Bouncing Account needs new email address
Forum Replies Created
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Soft Focus can have lots of meanings.
The “Gaussian Blur” filter can do much (usually TOO much) to soften the image, but if that’s what you want, its right there in Effects (tab) > Video Filters > Blur > your choice.
If you want a “dreamy” look (like a “ProMist” Tiffen Lens filter, there a sevaral choices.
Eureka! Filters has “Silk Stocking” which is very nice.
https://www.kafwang.com/eureka/EurekaMain.htmlCHV has “Silk and Fog” which I like, too.
https://www.chv-plugins.com/And Joes’ Filters has “Joe’s Diffuser” and others.
https://www.joesfilters.com/ -
Nothing “ghetto” about it. (What an odd thing to say.)
Applying a black color matte (or slug) to a new layer above all the other video layers and dissolving to and from it IS the correct method for fading in and out of multi-layer sequences.
The Avid “fade-to-color” on the top track is exactly the same thing.
This is a virtual version of “down-stream black” that is a mainstay feature of the “live” video switchers of analog editing.
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Just drop them into the timeline.
You may not have ANY problems with sync.
The 32 KHz vs. 48 kHz “problems” are not a “given”.
The thing that nobody seems to remember is that TIME (minutes, seconds, frames) is what determines the real “length”.
And whatever the SAMPLE RATE, it was still based on SECONDS (32 kHz per SECOND, 48 kHz per SECOND).
So, a 10 second clip with 32 kHz audio samples is still 10 seconds LONG on a 48 kHz timeline.You WILL need to RENDER the 32 kHz audio (choose audio to play/render at “High Quality” in the settings) but there’s a very good chance that you will have no ill sync effects from using the 32 kHz clips.
If you DO… just “slice” (razor blade) the audio track(s) during pauses and slide the track(s) back into sync with the video.
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[Tom] “Line is for a line level ! You have a mic use the mic level.”
Well, this is not exactly good logic in all cases.
Many wireless mic receivers have a LINE-level OR MIC-level output (some switchable between line or mic, and some not.)
Looks like this particular Wireless receiver output HAS a “Mic/Line” switch.https://www.musiciansbuy.com/SAMSON_UHF_SERIES__1_AT831LAVELIER.html
Connect the receiver to the camera input.
If you set the camera to “MIC-level”, switch the Wireless Receiver’s output to “Mic.”
If you set the camera to “LINE-level”, switch the Wireless Receiver’s output to “Line.”
(In many cameras, the LINE level will be less noisy (less hissy), so if the wireless & camera sound better with the LINE settings, use them.)Put on some good HEADPHONES connected to the camera to test and wear them DURING the shoot.
To test: With the talent (or a stand-in) speaking normally, switch the Wireless slowly between the -30, -20, -10, 0 settings on the Mic and observe which gives the best, undistorted and less-noisy audio.
That’s your best setting. -
If you’re sure you don’t have the track on the timeline locked, and that both columns of V1, V2, V3, etc. are lined up correctly on the left side of the timeline…
1. Quit and Restart FCP, try it again.
2. Trash the FCP Preferences, try it again.
3. On the offending Clip(s): Make Offline (to Trash) then Batch Capture clip(s) again. -
[Tom Matthies] “Don’t tell anyone, but I even run our SDI sources,(Digibetas, DVC with SDI cards, and the two other Avids) through analog patch bays. The runs are fairly short and it works.
Shhh…”No need to make this a “hush-hush” idea.
Using 75 ohm coax cable for SDI is just fine, and an “analog” patch-panel is built for that cable.
There are plenty of machine room patch bays with SDI connected just this way.
There is nothing “magical” about something that might be called a “digital cable” anyway.
The “high-end” cable scams run rampant. -
[klthomas] “So 240w max, 20 amps”
Well, no, not 20 Amps. (The POWER CORD is only rated to 10 Amps.)
If you are in the US, assume approx. 125 VAC 60 Hz as your wall outlet power source.
So, 20 amps at 125 volts AC would be 2500 watts! (That’s about the power drawn by four or five standard Colortran stand lights, and you know how HOT those would be.)
Actually, 240 watts at 125 volts AC would be about (under, actually) 2.0 (two) Amps (which is about right for modern electronics with motors and lots of circuitry.)
As I indicated earlier, the VERY WIDE range of voltage and AC frequencies that are acceptable to the unit mean it can operate under some pretty “odd” power conditions. I think the UPS you linked to looks just fine.
Just for info purposes, “Watts Law” is actually very simple. If you know TWO of the values, you can compute the THIRD.
Watts = Volts x (multiplied by) Amps
Amps = Watts / (divided by) Volts
Volts = Watts / (divided by) Amps -
[raju] “if I use the audio on the export is that as good as using the original audio even though it’s one generation later? Or because it’s digital, it should be the exact same quality?”
Yes.
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[klthomas] “I’m wondering if the large torque motors for reel takeup would cause instantaneous power draw problems, say too much current draw when hitting rewind ect.”
Don’t wonder too hard about this. 😉
A pro VCR is not a table saw.
The motors are electronically controlled and ramped-up, and powered from an internal voltage supply (NOT capacitor-started and NOT directly-connected to the AC power like power tools and air conditioning compressors.)As was stated, just look at the power consumption number on the rear plate.
This should be the “worst-case” consumption if only one number is given.The square-wave issue may not be bothersome.
These units have very good filtering as they are built for world-wide use, sometimes under some pretty poor power-source conditions.
Still, if you want to be cautious (always a good idea), just eject the tape and then shut off the recorder when under a power-failure condition. -
I didn’t mention that it is RECOMMENDED that you ALWAYS have an EXTERNAL Video and Audio Monitor connected to FCP.
This means that you would see and hear via the source CAMCORDER or DECK (and not the Mac).
So the audio that’s coming from the “little speaker from the camcorder” as you call it should actually be connected to your monitor speaker system during capture and editing.Monitoring FCP on an external video/audio monitor:
Mac > Camcorder > Monitor.Here’s how to connect it:
1. “Quit” the Final Cut Pro program.
2. Connect your camcorder to the Mac via FireWire.
3. Hook any standard monitor or TV (with a video input) to the outputs on your DV camcorder.
You can use the standard (usually colored yellow) video cable or the “S-video” output from the camcorder if the monitor has one of those kind of inputs.You should ALSO hook up the AUDIO outputs from the camcorder to the same monitor, or any “amplified speakers” so you can monitor the FCP audio along with the video.
4. Turn ON the camcorder. Switch it to the VCR (player) mode, but don’t put a tape in it (unless you intend to record from FCP to a DV tape.)
5. Turn ON the Video Monitor and set to view the “Video Input”.
6. Open Final Cut Pro on the Mac.
7. In FCP, make sure under the pulldown menu: View > External > ALL FRAMES is set.
You should now see the output of FCP on the camcorder’s viewfinder screen AND the external monitor.
You will also hear FCP’s audio from the speakers that you connected to the camcorder.
If you want to be able to “switch” the amplified speakers from monitoring the audio from the Mac and the Camcorder /Deck, you can use and A-B switch, “Y” cables, or an audio mixer.