Bouncing Account needs new email address
Forum Replies Created
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[Craig Moss] “I want to be close enough to use the on-board mic.”
For WHAT?
Natural sound like engine noise or welding hits? No problem.
Interview or on-camera voice? Not so much.
Its nearly always (no, make that ALWAYS) better to use a lav mic or a boom mic for picking up on-camera voices under studio conditions.
The on-camera mic is better-suited for “general” sounds.
And sitting the camera close enough to pick up an on-camera interview will cause “fish-eye” distortion in the image and virtually unlimited depth-of-field (not a good thing, if you want a better-composed shot.)
Camera operating noise will also be a problem.Sorry, but if you shoot sync-sound dialog with the on-camera mic, you’re going to be judged as an “amateur” or “guerilla shooter”, true or not.
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[Craig Moss] “is it possible to split the signal and use a small monitor that is color accurate and a larger cheap but decent one for the group?”
Yes, if you’d like.
Send the composite (RCA) output to one monitor and the S-Video Output to the other.
And/or, truly professional monitors have a “Bridging” input so that you can loop a second monitor “through” the first one.
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Simply add another Video track above the 4×3 footage on your timeline.
On it, edit the “Slug” and mask out the center area to the 16×9 aspect/position you want (with Mask Shape > Rectangle > Invert).This will allow an easier way to “slide” the image around (you’d actually move the clip itself with the Motion tab) and the mask will just sit, positioned properly, on the track above.
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First thing to always try is to Quit FCP, Restart the Mac, Open your FCP project and try again.
Next:
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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[Lauren] “I just bought a dvd recorder and I hit print to tape using a fire wire cable…the dvd player/recorder is not recognizing it”
1. There is no timecode coming back from the DVD recorder for FCP to recognize.
2. The DVD recorder can’t “emulate” a tape-roll either.
3. The DVD recorder is actually designed to be the CONTROLLER of the INCOMING DV device (in this case, FCP) and so that’s why there is no “recognition” of either device.The “play it out of the Mac as you record it” via analog connections (as suggested) is one good solution.
OTOH, my work-flow is to output the FCP project via FireWire to a DV tape (I keep my projects on tape masters and I like to have an exact copy of the version I’m sending the client, anyway.)
Then, I connect a DV deck or camcorder to the FireWire input on the DVD recorder and let the DVD recorder control the DV device and make the copy in ALL DIGITAL from the tape in real-time (as I continue to work at the Mac on other things.) -
My suggestion is to not make this change in the first place.
Just listen via the deck/camcorder as FCP is designed.
(Hedadphones are a good way to do this.)
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The audio is, by default, MUTED to the Mac’s speaker output during Log and Capture.
You should normally monitor the audio directly from the camcorder or deck you are using to capture (it is the preferred method).
CAUTION:
Many people have reported that noise or “pops” appear in the captured clips if the Mac’s internal audio is left on WHILE capturing… so may want to choose “Off During Capture.”However, there is a way you can turn ON the Mac’s speaker if you really WANT to:
Final Cut Pro (menu) > Audio/Video Settings… > Capture Presets (tab)
“Duplicate” the Capture Preset you are now using, when the window opens rename it (I added “MacAudioOn” to the file name).
Click open the “Advanced” button in the Audio section and turn speakers to “ON during Capture.”
The Mac speakers/audio-out will now play Audio during the preview in the Log and Capture window. -
[mike wavrecan] “in Picture 1 the color is correct and the vectorscope reading is on a 20 degree angle to the left.
in Picture 2 the color has shifted and the vectorscope reading is on a 5 degree angle to the right.I have tried all of the color corrector filters and i cannot find any that will allow me to alter the vectorscope on an angle to match the origianl color.”
You can’t possibly want the vectorscope to just read the “SAME” on different sections of film.
If you DO, then all you need to add is a filter that allows you to adjust the “Phase” (that’s the “angle” reading on the vectorscope).The chance that the aged film has generally shifted only in PHASE is very slight.
I suspect that what you REALLY want to do is actually change the color BALANCE (add blue, subtract red, add cyan, subtract violet, etc.)
This might require dynamically adjusting (for instance) the 3-Way Color Corrector (3WCC) on a second-by-second (or so) basis.You can attempt to locate what would be “key-frames” of the best looking section (as you did) and then the worst-looking in relationship and “slice” (add an edit to) the clip in-between these two color conditions.
If you know how to use the “WHITE, MID, BLACK” eye-droppers in the 3WCC, do so and then place a relatively long dissolve on the cut you made so the changes will “ramp-in” along with the film conditions.
Repeat until done. (Its going to take awhile,)
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Kind of basic stuff, here.
Connect the cassette player’s outputs to the audio inputs on the Canopus.
Capture in FCP “Audio Only” with “Non-controllable Device” as your source control.