Podcast Academy – The #1 Source for Podcast Education

November 2004 marks my first exposure to podcasting. At the time I was experimenting with spoken word recording. My gear rig consisted of a Motu 828 MkII interface, a Samson condenser mic, and a dbx 266 XL dynamics processor. It was the perfect basic rig for podcasting.

Three years later all three components are long gone but definitely not forgotten. In fact, the dbx 266XL became one of the most popular devices within this community. I’ve lost count on how many people purchased this device based on the recommendation on my original Podcastrigs.com site. It’s affordable and it offers good results. The funny thing is that is not designed to be used as a vocal processor. Processing stages are limited to compression and downward expansion.

dbx supplies an excellent piece of documentation: Compression 101. This paper lists suggested settings and specifies a clear explanation of dynamics compression in general. Recently I noticed the long standing link was broken. It looks like things are now fixed. If you have not reviewed this documentation I suggest you head over to the site and read through it. Great resource …

Today Apple released the first update to Final Cut Studio 2. I’m happy to report a few nagging issues that I was experiencing have been fixed. Specifically, problematic compressed file exports [MP3 and AAC/Podcast] from the multitrack project workspace in Soundtrack Pro 2. Apparently this problem was not wide spread. There was a clear reference to it in the application release notes stating incapability issues with certain noncompliant devices. I have not made any hardware changes, and as stated – the export option now works. Additionally I was experiencing various instances with parameter sliders “sticking” in Compressor when working with MPEG-2 and H.264 presets. It’s no longer an issue. Cool.

Compressor now offers 256 kbps AAC audio encoding for the new iTunes Plus format. Also notice the iPhone preset reference included in the Apple Devices preset group [see the supplied enlarged snapshot]. Nothing fancy, however it’s interesting to see. Custom aspect ratio support has been enhanced, and it looks like they included a .plst file import feature that will help producers create custom annotation references. I’m particularly interested in this based on a small widget based application that I may attempt to develop. I’ll see how it goes.

Anyway, lot’s more to report – so stay tuned …

In case you are not familiar with Compressor – this is the batch processor/encoder that is bundled with Final Cut Studio. Typically a producer uses Compressor to encode video source masters into distribution copies, or to encode MPEG-2 video for subsequent DVD production. There is a vast internal library of presets that can be customized to suit your needs. Projects from Final Cut Pro, Motion, and Soundtrack Pro can be directly exported to Compressor for transcoding. It’s a seamless workflow. Multiple “jobs” are supported, as well as cluster processing and ftp delivery.

There are a number of handy audio processing features built into Apple Compressor that make this tool much more attractive. Compressor 3.0 supports AIFF, AAC and MP3 encoding. Each conversion workflow offers the typical group of audio processing parameters. I’m referring to settings like sample rate, bit rate, and channel configuration. However what may be less obvious is a set of audio filters that can help to enhance your final product. In the Inspector, access the Filters tab, — Audio. Notice that we have the option to manipulate dynamics, tweak equalization, add fades, and apply peak limiting. The eq offers 10 or 31 band configurations.

Moving our attention to the Preview area, it is now possible to add Podcast/Chapter Markers. This works for both audio and video podcasts. Upon completion, processed files can be uploaded to predetermined destinations via ftp.

In case you are wondering about surround sound, Compressor makes this easy. By accessing a speaker matrix dialog box that supports drag and drop, source files can be associated with predetermined channels for common Dolby Digital configurations, including 2.0, 5.1, and 6.1.

One last feature that is worth mentioning is the embedded support for creating Droplets. These are actual stand-alone applications that simplify encoding by maintaining predetermined processing parameters. You can store a Droplet anywhere on your system, and processing engages by simply dragging files on to the Droplet icon. Droplets can be shared as well.

Needless to say that Apple Compressor is a powerful, industrial strength media processing tool. If you have not yet delved into this application, I suggest that you take some time and familiarize yourself with it. It is a true asset to the serious media producer.

Here is another Automator tip: Create a preset in Compressor and save it out as a Droplet. In Automator, select the Finder option in the Library pane. Scroll down to the open finder items action in the Actions pane and drag it into the Workflow bin. Set this workflow to open with the Droplet. Now save the workflow, and place it in the user/library/workflows/application/finder folder. In the future, control + click on a source file and select the droplet workflow from the list of Automator workflows.

Have you heard of MPEG-7? Read on -

About one year ago I began searching for a robust asset management application that would help me to incorporate a method of annotating video clips in order to simplify organization and accessibility. I stumbled upon Frameline 47, and this exceptional piece of software instantly became one of my favorite “non-Apple” production tools.

FL47 is unique. This is due to the supported method or specification used to manage metadata. Enter MPEG-7 … MPEG-7 is not an audio or video codec. In fact, it is all about metadata. The official reference is Multimedia Content Description Interface. Simply stated – it is a specified set of rules and methods for describing content. MPEG-7 supports complex customized data structures that can be defined using various aspects of XML. Frameline 47 uses what they [Versatile Delivery Systems] refer to as a “subset of the MPEG-7 standard to provide a practical way of describing video over time.”

The application concept is simple: Video projects, clips, and files are converted to MPEG-4, managed, and saved for future reference as an MPEG-47 project file. MPEG-4 video + MPEG-7 metadata incorporated into a single file, hence the 47 connotation. It’s important to note that the workflow is nondestructive. The original source media is fully preserved.

The application provides four independent modes: File, Edit, Notate, and Present. The File mode [access the above image] is the first stage of the workflow. Here we can access the contents of the system, filter for specific content, annotate, and encode/convert. The Edit mode supports the grouping and segmenting of associated media. The Notate mode supports advanced who, what, where, and when references. Access to individual groups and segments are available for customization here as well. Lastly, we have the Present mode. The producer can view media with real time references to all associated metadata previously applied to groups and segments. Bonus features include Final Cut Pro XML export with a supplied custom browser category plugin, and enhanced podcast output. Recently the application interface has been enhanced. Most notably – the File mode, with much improved media accessibility options.

If you have a few minutes, sit back and experience this presentation. I think you will be impressed and understand my enthusiasm.

Frameline 47, version 2.0 is now available for purchase and download. Versatile Delivery Systems also provides a free 30 day trial. $299 US.

I think Automator is one of the most neglected applications by Mac users included in OSX. My guess is that many people assume that the process of setting up workflows is complex. On the contrary. Automator is pretty straight forward. One important aspect of this tool to keep in mind is that any created workflow, specifically the file reference to it – placed in the proper folder [user/library/workflows/applications/finder] will be available when control clicking [or right clicking] on any system file.

Here is a specific example: I have a dedicated folder on my main system that receives all files and applications downloaded from the web. Many of these files also need to be subsequently transferred to my Powerbook. I have a separate folder named Powerbook Transfer that is essentially a shared folder on my internal network. I set up an Automator workflow that simply sends selected files to the Powerbook Transfer folder for future access. I control + click on a file, choose the Automator menu and select the workflow. The file is transferred instantaneously This really speeds up the process of moving files around.

Are you looking for a fast and easy way to tag Quicktime files? My guess is that most, if not all Quicktime annotations are repetitive. Producer, Copyright, and Artist are perfect examples of static annotations. You can quickly annotate Quicktime files using an Automator workflow.

Setup:

• Launch Automator and select Quicktime form the Library pane.

• In the Action pane, scroll down to Set Movie Annotations action and drag over into the workflow bin

• Check your required annotations and edit accordingly

• Save the workflow to the folder specified in paragraph one

That’s it. In the future, simply select a Quicktime file – control + click … automator … your annotations action.

AudioFinder [ver.4.5.4] by Iced Audio continues to impress. This is an excellent media file asset management system that offers a host of useful features. This application supports advanced indexing, cataloging, editing, and processing.

Recently the AudioFinder UI has been completely redesigned. Specifically, the lower AudioViewer is now temporarily docked to the file structure display. Both modules can be operated independently. The SampleEditor is accessible by simply clicking the waveform. A Quicktime Movie viewer has been added as well.

AudioFinder offers support for Apple Loops and handles batch file conversions for many formats including: AIFF, WAV, M4A and SD2 files. You can also encode/decode FLAC files and encode MP3’s. Plugin integration is seamless, and the incorporated preset management system is top notch. All media files are easily accessible due to the advanced integration of the MAC OSX Finder.

AudioFinder continues to evolve. The developer is in touch with his user-base, and he continues to enhance the application based on user suggestions and feedback. I believe there is a free version available that is limited to basic sound browsing. The full version is priced at $70 US. In my opinion this is an excellent piece of software that is worth every penny.

Check it out if you can …

Last week I came across a forum post that expressed envy. A long time pro-audio producer who worked exclusively on the PC platform stated that after taking one look at what Apple has done with Soundtrack Pro 2, serious decisions were in the works. My guess is that we may have another switcher on our hands.

I’m sure this person was able to maintain a high level of productivity on his PC’s. Conversely, I have to agree with him. This new STP UI is stunning to say the least. I realize that functionality, performance, and stability are essential when striving for consistent productivity. Personally, I think visual aesthetics play an important role as well. I can’t imagine spending hours buried in an ugly piece of software … I need to be impressed with the application environment as I work.

These issues of application UI aesthetics and attributes continue to puzzle me when considering the Pro Tools phenomenon. There is no question that Pro Tools is the industry standard, and I don’t need anyone to remind me of this. The problem that I have with Pro Tools is that is just looks so dated. But let’s be frank – it does what it is designed to do very well. I don’t see any reason to believe that widespread use will diminish anytime soon. Back to Soundtrack Pro 2 …

This UI is an example of how things have changed in this latest version of STP 2. I dragged a six channel 5.1 file from the browser into the multi-track project pane.

The producer is presented with a few options:

• Incorporate the entire six channel mix as a single file into a single track

• Incorporate individual files that represent individual channels extracted form the original. [this is done by holding the option key while dragging].

There are a few important things to note: the Surround Matrix HUD is associated with the selected track. If you choose not to use the HUD, the mini surround pan controllers located on each channel take over. The cool Timecode HUD is fully customizable [size and location]. Lastly, the Level Meters at the upper right adapt to project channel configurations.

One last point – notice the single channel strip at the lower left. The displayed strip is once again dictated by the selected track. Lets say for example I decided to switch out of the mixer display tab in the lower work-space in order to check metadata. The single channel strip allows me to maintain control of each channel level, sub-mixes, buses, and the master output while the mixer is hidden.

[the image is linked to a higher res. graphic]

Yesterday Michael Geoghegan and I were chatting about the importance of efficient workstation and desktop management. We both agreed that system clutter will seriously hinder your productivity. [See this post]

Many of us spend a considerable amount of time working with complex media projects. These projects often include multiple components: project interchange format files, video files, audio files, and graphics. In this case some form of organization is imperative. I’m going to explain a simple method of project organization that have I developed for my own work. This method accomplishes one simple task: easy visual scanning of media project components housed in a project master storage folder.

Keep in mind that I use this method only for media projects. I am 100% sure that better solutions exist. In fact, applications like Pathfinder and AudioFinder are perfect examples of cutting edge productivity tools that prove this point. Also, Mac OSX provides customization options for specific folders. My little trick adds an additional feature: intra-folder zones that house files [and folders] based on their specific formats and attributes.

This image represents a master folder that lives on my desktop. It includes an array of stored projects, video files, audio files, and a few works in progress reference files . Folder properties can be customized by accessing the show view options located in the Finder menu. Files and folders can be organized based on date modified, size, type, and label. My trick enhances the organize by type option by utilizing colored zones. I manually control the strategic location of each file and subfolder based on their formats and attributes. When the master folder is opened, I am presented with a structured grouping that is visually pleasing. It’s plain and simple. In my opinion this concept maximizes efficiency.

If you are familiar with some of the hidden features in Mac OSX, you probably figured out how I created these intra-folder zones. If not, all you need to do is create a document in Photoshop that includes various colored boxes. The predetermined size of a new master storage folder will dictate the dimensions of the Photoshop document. Simply create a new folder, open it, and in the view options – change the folder background to picture. You guessed it … the Photoshop document. The last step is to organize the project components so that each time you access the master folder you will be presented with a visually enhanced method of locating project attributes. Let me stress that there is one caveat: manual placement of the master folder content is required. Once you get used to this, it’s not that big of a deal.

By the way, I also managed to automate the process of building these customized master folders. Launch Automator, and from the Library pane, select Finder. In the Actions pane, grab the Set Folder Views action and drag it into the Workflow area. Make sure you uncheck the arrangement option, and set the background to display your custom picture. Lastly, save the workflow and store it in the Workflows directory. [User/Library/Workflows/Apllications].

In the future, create a folder as normal, right-click or control+click it, and run the Automator workflow from the contextual menu. Your new folder will be good to go.