Recording And Editing Software For Mac
Janet Denzel
I am trying to edit a recording that was made during a Webex Teams Meeting. While I am able select a range to play, on-line, when it is downloaded I get the full recording, including the section I did not want. Is there a way, that I can just download the section I want into a video file? I understand that a proprietary file format is used for the recording.
I downloaded the full video, which I guess gets converted into an .mp4 file. I have tried running this downloaded file through a 3rd party video editor, which seems to work, but the quality is a little less clear after the editing, even-though it is still .mp4 format. The other interesting issue with this, is the size of the .mp4 file. When I download the file from Webex, the file is 95 MB. After running it through a 3rd part editor, clipping off the last third of the video, and saving the file, the edited file is now 350 MB, which is totally strange!
To edit a Webex Meeting recording, you'll first need to download the recording from your Webex account to your computer. Once downloaded, you can use video editing software to make any necessary changes or enhancements. Here's a general guide on how to do it:
6. **Save and Share**:
- Save the edited recording to your computer.
- If you need to share the recording with others, upload it to a video hosting platform or share it via a cloud storage service like Google Drive or Dropbox.
Remember to comply with any relevant laws and regulations regarding privacy and consent when editing and sharing meeting recordings. Always ensure that sensitive information is properly protected and permissions are obtained from all parties involved.
If you leave the recording on the Cloud and share the link the start / end edits will hold. Once you download they're no longer available. A third part App works well. Try Filmora or if you can afford it.. Adobe Premiere (no affiliation or compensation for mentioning these two Apps)! You'll need ti experiment with the different codecs that each App offers.
Of course the final product is much larger due to the Codec Webex uses. TO solve this.. Once I have finished editing and have a final product, I import the video to Handbreak and re-encode. You'll have a smaller file size.
Please allow me to add some of the little I know about Videos in general. Perhaps this may help you to find a solution in the end.
Video-Files usually contain one datastream for the visual contents and one stream for the audio-part.
This data is processed by specific mathematical algorithms/formulas. These formulas can be influenced with parameters which are in the end affecting the image/sound - quality.
Video-editing Software offers even more options and parameters like change Video-resolution, change the number or frames per second, change number of soundtracks, change sound-quality etc.
By chosing "wrong" parameters you may easily end up with a file that is bigger than the souce-material. (e.g. by selecting a quality-level that is higher than the source => more data in final file but does not contain additional pixel-information..)
MP4 is not an exactly defined format - its just a container for audio/video-streams which are encoded in various methods.
find more here: -4_Part_14
It allows to edit the file without re-coding the contents (1. faster 2. re-coding with "wrong" parameters may cause bigger files..)
Since its available as a portable application, no installation/no admin-rights are needed.
I dont know much about that tool - I just use those two buttons to mark the beginning and the end of the clip which I want to keep, then I choose "save".
Make sure that "Video Output" and "Audio Output" (both on the left) are set to "copy".
As "Output Format" I would use "MP4 Muxer".
@Ronald.Sherman
since I have access to the free license only (which does not include recording to the cloud) I can neither confirm nor deny the availability of a webbaseb Video-Editor. But since this has already been asked here once or twice, I guess there is no such feature.
My explanation for that is that editing/altering the recording may conflict with enterprise policies (#Audit etc..).
What I would like to know is which editing possibilities I could try out that positively and audibly influence the choir sound or the ambient sound or other things (dynamics, bass, treble, etc.) - without destroying or overdrawing anything. First of all I ask for general recommendations. What about compression? Does that make sense? Or reverb? And if so, then which one, how much, and what can you concretely recommend?
There is a minor haystack tonal bump between 1900 and 3500 and I think that would be my first correction. That seems to be popular with some microphone systems to artificially increase the crispness or presence.
thank you for your answer. Could you tell me what I could do in this respect - I mean, which functions or tools from Audacity I could use to play with in order to influence this issue (minor haystack tonal bump between 1900 and 3500)?
In the equalization main window, Select Curve: ChoiraCapella. It should look like the illustration > OK.
Once you install a custom curve, it should stick and you only have to install it once, but use it as many times as you wish.
After a long search for the optimal recording scheme for moves, we have found that recording clothes with audible footsteps in sync keeps the artist confident in the dynamics and performance, and, most importantly, helps him or her do the cloth pass as synced as possible, which ultimately affects the duration of the editing work. The result is the Foley editor takes less time to work with this Foley group, unlike with the classic recording scheme where the cloth pass is recorded with the picture only.
Ideally, the recording of moves is done by the same Foley artist who recorded the steps. But since our work process is arranged in such a way that several Foley artists can work on one project in order to reduce the duration of the overall production period and keep large volumes of Foley in their hands, this is not always possible.
However, it is another thing to work on a theatrical feature film, where, say, there are four characters in a scene and the first two are dressed in leather and in a parka, and the other two are in a jacket and in a sheepskin coat. Here it is important not only to record all of them separately, but also to do careful Foley editing to avoid unnecessary audible room tone in the pauses while all four tracks are playing.
I believe that in recording moves, it is essential not only to choose the proper texture of the fabric, but also to work with it correctly. The rustling should be clear, intelligible, and distinct. Otherwise, it will quickly get lost in the mix.
Personally, I prefer to do the cloth pass standing up so I can put all the energy of my body into rustling and shaking when it necessary, but many of my colleagues prefer to stay sitting. 90% of the time we make the sound from the fabric by holding it in our hands, but there have been cases where we got realistic sound and incredible Foley performance by dressing in the clothes ourselves. This is especially applicable to winter synthetic fabrics.
For regular TV shows (90-minutes long), twelve hours for recording 1-2 layers of cloth tracks are usually enough for us to get everything done and not to get arthritis, haha. For complex and more massive features, it may take up to three 8-hour recording sessions. The more attention is paid to the accuracy and syncing of performance on the recording, the less pain the Foley editor will have.
What mic to choose for recording clothes? I have found shotguns work perfectly for this group of Foley. They allow the fabric to sound sharp, textured, very detailed, and to translate the slightest movement. And of course, shotguns like no LDC mics are best suited for budget studios with imperfect acoustic treatments.
Actually, here at Foley First, editing the cloth track takes longer than recording the cloth track. Even if the Foley artist has a lot of experience, as with recording footsteps, it is challenging to keep the perfect sync. In order to achieve maximum accuracy during recording, you need to look at the scene several times and remember all the little movements of characters. It is almost impossible to do this within one recording session, so most of the work falls on the shoulders of the Foley editor.
Something else that made this session particularly special, though, was that I had the chance to record several backing tracks in two different ways: firstly with the band all playing at once; and secondly by recording the drums against a click track, and then overdubbing the bass and guitar. Crucially, the recording setup remained identical for the two versions, which means that you get to hear just the sonic impact of the different working methods. On the SOS website ( -notes-0519-media) I've uploaded the same basic mix of each of these backing-track recordings, using identical processing in each case. I've deliberately kept the mix processing fairly minimal, using a total of just 14 filters, two bands of EQ, and two compressors across the 24 tracks of audio. I've also bounced the drums and bass/guitar submixes separately, so it's easier to hear the degree of interaction between the instruments in each instance.
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