The Birth of Video Editor "Do-It-Yourself" Audio Sound carries most of the emotional content and in most cases a lousy soundtrack means a lousy project. As most of us are aware, sound in visual media means everything.
#FINAL CUT PRO 10.3.4 AUDIO CONTROL PROFESSIONAL#
Professional projects were typically exported to a separate digital audio workstation (about 90% of the time, a Digidesign Pro Tools system) and the mysterious black art of audio post production was applied to the project by some audio guru. In the not so distant past, the programmers and manufacturers of video editing tools were never too concerned about effectively implementing high quality, efficient audio tools because frankly, the audio portion of very few professional projects were produced using NLE's audio tools.
#FINAL CUT PRO 10.3.4 AUDIO CONTROL MOVIE#
The "it works for some people", not for others implementation of the sync adjust movie function for Canon camcorder owners, the rudimentary audio rubber band only level control, the none - RT audio filters, the relatively poor sound quality from FCP's audio filters all left a lot to be desired when it came to Final Cut Pro's audio capability. The downside is that until now, Final Cut Pro has been audio challenged, to say the least. Revolution and lower budgets, fewer producers and editors are able toĪfford the relative luxury of finishing their projects with a In this day and age, with the advent of the DV
You can say it again, "Why would you try to edit your audio in your video editing program?" but no matter what you say, or how you feel about it, the fact remains that a lot of programming we see and hear lately has never been subjected to a final audio mix by a professional sound editor on a Pro Tools system or other high-end digital audio workstation. You can say it once, "Video editing programs are not made for editing audio". The Sound for Picture Facts of Life in 2003 FCP - Audio in Final Cut Pro 4.0 "For The Working Editor"