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I’m going to say that anyone who is “blessed” with working with wireless MICS every day is not going to want anything to do with a wireless CAMERA.

YIKES!

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[Pinner] “Some say not to peak above -9db some say -12.”

“Some” and “some” are both right, if they are consistent within the project.

So pick one peak level and stick to it.

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You want to avoid the FCP “built-in” title genrators.

Use the Boris Titlers INCLUDED with the FCP install discs.

Title Crawl will “roll” or crawl” titles.

It can be a bit “touchy” but it works much better than any built-in FCP text generator.

You can create titles with borders and shadows with Boris.

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A slow hard drive (external FireWire drives can sometimes be slow, or using the “System Disk” on the Mac for capturing can cause problems.

You might have a corrupt capture file or two, if the problem persists after you try the following, try to recapture the “bad” clips.

There is a function in FCP that is often overlooked… and it can help with many audio and video “skipping”, “sticking” and “missing” problems.

You should “Mixdown” the Audio for playback before you dub out of FCP, or during the edit, if you have audio/video stuttering, drop-outs, sync-slippage, or freezes.

NOTE: Mixdown has even been demonstrated to help with slipping, skipping problems (or “missing” audio clips) for files being EXPORTED as QT (or similar) files out of FCP.

First, SELECT ALL of your audio tracks (highlight them) on the timeline, then:

Sequence Menu > Render Only > Mixdown.

You should see a dialog box telling you its rendering.

It might seem to make little sense that “Mixing down” even simple audio tracks will “fix” complex video “freezes” or random audio dropouts to tape or export, but it CAN.

NOTE: It does not matter of you only have one audio track, if there are random freezes during output, you should try the Mixdown.

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The Sony DSR11 is the “WORKHORSE of the industry” for edit-bay DV decks.

It has the advantage of being able to play and RECORD DV and DVCAM speed.

It will also play and RECORD in the PAL format (if you have a PAL source).

And it has been tried-and-true in hundreds (thousands?) of bays for several YEARS.

The JVC is really an “unknown quantity” at this point (no user reviews that I can find).

But, you simply can’t go wrong the DSR11.

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So the burned-in TC on the IMAGE is NDF, and the TC recorded on the tape itself is DF?

Or is it the other way around?

One answer that comes to mind is to DUB the tape to make a copy that has the RIGHT kind of TC to match the burn-in.
You’d need an editing deck.

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I can’t understand that.

There is nothing “special” about either kind of TC… its just a string of consecutive numbers applied to consecutive frames on a tape.
(DF leaving out certain numbers at the “top” of many minutes.)

Does your M100 CHANGE the TC numbers on the incoming tape?

On DV, the TC is “part of” the digital frame (not a separate “track” like in analog).

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DV 24p is still just a standard DV tape and signal (as you suggested).

IF the tape-heads are properly aligned AND the Z1U CAN play a standard DV tape, you’re go to go.

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[Jack Shepard] “Media 100 will only
allow you to import in Drop Frame (there is no way to adjust it) so I can’t keep the TimeCode in synch.”

I have never heard of this.

Virtually all edit systems work with either DF or NDF TC and can do so on the same timeline.

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This is excellent news!

I’ll take 2 dozen glazed, and half-dozen chocolate iced.

Can I run a tab?