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For this to work, the sound recordist on set needs to properly label the audio channels on their field recorder during production and you need to be running Final Cut Pro X v10.3 or later. NOTE: Here’s the link to a Sound Devices 633Īctually, this is really easy from an editor’s point of view. So for instance lav would go to mixL and Lavstick and Boom would go to mixR. “As you look at the names in the file, mixL and mixR provided a two channel mix to 1 and 2, like you would to a camera. Then to see the setup in FCP with Roles sucking all that info in is just incredible. “It was very cool to have all of the named isolated channels and separate recording of the mix down to two channels all in one file. This was a boom heavy job so I set the boom to the first pot, lav, then stick on the third. I choose the order of the channels based on the use of each channel. I entered the names for each channel in the 633 before the production began.
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“The production team came up with a filename, which we setup at the beginning of each day. A couple of wireless lavs, stick mic, and Boom. It wasn’t a super crazy reality show so the audio needs were fairly standard.
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“This was more than I was expecting so the rental of a Sound Devices 633 was necessary.
STEINBERG NUENDO AND FINAL CUT PRO CODE
Time code generated in the bag and jammed to the cameras throughout the day. The mix sent via a wireless hop to the cameras. The “In-bag” recording of isolated microphone sources and a Composite Mono mix. “The job required: Several EFP crews shooting team interviews and B-roll. In the beginning the scope was simple ENG following various teams. About 18 months ago this job came from another cameraman that I work with. It is something I like to do because it allows me to see how other folks work. “I’m a cameraman who on occasion will handle audio. This example file came from Jon Gay who wrote: This support was extended to FCP X in version 10.3. This includes all the current location field recorders (for which the spec was originally designed), several DAW applications (including Digidesign Pro Tools, Sony Vegas and Steinberg Cubase/Nuendo) and various utilities.” ( Wikipedia – link)įinal Cut first supported iXML in FCP 6.02 in 2007. “Today more than a dozen industry standard audio products support iXML with 100% interchange of metadata between systems. The iXML Specification is maintained by Gallery UK, and changes made are based on discussions by the iXML committee. “Following initial discussions between Mark Gilbert of Gallery, John Ellwood of SynchroArts and J.P Beauviala of Aaton at the IBS meeting, the iXML 1.0 Specification was developed, drawn up and published by Mark Gilbert of Gallery UK at. (The “i” in iXML recognizes the part the IBS played in bringing together such a diverse blend of normally competitive manufacturers to collectively solve the increasingly difficult problem of metadata interchange, with an elegant, capable and completely public specification.) “The iXML concept was born during a meeting of various vendors, including manufacturers of field recorders, NLEs and DAWs, hosted by the Institute of Broadcast Sound, in London, on July 8, 2004. It is designed to standardize the exchange of metadata between these systems. This includes things like Scene, Take and Notes information…. “iXML is an open standard for the inclusion of location sound metadata in Broadcast Wave audio files. NOTE: iXML supports audio files only requiring, in almost all cases, files recorded double-system to stand-alone audio field recorders.
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If you are doing productions where you are recording multiple microphones at once and your recording mixer supports iXML data, this can save a lot of time in the edit in keeping track of who is recorded to each audio channel.īut, before we discover how this works, let me explain what iXML is. One of the new features in Final Cut Pro X (v.10.3) is the ability to import iXML audio data and assign it to individual channels in the audio file.