Bouncing Account needs new email address
Forum Replies Created
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[Tom Matthies] “try feeding the AJA with a stable video source, such as black burst into the composite inputs rather than the component output from the beta deck. Then just capture the audio portion as you normally would.”
[Matte] “Try this:
Disconnect the Beta’s video from the AJA (maybe send some other stable video source into the analog video input instead of the Beta’s video… just for this dub).”I detect a “trend” forming.
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[Walter Biscardi] “All I can tell you is that when I was using BetaSP all the time for Capture, this issue would pop up at least once a year and it was always a result of completely blown out whites in the image.”
My comments where it direct response to what you said before:
[Walter Biscardi] “That’s why you’ll occasionally hear audio breakup when watching local commercials because the whites are too high.”But in PRODUCTION (not broadcast or cable-cast) it is simply not possible to distort the linear audio track on a video tape from over-driven video.
They are not related.
Again, if you have audio problems related to video on CAPTURE, I would look to the CAPTURE SYSTEM as being the “link-in-the-chain” adversely affected by the hot video in these cases.
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[Francois X] “It’s like a cam running on the still (like in the old days) rather than a still moved under a cam.”
I think you’re “romanticizing” this option just a bit.
Its not quite that “special”.(BTW, there is no difference in the appearance to the “audience” if you choose to rotate a photograph under a camera or rotate the camera shooting a static photograph.)
Think of the “anchor point” as a “push-pin” stuck into a given point of your image.
You can rotate the image around this “push-pin” even if it is not “stuck into” the geographical center of your image.
For instance, if there was a clock-face seen in the lower 1/3 of your image, you could set your “anchor point” in the center of the clock and rotate the entire image around the center of the clock-face.
In some DVE systems an anchor point can also be applied to the “Z axis” so the image will rotate around this point in “free space”.
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[Jon Zanone] “What are you folks doing?”
Well, right now, I’m sippin’ a cool one, savoring a stogy, and readin’ a Grisham.
But if you’re talking about “setup”… no thanks, I’ve been trying to “cut down” a bit.
Digital does not use or need setup.
If you shoot and edit in digital, don’t add setup.
Don’t ever “add” it UNLESS and UNTIL you finally take the project on the last step to an analog format (if ever).
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For reference, it is generally legal to re-sell commercial software (the original, not a copy).
Consider that all of the legitimate “USED CD and GAME” stores are doing the same thing.
If an individual copy of manufactured software is actually a “commodity” (dictionary.com defines as: “Something useful that can be turned to commercial or other advantage.”) then it has a “value” as a distinct “thing”.
That “thing” can be owned by an individual.
That individual has the right to “transfer ownership” of that “thing” (sell, give away, bequeath) to another individual.
If you substitute “car” for “thing” above, you get the idea.
Wouldn’t carmakers love to make it only legal to sell a new car to the original buyer and make re-selling it a crime?You can also substitute “license” for “thing”. In that case, the “use license” becomes the commodity.
No, if software makers expect to put a “value” on EACH COPY of their product and force individuals to purchase a “separate item” of it for his private use, they must also agree that it can be transferred from one end-user to another.
The unique issue here is that it is not possible “copy” a fully usable car and sell the copy.
So with software, the legality hinges on that the person who transfers the ownership must NOT keep a copy himself or sell YOU a copy (and he keep the original).
(There are provisions for a “new owner” to re-register software).
— Not a lawyer, but I watch them on TV 😉
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[DKD] “The dubbing house I use junked their 3/4″ about 6 months ago. I didn’t even know where I could buy a blank tape, but I found an old tape in a storage box and borrowed an old BVU-800 that a friend had stored in an attic. Wow did that bring back some old memories. Chilling.”
I have 3 Umatic “boat anchor” decks in my basement.
But I still have stacks of old 3/4″ archive tapes.
Who has the time to DUB ’em all?Hours of one-inch reels, too!
One-inch decks can be found on ebay for a couple of hundred dollars each… but the SHIPPING will kill you. -
Lots of incorrect assumptions here, but nothing we can’t overcome 😉
1. When you captured your VHS via a DV camera, you converted the signal to DV.
2. An hour of anything from DV is ALWAYS about 12-14 GB. That’s the DV compression rate.
3. You can’t use other compression settings to capture from a DV camcorder and end up with a “smaller file” that would give you “usable” quality.
4. If you want to create a video DVD (one that plays on a standard DVD player).
You will need to burn the DVD via a program like iDVD, or Toast (many others) that further compresses the audio and video to the “DVD format”.
An hour of this will easily fit on a 4.7 DVD with room to spare.
5. If you intend to access this footage for a later edit, your best avenue is to copy to a DV TAPE and save the TAPE for editing.
This will be much better quality than the DVD as the compression will only be “5-to-1” (DV) and the DVD will be a much greater compression.My advice is to go ahead and make your edits to this footage in FCP, output the edited timeline back to a DV tape (and STORE that).
After that, if you want, you could burn a DVD of the project as well (for reference). -
[Walter Biscardi] “Yep, if the video levels in the feedback get up to around 120IRE or so, you’ll get some bleed into the audio track. That’s why you’ll occassionally hear audio breakup when watching local commercials because the whites are too high.”
Whoa, there. “Apples-to-oranges” comparison.
This explanation (“bleed into the audio”) is only applicable only if the material was being BROADCAST, for gosh sake.
With on-air and cable TV, the video and audio are MODULATED together in such a relationship (“RF offset”) that if the video gets overdriven it can cause artifacts in the audio when the TV receiver attempts to reconstruct the signals.
BUT, on analog video TAPE, if the audio is on the linear (Ch.1 & Ch.2) tracks, they have NO “CONNECTION” or interaction with the video tracks at all.
Especially because the video is a modulated RF signal recorded by the rotating heads, and the audio is standard “audio tape analog” recorded on one edge of the tape and played by separate stationary heads. (Yes, without video and control-track the audio would be unstable, but that’s a different matter.)
If this is BetaCam SP and you happened to be using the AFM (“Hi-Fi”) audio tracks (Ch.3 and Ch.4), those channels ARE recorded “ALONG WITH” the video by the rotating video heads.
But its still not likely that “over-driven” video would cause audio problems as the two portions of the signal are processed in different manners from each other.And many times the AFM tracks of BetaSP are not even used.
I don’t know where the problems you have with your video tape are coming from, but unless this was recorded off-the-air (and/or the audio was “bad” EVERY TIME YOU PLAY IT) its not “colorful video” ruining the audio “directly” (see below).
[Mo] “I can just play the tape and all is well, but log and capture is a no go on quite a few of the clips.”
I assume you have the Beta connected to FCP via the AJA io.
The wild video MIGHT be causing some odd behavior in the AJA (similar to, but not the same as, my “broadcast” example).Try this:
Disconnect the Beta’s video from the AJA (maybe send some other stable video source into the analog video input instead of the Beta’s video… just for this dub).
See if that clears this up. -
My guesses in order of most-likely:
Low Battery in transmitter.
Overdriving preamp (turn down mic input level on transmitter).
Low Battery in receiver.
Bad antenna connection.
Slightly off frequency.
Slightly too far distance. -
Just choose:
File (menu) > Export > Using QuickTime Conversion…
> Format: > AIFF Options: > 48 kHz, 16 bit, MONO.OR-
Duplicate your timeline.
On the dupe select ALL of the audio clips you want to export.Modify (menu) > Audio > Pan Center.
Export that timeline which is now already mono.
It won’t matter if you choose “Stereo” or “Channel grouped” as all tracks will be on both channels.BUT-
I don’t see how your composer would have any trouble at all using a “stereo” dialog track as a reference, anyway.