[Andy Bernstein]

P.S. I just tried something. I copied the -20db track and pasted it below itself. That resulted in bringing the levels up to -20db. So does that mean that when I bring my audio into FCP, I should copy and paste the audio track every time before I start editing? Or is there something else I should set so that these mono tracks play at the right level without doubling them up?

[Andy Bernstein]

How would I check?

[Andy Bernstein]

They are 24bit 48KHz wav files. They play out fine in other programs. I can’t figure out why they get lowered in FCP. It’s not the end of the world to always bump the gain up, but I’d like to figure out what’s happening if possible.

[Andy Bernstein]

Yes, I did try removing the pulldown using Compressor. I basically follow this sequence:

https://blog.abelcine.com/2011/08/19/simple-workflow-for-removing-23-pull-down/

(Though I use ProRes 422 instead of ProRes 422 HQ)

It usually works fine. But in this case, something about this particular clip and aberrations in the capture have flummoxed things. I still have the original clip with 2:3 interlacing, but no matter what I do, I can’t get the pulldown out cleanly. Compressor and JES Deinterlacer both produce clips with interlacing. I think I’m going to have to re-record on Monday to fix this, unless anyone has a better idea.

[Andy Bernstein]

Dave, a quick follow-up question: When I re-edit, is there a way to still use this footage? How can I correctly remove the pulldown this time? JES isn’t an option because the clip has a 28.62 frame rate, and Compressor seems to mess up the removal. Do I have to reshoot, or is there something I can do to get the pulldown out of this clip? I tried changing the frame rate and then running it through JES, but that didn’t get rid of it. Any ideas?

Thanks again.

[Andy Bernstein]

Thanks for the response. I was afraid of this. I thought that because I did do pulldown removal first and then edited, and then found out that the pulldown removal wasn’t exactly successful, I could do it successfully and then reconnect media to the properly de-telecined clip. But I guess that if the first pulldown removal didn’t work, I edited footage with pulldown in it, and so I have to start over. Lesson learned, and I’ll make sure I check the JES or Compressor output more closely next time to make sure there are no artifacts of telecining.

[Andy Bernstein]

I’m still trying to get this to work. If I switch the device pulldown to noncontrollable device, it says “To capture HDV source material, both the Capture and Device Control presets must be configured for HDV; otherwise, to capture in another format, both must not be configured for HDV.”

Can anyone help me figure out how to set up the camera and FCP so I can record directly to the hard drive (streaming) via Log and Capture instead of to mini-DV tape first?

[Andy Bernstein]

Hi. Thanks for responding. I tried this and the controls to capture now disappeared. Instead the hard drive started recording instantly and then stopped right away. Is there something else I need to do?

Also, what should I choose for the rest of the AV settings? There are so many options…

[Andy Bernstein]

Hmm. Okay, forget the Totas and let’s start over then.

Let’s say I’m using around 5′ of the green screen to focus on an upper body shot. I don’t need to light the whole width, and will matte out the rest of the shot. Keep in mind this is my living room, so I can’t/won’t install anything permanently and am hoping to find something I can just take apart and stick in a closet when I’m not using it. Would a couple of smaller Kino Flos work well? And, more importantly, do you think I can realistically make this work in my living room? Because if not, we’re talking about renting a studio and then I wouldn’t want to have bought more lighting.

Gratefully,
Andy

[Andy Bernstein]

I just noticed that there are 650w Nooklites too for $142 each plus barndoors ($40), bulb, stands, etc. I’m leaning toward the Lowel Tota kit but am curious to hear if that’s an unwise decision.