Alexander Kallas
Forum Replies Created
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[Luke Duncan] “ny of that, and how do you deal with it?”
Soundtrack Pro
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AlexanderCheers
Alexander -
donwalker,
You need to move the QuickTime movie that the FCP project file is referring to. This will be in the capture folder on the scratch disc.
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AlexanderCheers
Alexander -
[Jeff Carpenter] “Just go into the Render folder for each project and erase the QT files within it”
Hi Jeff,
I’m not on my Mac now, but I can’t recall render files being QT files, just strangely numbered FCP files. I use FCP version 4.5
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Alexander -
Not true,
You can set the capture now time limit in user prefs. (under 30 mins for no audio sync problems is recommended)
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Alexander -
[Tony!] ” It’s actually pretty rare to see him though, so maybe it’s not that many. I know a lot of FCP users have never seen him.”
You can actually call up the Yak. Some of know how!
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Alexander -
No Virus,
Just Bruce the Yak! (an FCP Easter Egg)
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Alexander -
[Matte] “Do you have your capture set for “Super-White”?
That allows the footage from the camera to be captured with white-levels above “100%”.
You can always add a Color Corrector filter to your clip and lower the overall video level to match your white background.Not entirely true,
From a paper by Graeme Nattress:-
< "white" and "super white" setting in Final Cut Pro only effects the import of still images. The "white" and "super white" settings do not effect imported video in any way. Most video cameras allow you to shoot and record a video image that will use video levels that go up into the "super white". Such "super white" video levels are not suitable for broadcast and need to be brought back down to the 100% FCP level in the waveform monitor, either through colour correction or use of the broadcast safe filter. Final Cut Pro defaults the timeline setting to "white". If you import a still image with the "white" setting, it might look dull, but it will be within broadcast luma limits. You may still need to ensure it's chroma is within broadcast limits, but at least it's luma is correct. If you are producing video for non-broadcast environments, you may wish to use all the video levels up to 110% FCP and set the timeline setting to "super white" to allow the imported images to use this full range>Thanks to Graeme for this information, hope it helps you.
Alexander -
Tony,
Check your captured clip from the capture folder on the scratch disc. Does it play properly?
You should always open the clip in the Viewer first, and move it to the time-line from there, NOT directly from the browser.
Do you have linking turned on? (top rght of the timeline)
Cheers
Alexander -
Hi Seth,
Don’t worry, this is normal for that camera, and it is in the overscan area that will not show on TV.
Cheers
Alexander -
Hi Gary, interesting post,below are a few comments
[garyh357] “What you’re dealing with here is a question of standards, not quality.
dBFS stands for dB full scale. It is the digital equivelant of a dB measurement. It simply means all bits on, or all bits off, or somewhere inbetween. All digital audio devices and media support up to 0dBFS and no more, in it’s final stage (more on this later). Therefore, in truth, headroom is not actually required by any digital media. In other words, it is possible to record audio at 0dB on DVD, miniDV, DV-Cam, iPod, etc…, without clipping (distortion). “
depends on many variables like compression that is used. For example, I can give you 2 bits of audio at 0dB- one heavily compressed and the other not. the compressed one can sound considerably louder- even though it’s at 0dB. In lay terms, we have ‘packed’ the headroom, squashed more signal in. The output will depend on if your player, speakers and ears can tolerate the compression that’s been packed into 0dB. It’s not correct to assume 0dB is all the same without considering all the variables.
As we all know, once digital clips it distorts[garyh357] “Before I go on, let me say that I don’t advise it in all cases because it isn’t standard. Industry standards say to drop the level of your audio if you are outputing to tape, regardless of format. You should abide by the standards, because that is what keeps us compatible with each other. PLUS, it is what allows a straight dub of a digital tape to an analog tape without worry about overdriving the audio levels (that’s the true reason the standard was invented to begin with). It keeps you backward compatible”
not sure about that. 0dB is the standard, and when it goes to broadcast they all differ. For example the BBC put 0 dB and +6 PPL…. a good example of this is watching cable tv- the US will differ to the rest of the ‘normal’ world in volumes!
[garyh357] “In the case of DVD, it follows the same standards as CD. 0dB is actually the standard for PEAK audio levels on CD or DVD.”[garyh357] “A-Pak, Vegas, and other software that allow or suggest normalization during the digital compression stage, are assuming that you do not have your audio properly set to begin with. This is ok if you aren’t an audio person, or don’t understand all of this. They are “dummy-proofing” the audio settings for the users who do not know better. (Please don’t take that personal!) So why so far from 0dB (like -31dBFS)? My guess is that they are using the “RMS” value of audio, which is completely different from “Peak” values, and they really can’t be discussed in the same argument. It’s like saying “my apple is redder than your orange”, “no, my orange is oranger than your apple”. I will say this about RMS, be cautious when using an RMS scale to set the levels of your audio because it is possible for a negative RMS value to end up with a level that tries to exeed 0dB, therefore causing clipping (distortion). That’s why you like -31 better than -27. (If -27 allowed a +1dB level, then it would clip, but at -31 on the same file, it would only be at -3dB, which is safe from clipping.)”
Just about all audio programs allow you to normalise. There are also 2 audio standards commonly used (+4 and -10) for consumer and pro audio.
[garyh357] “Ok, above I said “All digital audio devices and media support up to 0dBFS and no more…” Let me prove this point. We all know that digital signal is made up of ones and zeros and nothing more. 0dB is simply all ones and no zeros. For a tape to require headroom, it would have to be analog. The tape itself can’t know whether it is holding ones or zeros. It doesn’t say “oops, there’s too many ones here”. All digital tape formats can hold all ones without zeros, it’s just that simple. Digital tape can’t clip or distort. For there to be distortion in audio on digital media, the distortion had to be there before the file was copied to the media. The tape, or other media, is simply a container, like a shelf. It holds the bits, like books. No audio is actually being recorded to the tape, just bits of data, and data can’t clip”
no, digital can distort. if you record onto it, certainly it will distort, if it’s a straight transfer of file then it won’t.
Cheers
Alexander