an answer but unfortunately it is Mac only. If Adobe did Audition for Mac then I wouldn't hesitate in going down that route...
My other solution is to have a second computer, either a modified mid range P C, or even a Mac, to act as my synth station and have my various software synths and such running on there and playing out to my recording PC with Audition on. This would free up the ASIO to be used by Audition solely. It's a long way around but wouldn't cost the earth and would be a simple enough idea to set up. But surly, I shouldn't need to go this far out to get my ideal setup.
Anyhow, I would much appreciate any advice and ideas to help me solve this problem; I will keep working at it in the mean time.
Hope my explanation makes sense above, I can appreciate that there are other ways like just going along with another program and such, but in all honesty I like the way I work and don't really want to move on, I'm more bothered about just getting on and recording new ideas in the environment I'm so use to. I love the way Cool Edit/Audition works for me and I have developed my own methods with the software over the years. Working with just audio suits me to the ground as I record and chop up my own Guitar bass and drums, along with sounds from my field recorder and a host of other methods and ideas.
Thanks in advance

Hi!
As long as your softsynths comes in the VSTi format (most of them do now), you can insert it on a track in Audition, which has 'host' capabilities from V3.
In the Multitrack, insert a new MIDI track from the 'Insert' menu (note: MIDI Track, not just 'MIDI').
On that track pane hit the 'Sequencer' button, and it will open in a separate window. In the pane left of the keyboard you can insert your VSTi of choice, and make your MIDI connections.
Back on the Main track pane, engage the 'L' button for Live monitoring. Actual recording (of MIDI) is done in the Sequencer window.
The usual, and recommended workflow is to keep the MIDI tracks 'open', i.e. you can edit the sound in your instrument and even the notes played at any time in the process, compiling the actual audio as the last step in the mixing.
If you kind of 'insist' on doing it the old way, you can export the audio from your recorded MIDI+VSTi creations track by track like this: Leave the Sequencer window open, make a selection in the multitrack that covers the time span you have played. Solo the track (will mute all others), and use File / Export Audio Mixdown. Use 'Master' as the source. This will give you a wave rendering of what's currently in the MIDI sequencer. Qualitywise this is better since it's all internal and digital instead of in/out of soundcards with DA/AD conversion etc.
I haven't found a method for a 'live' wave recording while you play, but there may be one...
If you purchase Audition it comes with Help files explaining this in more/better detail. ;)

Best lens/settings for outdoor shots (high contrast) with 6D?

I have a 6D I'm just getting started with. When I get a perfect shot (perfect lighting, color saturation, depth of field, etc), I LOVE it! The trouble is, I'm not getting enough of them. Not capturing what my eye sees with good repeatablilty. I have the following lenses for it: The 70-300mm zoom that came with it; a 24-105mm; a 17-40mm ultra wide angle; and a 50mm 1.4 fixed (dumb impulse purchase that I haven't found too useful). I am planning a trip to our tulip festival, and there will be loads of colors and likely high contrast as it will be a mostly sunny day with some clouds. PERFECT, right? Except I find that many times, particularly on my full auto settings, I am not getting the exposures I want! The photos often turn out kinda washed out, without the full saturation I want. And sadly, I'm just not able to compensate for that with the photo editing software I have. As I said, I'm just a beginner and don't want to lug around a manual with me to read while trying to get a good shot, so...anyone have any quick and dirty advice for which of my lenses will be the best to use for distance vs closeup of the flowers, and what settings to use with it? Full auto vs A, AV, or full manual? And if I use full manual, what priority do I want to get the best saturation? Urgh, I hope this isn't too crazy wide-open of a question to be able to get good helpful responses, it's hard to know what to ask. I just want to get some really good, color-rich, good depth and texture photos without a lot of thinking, lol. Thanks! PS-- I'm thinking of selling my 50mm and maybe one of my other ones to get a different one with better ranges. Any suggestions? I tend to do a lot of wildlife and landscapes, if that's any help, and find sometimes that the 300mm doesn't cut it.
Thanks again!

FIrst of all, it takes time to learn how to use a complex camera system well, so don't beat up on yourself a lot or give up on the gear you already have too quickly. Keep taking lots of photos, analyzing them and how you might have made them better. All cameras and lenses have their ideal uses and limits, it's just a matter of learning them and there's no substitute for experience. Get the book "Understanding Exposure" by Bryan Peterson and read it, study it, learn it. That's the best single book every semi-serious to serious photographer who wants to improve their skills should read.... Might turn out to be the best $18 you ever spend on your photography.
The various exposure modes each have their uses. I see some people suggest using M (manual) only... but that's slower and limiting and there are times it will prevent you from "getting the shot". Av (aperture priority), Tv (shutter priority) and even P (program) all have their uses. I like to set my camera to M and forget it, but that's really only possible when lighting is very steady and consistent or I have time to carefully set up each shot.
Much of the time I have to use Av or Tv because of variable lighting conditions. This can be because of intermittent clouds changing the intensity of light itself, or because I'm trying to capture shots of a subject that's moving in and out of different lighting. I tend to use Program when I just need a quick shot in different light than I've been working, and don't have time to calculate my exposure and am not very concerned about depth of field (aperture) or freezing or blurring subject movement (shutter speed). All three of these auto exposure modes (as Canon calls them) require experience with and knowledge of how subject tonality effects the camera's reflective metering system and how to use Exposure Compensation to correct for it.
There's a "tool" built right into your camera that can help you learn about the exposure controls and how your choices with them effect your images.... On the top dial there's a "CA" setting, which is a great learning tool that will give you feedback on the LCD screen about your settings. This might take the place of carrying around the manual and consulting it before each shot. Try it!
Personally I don't use the "SCN" or "Green Box/A+" modes, both of which are super auto exposure... That dictate a lot more camera settings than just exposure. These also limit focus modes, file types, color rendition, and more. Av, Tv, P are plenty of automation for me.
A lot of your questions seem to be about lighting. If you ever watch a movie being shot or a pro making still portraits or macro shots, you are likely to see them using some sort of light modifiers.... reflectors to "bounce" more light onto a subject, fill flash to open up shadows, flags to block light, diffusers to reduce contrast and more. Monte Zucker was a master portrait photographer who specialized in available light (no flash) and made use of what he found on location and modifiers such as these... even invented a few of them. These are tools that you might use, or you can learn to look for similarly "ideal" lighting that's naturally occuring and will give you the effects you want. For example, if shooting close-ups and macro shots of flowers, insects and such, I often look for light shade to work in... or pray for a moderately overcast day (all too rare here in Calif.). Same can be done with portraits and many other types of photography.
To get great color in your images, you should get set up for and learn to do a Custom White Balance. This will insure optimal color in a wide variety of situations. Auto White Balance is very usable, especially in full sun. However, shade or indoors/artificial lighting comes in a wide spectrum of colors and can challenge AWB, or you might prefer it be rendered differently than the auto mode will do. There are a bunch of "preset" White Balance you might use - flash, tungsten, shade, etc. - but setting a Custom WB can very often give more accurate results. There are WB targets (usually white or neutral gray) that can be used to quickly set up a Custom WB simply by taking a test shot and telling the camera "this is what you should use" to set WB. There are even "warm cards", which are lightly tinted to cause slight bias toward a little warmer looking image, or in some cases cooler.
Shooting digitally, a lot of what you want to do can be, or might would even be better accomplished in post-processing..., i.e. at your computer at home. Today with digital photography we all are essentially our own "photo labs", too. More to learn, I'm afraid. There are various image editing and optimization softwares, as well as very helpful things like graphics quality computer monitors and calibration devices. It's hard to take your images to their "best" without some additional "development" at your computer. Shoot RAW for the maximum ability to make adjusments to your images in post-processing. This includes the ability to change White Balance quite freely. But a RAW file is sort of like a negative from the days of film... taking the shot is just the first step, the post-processing is necessary and an important part of creating the final image. (Note: Shooting RAW + JPEG is a good learning tool.... once you can make finished images from your RAW files that are better than JPEGs it's producing itself, you can stop shooting JPEGs at all.)
Sorry, but you aren't going to be able to do this "without a lot of thinking"
However, over time you will find that working with your camera and lenses... as well as everything else that's part of the process... becomes easier and eventually a lot of it will be second-nature. You'll need to do a lot of practice and study at first... and may feel overwhelmed at times. But gradually and eventually you'll realize that you know exactly what to do to get the images you want in many different situations. Don't be too quick to change or add more gear, because that just means starting some of the learning process over again.
With respect to wildlife photography, yes a 300mm lens on a 6D may not be enough reach a lot of the time. You have several possible solutions: get a longer focal length lens (Canon 400/5.6L is reasonably priced and quite good, but lacks IS so plan on using a tripod or at least a monopod... Canon 500/4L IS is fantastic, but pretty expensive and quite large... think "tripod only").... Or, get a crop sensor camera (70D for example) to complement your full frame camera. The 300mm will "act like" a longer focal length, when used on a crop sensor camera.
Be warned, though, small wildlife, birds and such, there is no such thing as a "long enough" telephoto. If you have 300mm, you'll want 400mm.... But once you get that 400mm, you'll want a 500mm, etc., etc. Eventually the lenses get very pricey and large, hard to hold steady and even shooting through a lot of atmosphere will reduce image quality. So other solutions you'll probably want to learn inlude stalking skills, use of blinds, calls, decoys, baits to bring subjects closer.
A lot of patience is needed too. There are times the subject is just too far away and all you can do is sit back and enjoy the show, hoping they'll come closer. Sometimes I've spent weeks or even months acclimating animals to allow me to approach close enough to get the shots I want (Canon EF 135/2L lens on Canon 7D)...
Other times I've found locations where the critters are already relatively accustomed to people and will let me get close (EF 300/4 IS USM lens on 7D)...
Hunger sometimes outweighs shyness and fear, too (EF 300/4L IS USM on 7D)...
While some wildlife could care less about you and may even give you repeated opportunities to get a good shot of them (EF 300/4L IS USM lens on 5D MkII)...
Hope this helps!
Alan Myers
San Jose, Calif., USA
"Walk softly and carry a big lens."
GEAR: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
FLICKR & PRINTROOM

What is the best Compressor setting for best quality video playback on an iBook g4?

I know the iBook and G4's in general are very outdated today, but I need to ask anyways. I have some video projects in 720p and 1080p in which I have down converted to 480p and also exported to MPEG-2 for DVD (personal wedding videos and videos made for my clients using Final Cut Studio). Anything encoded at most resolutions using h264 won't play on my iBook. Even 480p.
I have about 20 hours of mixed video content that I need it in a format that is suitable for an iPhone 4 and an iBook 12" with a 1.2GHz G4, 1.25GB RAM and I added a 250 WD 5400 IDE hard disk (running 10.5.8 and 10.4.11 for Classic Mode). I know the iBook doesn't seem like the best tool for modern video playback, but I need to figure out which setting will play best with iPhone 4 and iBook so I don't need to make 2 local copies of each video for each device.
The iBook plays best with the original DVD output MPEG-2 file and playing back in QT Pro or VLC... but I already have 180 GB's of MPEG-2 files now and my little HD is almost full. I don't have enough room to convert all the iPhone 4 counterparts. If I use Compressor 3.5.3, what is the optimal setting for iBook and iPhone .m4v or .mp4 files that can play on both devices? So far 720x400-480 widescreen videos @ 29fps works great on my iPhone, Apple TV 2, and other computers but seems to murder my poor iBook if encoded with high profile (and still choppy on simple profiles). 640x480 (adding black matte bars to my videos) plays fine in MPEG-2 but drops frames or goes to black screen if I convert it to mp4 (and looks bad on the iPhone 4 because of the matte). But if I convert on any of the simple profiles, it looks terrible on my iPhone 4 and a blocky on the iBook.
This is the problem leading me to having 2 copies of each video and eating my hard disk space. What is the best video setting for both playback on the iBook and iPhone 4? Can the iBook playback H264 at all in decent resolutionsat all? I don't really want to have a 480p .m4v collection for the iPhone 4 and a MPEG-2 RAW collection just to play the same videos on the iBook.
Any suggestions are greatly appreciated! Thanks!

Update: The iBook can play any 480p video and higher if I encode them with DivX and in AVI format. But of course this is not compatible with my iPhone 4. At least I can shrink my library now and get away from the full MPEG-2s. I don't get why I can't use Apple's h264 though. There has to be a setting I am missing. The sample Apple h264 videos from the days of Tiger worked flawlessly on my iBook when it was new so the CPU must be capable of decoding it. I really can't understand this.
Also, since I made my videos in English for my family, I had to create soft subtitles for my wife's Chinese family, and I can't get players like QT with perian or MPlayerX to sync them properly to an AVI encoded with DivX, they only sync well with the iPhone 4 m4v/mp4 formatted files I made. This is a real pickle.
So now I may need three or four copies of each video, LOL. I need to hardcode the subtitles if I want to use AVI to playback on older machines, and keep the mp4 file for the iDevices too, while keeping higher quality h264 videos for my American relatives...
If h264 is compatible with my iBook, what is the proper encoding settings? Must I dramatically lower the settings or frame rate? I can settle on 2 copies of each video that way. One iBook/G4/eMac compatible video that syncs correctly with my srt soft subs, and another version that works well with my iPhone 4 and iPad.
All in all, I will end up with more than 3 or 4 version of each video. On my late G5 dual core I have the full 720-1080p uncompressed master files. On my i5 iMac I have the h264 compressed versions for distribution, and lower versions for my iDevices. Now I need to keep either full MPEG-2 files for the iBook to play, or convert to older formats like DivX AVI for our family's legacy machines. I am running out of hard disk space quick now, LOL.
Is there an easier way?

How do I find 3rd party soft synths in logic_pro 8?

I have just purchased Korg Legacy Digital Edition M1, Wavestation, MDE X, Soft synths & effects, It seams to have installed ok but i can't get it to show up in a logic project when I add a new track, then search for the synth as an instrument plug in.
The korg folder is in Applications, and not in the main music folder like logic, itunes, garage band etc.
I can find the korg folder ok but can't access the instruments as they are greyed out.
The two synths work fine when used in stand alone. Perhaps I should have chosen custom install to make sure they were installed as audio units for plug in use?
I checked the logic manual about 3rd party plug ins and checked the audio units validation list under preferences/audio units manager and only apple plug ins showed up, no sign of korg synths...
I didn't click scan and reset as I'm not sure if I should.
The korg synths are the only 3rd party products that I have installed on the Mac.
Hopefully it's just a simple procedure that lm not following and a little advice is all I require to resolve my problem.
The korg user group web site said the don't support my syncrosoft license version any more so there were no updates upon installation, perhaps I have purchased a product at the end of its shelf life?
Cheers,
Beatdadnz...

jnashguitar wrote:
Why don't the Logic pirates just start their own message board with their own FAQ:
No kidding, I'm getting sick of this B.S.
It's like the Cubase boards 10-12 years ago.
Legit users... please stop supporting/answering questions people who obviously......
1. Are to ***** lazy to read the manuals.
2. Have pirated the software (plus a few hundred plugins) and barely know what to do with either the plugins or the program. It's pretty easy to tell.
3. *****s
pancenter-

Best AF practice for video

I'm using a EOS 7D for shooting 1080p HD video. New to the camera and DSLR for video. I've looked at several tutorials but still don't have a good understanding of what the best practices are for focusing.
If I put the camera in AI Servo will it auto focus if the subject moves away or toward me with out me depressing the back AF-ON or shutter button? Or must I press one of those buttons to make the camera continue focus?
Do you know of any tutorials or video teachings that go through using focus with video?
Thanks in advance!
Solved!
Go to Solution.

The 7D is not going to perform continuous auto-focus in video. AI Servo mode is for still photography. The 70D _will_ perform continuous auto-focus during video and does an outstanding job of it (due to it's ability to do phase-detect AF directly on the camera sensor.)
Every camera *other* than the 70D (including all other brands -- the 70D is unique right now) have to do "contrast detect" auto-focus. Contrast detect has to analyze contrast differences between adjacent pixels, make an adjustment and then evaluate if the contrast increased or decreated. That tells the camera if it's even focusing in the right direction... then it has to re-focus, re-evaluate, re-focus, re-evaluate... until it finally optimizes contast and that means the image is finally focused. This results in a game of "focus hunt". It's slower and anyone watcing the video will see the camera hunt for focus.
The better way is to manually focus the camera. If you were making a more serious video you'd even pre-plan the focus changes -- and wrap a piece of tape around the focus ring and use a marker to place the focus points on the ring (you pre-focus the camera to each position you plan to use during that clip). Having done this you can smoothly move focus from subject to subject just by looking at the marks you made on your focus ring. This isn't going to help you in ad-hoc video clips -- it's what you'd do if you were thinking about film-making.
The 7D will re-focus if you press the AF-ON button... but it will focus hunt when it does this.
Tim Campbell
5D II, 5D III, 60Da

Best Soft Synth for Film Score...

Similar Messages

Maybe you are looking for