Bouncing Account needs new email address
Forum Replies Created
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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 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.
Also:
If this problem persists, try making the VIDEO clip OFF-LINE (trash it) that is positioned “over” this audio problem, and then re-capturing that video clip to see if that helps. -
If you encounter what you think is a “too-long-render”, did you ever stop it part-way in and then start the render again.
I do this, and many times find that it will jump to a much faster render speed (no, and not just because it has a “shorter way to go”.)
This is actually MY further question about this.
Does anyone else encounter these “dual-speed” renders?
BTW, if you’ll consider that a flop repositions each and every pixel it might take a bit of time to render.
And weekends have a rather low-readership on the COW, so the answers may be a bit sparse.
(Probably due to fewer cowhands sittin’ around waitin’ for RENDERS to finish!) -
[tony salgado] “Grand total 80-100 rate card minus the discount from the rental house.”
In missing my point, you’ve proved its real value!
(That’s how this thread got started.)
Many pros don’t want to “hassle” with gear that didn’t come from the big-boys’ shops, and that’s cool.
But lots of us who shoot with PD-150s (and the like) find that it can be advantageous (and s bit of fun) to be “creative” when it comes to production gear.
Of COURSE you can rent good com-gear. Maybe even for $80 to $100…
But you’d have to pay that EACH TIME you needed to rent this setup.
Over time, that adds up pretty fast if you do two, three, or more of these in a year.
My whole telephone-com set-up — to BUY — cost less than $100 for:
3 cordless phones ($8-10 each, used)
6 wired headset phones (new @ $5 each from Target), hundreds of feet of telephone “base” cables with plugs and “Y” adapters to jump them around (all from the DOLLAR store).And a good-sized carry case/director’s base station (sturdy tool-box from Walmart) IN which I built the power supply (plus it stores many of the cables and several phones for toting to and from the events.
So, if I might need a two or three com-station set-up, (a two-cam “quickie”) I just throw this “telephone tool-box” in with the rest of the gear.
And now, its costs me “zero buckos” for my com-sets for all events for the next several years.
If you don’t think that’s a good deal, so be it.
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Very simple.
Export > Quicktime Movie > “Make Self-contained”
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Whoops, you SAID animation.
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Yeah, what Craig said.
And here is my reply from over on the Event Video Forum:
Does this “mask” need to MOVE a lot?
Why not just create the mask and put it on a video layer above the other footage?
You would be able to keyframe some “moves” on it.
Much faster than doing a frame-by-frame. -
What was it SHOT on?
If its DV, it will never get “better” than DV regardless.
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Wrong forum or not…
Does this “mask” need to MOVE a lot?
Why not just create the mask and put it on a video layer above the other footage?
You would be able to keyframe some “moves” on it.
Much faster than doing a frame-by-frame. -
Sure.
IF… you can turn on and use ALL of the satellites at the same time (like extension phones).
The cordless phones we use are various brands and are “multi-channel” types (10 channel is common).
They do not interfere with each other because they each will automatically locate and switch to a “clear” channel that is not already being used by the other cordless phones already “off-the-hook” in the same room.You can use any telephone (having a headset option is, of course, the best idea) that can be connected and used with a standard telephone wall box.
No hocus-pocus high-tech going on here…
This whole telephone-as-intercom thing works just like picking up multiple extension phones in various parts of your house at the same time… everybody can talk freely with everybody else.Its how I built my first communication rig in High School, for tech-intercoms at school plays.
Under “normal” shooting conditions, just about any phone has enough of volume.
But if you are shooting LOUD music concerts, you will want a headset phone that has a built-in amplifier and volume control. -
[Michael Raff] “under what circumstances I would uncheck the “options” box”
One reason is, if you wanted to bring in new versions of your clips that you did not want to conform to presets that you made on the initial capture.
With cetain capture cards (but not with a direct FW capture), you can set input levels and other presets during import.
These will be “remembered” and used on subsequent captures.If you decided to change these settings overall, you could re-capture any or all clips with the new (FCP calls the “current”) settings and ignore the original ones.