AC-7 Core XT
It’s been about 18 months since FCP X was released as I write this, and there are many, many, FCP 7 workstations still cranking out shows around New York City. I expect folks will hang on to these systems as long as possible; I’m working on one right now. In an earlier post, I walked through setting up an iPad to control the audio mixer in FCP 7. I’ve grown accustomed to working with an iPad to manipulate audio levels, and frankly miss it if I don’t have access to that. So, to simplify (no, really), I grabbed an iPad 3 last spring, and now work with two iPads on my desk. I can tell you, it never fails to elicit an reaction when someone walks in the room. Sigh. I end up explaining that one is dedicated as an audio control surface, and one is used for whatever normal people use laptops for – email, note taking, reading scripts.
But having two iPads does open up some interesting possibilities, and I remembered that the company that made AC-7 Core also made another app, AC-7 Core XT – which adds another bank of 8 faders to the first 8 provided by AC-7 core. This allows you to have direct access to 16 faders, which is where I generally try to cap my tracks during editing a show. The Core XT app works as advertised and well, however the setup isn’t immediately obvious. So, for posterity, here is how you make that work.
There are a few neat little things I’ve run across as I worked this fall and winter that made my life a bit simpler as I navigated the trenches of documentary television. Runtime for iPhone was one of them.
Runtime on the App Store $1.99
Runtime web site
Runtime is a great take on that most reliably needed tool, the timecode calculator. Time was, these were hardware, and kind of expensive. Like the blue Portabrace gear the field crew drags everywhere (though apparently the new stuff is black?), post production professionals likely had a FrameMaster from Calculated Industries on the desk somewhere. They were pricey.
iPad and Media Composer: Liine Lemur
Ladies and gentlemen, it is time for an upgrade.
It’s been almost a year that I’ve been editing shows on Media Composer and mixing them using an iPad running MIDI Touch and Touch OSC. These tools have made working with audio on the Avid substantially easier. But there have been some rough edges; the connection would go to sleep sometimes, requiring extra taps to re-start communication between the Avid and iPad. Solos and Mute buttons required double taps to trigger and turn off. And then, the faders themselves were a little fiddly; it was difficult to make small adjustments. And it didn’t look quite as cool as I wanted.
The iPad has been a small revolution for musicians in innumerable ways. From easier access to sheet music, to GarageBand as the new four track,to a recent app that provides a 48 track DAW environment, and not least, the sort of programmable MIDI gear I’ve been using to make theses tools which work with Media Composer. In 2004, the closest equivalent would have been a JazzMutant Lemur, a very cool, very high end device. Daft Punk, Bjork, and many other top acts use these devices live. Completely customizable and programmable, multitouch before most people even knew you could do that, I totally wanted one,for no good reason, and now, that very same software runs on the iPad. The same tech that rocks stadiums, I am using to rock rough cuts that are routinely 10 minutes too long. If you’re interested in more general info about Lemur and the iPad app, here’s a nice writeup.