Looks like we’ll have to find a workaround for the audio issue we’ve encountered with Cineform Neo3D software in order to edit our first 3D documentary.
As I’ve mentioned, the 3D files that Cineform creates only have two audio tracks.
To capture ambient noise as well as a conversation between two subjects for the explosive demolition show Blowdown, we have to capture at least three channels (a boom mic and two lavs), sometimes four (camera mic).
Our editor, Brian Mann, has been in conversation with Cineform developers to see if we could find a way to edit with more than two channels.
They’ve been very prompt in replying and helpful.
But unfortunately it looks like there’s no way to edit more than two channels of audio using the current version.
There’s no particular reason why the program’s this way – it’s just a design factor that isn’t optimal for our specific post production needs.
As far as we’re concerned it’s the best high-end game in town, and otherwise it’s working great.
Cineform’s lead Mac engineer plans to add it to the list of things to add to their future release, First Light.
In the interim, we’ll have to figure out how to adjust our workflow.
We’ve fed footage from our 3D green screen shoot into post, where we’ve promptly encountered our first editing glitch. We’re running a trial version of Cineform Neo3D software to see if it will work for editing our first 3D documentary.
The reason we’re trying this program is that it allows for dual steam, which means each eye is at full res and in real time, so we can do convergence, colour correction and other editing in real time rather than having to render whenever we make an adjustment.
Cineform also works with Final Cut Pro, the editing software we normally use to cut 2D HD there’s no way to edit 3D in FC without a 3rd party programs, as far as we know.
Great for picture, but there’s a problem with audio.
The 3D files that Cineform creates will only have two audio tracks.
To capture ambient noise as well as a conversation between two subjects, we have to capture at least three channels (a boom mic and two lavs), sometimes four (camera mic).
And since Blowdown – the explosive demolition series we’ll be filming – is event-based, there’s no opportunity for ADR, and you can’t recreate most of the ambient sound in post.