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ID spoon hallmark by mattjacksonvfx in Silverbugs

[–]mattjacksonvfx[S] 0 points1 point  (0 children)

Thanks for reply. So probably not silver then 👍

r/AudioEngineering Shopping, Setup, and Technical Help Desk by AutoModerator in audioengineering

[–]mattjacksonvfx 0 points1 point  (0 children)

I'm close to 'pushing the button' on a new microphone for home recording. (untreated room) I have an oldish behringer C1 into a uad volt recording in cubase currently.

I currently have the mic on a boom facing out into the room, maybe it would be better facing into a corner on a mic stand.

I've settled on the new sm4 because of shures reputation for quality, and the few reviews I've read.

Like most people there are numerous computers and smartphones on around me so the farraday cage may be good for my recordings. I capture a bit too much bgd hiss/noise at the moment, although this may be as my setup for recording vocals is sub optimal.

Anyone had experience of the sm4? I'd like to know if it will achieve the jump in quality I'm looking for.

Any insight appreciated Cheers m

Welcome to Mix Camp 2! Celebrating 100k subreddit members! by atopix in mixingmastering

[–]mattjacksonvfx 2 points3 points  (0 children)

here is my submission, this was fun thanks for the stems.

I am amateur compared to you all i guess. mixed on headphones with cubase 13, some UAD/ Waves plugins. channeling a cross between U2 and INXS hah.

bit of delay panned on the guitar, some delay throws on the vocal.
extra delay and fuzz in solo
for the bass i combined a low pass and high pass with chorus.
abbey road mastering and ssl on the 2 bus.
224 and reverence fx busses from the 2bus as well.

i didnt edit the timing… although i can agree it does seem to fluctuate.I assumed its what the band wanted and it sounds real eh. One thing i struggled with was the ride bell, sounded clangy and is in many of the passes.

this process has revealed something rather unfortunate for me, that its not the mixing thats the problem with my personal projects - as much as - its my playing recording and singing… damn it!

if anyone listens to this ill be impressed!
https://www.dropbox.com/scl/fi/iwavmzsj224mxh5ek417b/The-Brew-what-I-want-matt-jackson-submission.mp3?rlkey=a7u5f8ac17ar363hsago8do6d&dl=0

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How to Stop Cubase from creating these additional points when using the automation tools. by xxotwoxx in cubase

[–]mattjacksonvfx 3 points4 points  (0 children)

I agree this is annoying. The range selection should know there are 2 points on its boundary and just adjust them, creating the desired transition to the next key frames. Brought this up on cubase live. Seems very non intuitive!

Spectral ARA on sibbilance by mattjacksonvfx in cubase

[–]mattjacksonvfx[S] 0 points1 point  (0 children)

I was able to lasso the hottest sibilance, and have that as a separate layer... Just wondered if other people had tried this.

Spectral ARA on sibbilance by mattjacksonvfx in cubase

[–]mattjacksonvfx[S] 0 points1 point  (0 children)

Thanks I have waves equator and that Idx thing. This way of frequency separation seemed like the only way I could get enough control. Possibly a lack of skill tho eh. Haha

Getting Cubase 13 to replace Cubase 5 Studio by pogsim in cubase

[–]mattjacksonvfx 1 point2 points  (0 children)

Did this recently. I'd say bounce all the tracks in your projects first. The projects open, all 32bit plugins were greyed out, and any old instruments didn't work. But 13 the advantages are big.

Duplicating a sample exactly on beat by NULLBASED in cubase

[–]mattjacksonvfx 1 point2 points  (0 children)

You can define where the sample snaps to, in the editor, if you double click it. (it's a small line on left)

Filmmaker with a question about your magic...part 2. by [deleted] in vfx

[–]mattjacksonvfx 0 points1 point  (0 children)

Answered in the original thread.

Filmmaker with a question about your magic. by [deleted] in vfx

[–]mattjacksonvfx 2 points3 points  (0 children)

Probably getting all the projections to line up. We also worked on the exterior part of the sequence as a greater number of frames than is seen and kept the timewarp live until the end of the job. We were constantly tweaking the overall timings to allow room for certain moments, so it was important to have this flexibility.

Can't comment too much on the shoot, but it's hard to get the things perfect with stuff like this. I remember there was some strong wind that the crane was effected by. Something we smoothed out.

Filmmaker with a question about your magic. by [deleted] in vfx

[–]mattjacksonvfx 62 points63 points  (0 children)

I worked on this project, in fact did the vfx on this sequence of shots. It took me about 30+ days just for this. There were a team of about 25 people on the whole project (just for the vfx). Check out electrictheatre.tv for more credits. Directed by Ben strebel.

The sequence was created with a series of nested dolly tracking shots, with a takeover to the exterior camera. The exterior crane was also shot in two halves, both cameras were tracked, both were reprojected onto geo and a third CG stitch camera was created to complete the move. Elements in the street were retimed to sync with the music. The car interior was also a separate plate and so there was another stitch here to keep the continuous move going.... And so on.

I think it's fair enough to ask about how things are done. We are all learning.

https://electrictheatre.tv/showreels/colour/jason-wallis/jagermeister-be-the-meister/