Bouncing Account needs new email address
Forum Replies Created
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THE FOLLOWING COMES FROM THE KEN STONE WEBSITE:
“Over 5,000 years ago Confucius wrote: ‘If you are toiling away, you have changed nothing and FCP heads South on you, [starts behaving in strange ways] then it is time to trash your FCP Preferences.’ ”Click the following link for instructions.
https://www.kenstone.net/fcp_homepage/trashing_fcp_prefs.html
A great way to do this is to use “FCP Rescue” a free Apple Script that will Trash the Preferences for you (and restore nearly all of your user settings afterward).
There are versions for FCPro & FCExpress.Download these free Apple Scripts at
https://fcprescue.andersholck.com/
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This is the link:
https://docs.info.apple.com/article.html?artnum=301852
It seems to help most people with this problem.
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While background hum and certain continuous-type noises are relatively easy to isolate and reduce with special digital filtering…
Reverb/Echo is one of the most IMPOSSIBLE-to-fix of audio problems, second only to severely CLIPPED (over-driven) levels.
“EQ” won’t do it.
Its reverb (repetition) of the PRIMARY audio… the same frequency that you want to KEEP.The “Noise Gate” is probably the best choice, but it will surely PUMP if its set high enough to have very much effect on the reverb. (So it could end up making many tracks sound worse.)
Whatever you try will adversely affect the overall QUALITY of the audio being “fixed” and be very noticeable to the listener (especially compared to any “good” audio in the same production).
The best choice is to re-record the audio with actors in a quiet studio.
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My first guess is it sounds like you have a loose connection (bad solder joint or slipped board-end connector) on the input to the headphone monitor amp inside the camcorder.
If so, you should have it professionally repaired by an authorized shop.
A quick workaround (until you have it fixed) would be to use the camcorders XLR audio output to connect your headphones.
According to the spec sheet, you camcorder has a 5-Pin XLR with both audio channels output there.You could get a 5-pin XLR plug to fit into the camera and connect it to a mini-jack (to match your headphone plug) using the proper pins inside the XLR. (Pin 1 is always the shield. I’ll guess Pins 2 & 3 would be for Ch1 out. Pins 4 & 5 would be for Ch2 out.)
You would not be able to adjust the level to your headphones using this output, but there should not be any buzzing on these outputs.
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[Chris Poisson] “Just use a cross dissolve.”
You missed this poster’s first question (another thread).
He doesn’t have any extra media for “handles” on the clips.To ghetto3jon:
You must have “handles” (“extra footage”) on one or both of two adjacent clips to allow a dissolve (or other “Mixing” transition).
So, assuming you wanted a 1 sec. transition between any two ten-second clips:
a) You’d need at LEAST 11 seconds total length (one second of “extra footage”) on the end of the FIRST clip
b) Or, you’d need at LEAST 10.5 seconds total length on BOTH clips (half sec. of “extra footage” at the end of the FIRST clip, and half sec. of “extra footage” at the beginning of the SECOND clip.
c) Or, you could make the “Out-point” several frames EARLIER in the first clip and/or make the “In-point” several frames LATER in the second clip and the transition could then be the length that you moved the point(s).
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You could make a STILL-FRAME of the last frame of your first clip and dissolve THAT out for as long as you want.
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Change the SPEED of your clip(s) (slow-mo) and that will allow for a longer dissolve length.
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If you don’t want to build or connect anything, just connect a Phone Headset and wear it during the recording session.
Your voice will be heard perfectly and you can hear the producer.OTOH,
If you have a “pro” mixer with 600 ohm balanced LINE-LEVEL output(s) (2 conductors and a shield) you can simply connect one of those outputs to the phone line and the producer on the other end will hear your mixer’s output perfectly.Build a cable that will fit the mixer’s output on one end, and the phone line (as follows) on the other.
1. Phone line RED: connect one conductor of the 600 line feed.
2. Phone Line GREEN: connect other conductor of the 600 line feed.
3. Leave the 600 line feed SHIELD unconnected.First, make the phone-call (or answer the incoming call).
Then, connect your new cable.
Test and adjust the level so its comfortable to the producer on the phone.Begin the session.
[You should still wear a phone headset (with its mic muted) and hear your audio send (pretty loud) and the producer talking (less loud) during the session.]When finished, unplug the audio patch cable from the phone line, say goodbye to the producer and hang up.
If you know anything about electronics and parts, it would be slightly better to DC-isolate your board from the phone-line by connecting an electrolytic capacitor in series with the cable and the red phone line.
Any small polarized electrolytic will do. Here’s one at Radio Shack:https://www.radioshack.com/product.asp?catalog%5Fname=CTLG&product%5Fid=272-1017
220mfd 35v $1.29 (You can choose another small ELECTROLYTIC capacitor if RS is out of this one, it doesn’t really matter.)
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This sounds more difficult thatn it is, it takes just a very few seconds:
Put the original raw footage in the Viewer.
In the Viewer’s TC window, type in the TC you want. The clip will jump to that frame.
Mark an IN point (hit the “i” key) at that point on the clip.In the Timeline, mark the IN-to-OUT (hit the “x” key) of the clip you want to replace .
Replace the old clip with the new clip.
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[celeste] ” why when accessing a project file in FCP autosave vault, it is necessary to reconnect media and re-render.”
I have never had to do this.
What version of FCP?
What Mac System?[celeste] “Would it be best for her to work with a smaller image size?”
Smaller than WHAT?Answers to your questions require that you provide much more information.
If I asked you how much money I needed for a cab ride, what would you tell me? 😉 -
What happens when you PLAY a “good” tape in the camcorder?
It needs to be a tape that was recorded long before the hum was noticed.
Make sure the “good” tape’s audio has no hum by playing it in another camcorder or deck.Next, on your “humming’ Sony 790:
1. Play the “good” tape and listen with headphones from the camcorder’s headphone jack.2.
a. Connect the camera’s audio output jacks to an audio mixer.
b. Play the “good” tape and listen to the audio mixer through headphones.3.
a. Leave the camcorder connected to the audio mixer.
b. Take out the “good” tape, and put in a BLANK tape.
c. Switch to Camera mode and start recording on the tape using the on-camera mic.
d. Listen to on-camera mic through the audio mixer and headphones.Please post the results so we will all know at what point the HUM comes in.
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[nicolas] “this effect is often seen and i do not comprehend why i cannot get what i want.”
Where and under what conditions do you see this done?