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Well, the REAL suggestion is that you do NOT do this kind of shoot without getting signed legal talent releases from each and every person in the club (at least for those who end up in the spot).

If you “pan the folks at the bar” and one or two of them decide to sue for showing them in a place where they would NOT want to be shown (happens all the time) you can be named in the suit.

Don’t take the, “Its OK, all our customers LOVE us…” line of thinking.

(You never know who is out with the “wrong husband” on any given night.)

Just a thought.

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[R. Hewitt] “Over a 150 feet! Not recommended at any time but if it works for you that’s great.”

That’s why I mentioned it.

These were outside, on-the-ground FW cable runs (pro baseball stadium).
We hooked two 75-foot FW cables together for the longest run to the far camera.)

We had a waveform monitor and vectorscope connected.
No quality loss at all.

With digital, either you HAVE a signal, or you don’t (unlike the slowly-diminishing chroma and luminance levels with longer analog runs).

Its pretty amazing what’s possible for so much less money and less gear these days.

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[brianluce] “one of our editors has postulated that the aluminum foiled backed insulation that covers the ceiling and walls of the studio is the culprit. something about electrons. That sound feasible?”

Uhhhh,

no.

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We connect all of our cameras via long FireWire cables (we have run up to 150 FEET and had no problems.)

Although there IS a built-in delay for audio on the switcher, we keep the audio in perfect sync with the digital video by sending our audio mixer’s output (via XLR cables) to one of the CAMERAS’ audio inputs during the shoot so the audio comes into the switcher along WITH the digital video from that camera.
I thought of this method on a baseball shoot where the temperature on the field was over 100 degrees and we didn’t want to “fiddle” with trying to find the right amount of delay.
It was such a simple “remedy” that we now just use it all the time with this switcher.

Note: We have had some problems with the SDI output on our particular switcher (odd artifacts) so we use other outputs instead.

Since you’re starting out with DV resolution, you might just stick with FireWire and record to a DV deck or just use ANY small DV camcorder with a FW input.

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[Eddie Torre] “Final Cut Pro>User Preferences>On timecode break: Make New Clip”

This is not a method I’d recommend, given the tape that was described.

This procedure has been generally more unreliable and you “lose” quite a bit of footage at every “break” (not good if a non-pro has shot the footage and wants the beginning of almost every shot.)

Plus, if you want to Batch Capture, FCP will not be able to comply, as there are numerous sections with identical TC.

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Turn off your External Monitor

View (menu) > External Video > Off

and you can view a rough preview of the motion in the FCP Canvas window on the computer monitor.

How “much” preview you’ll be able get depends on which computer you have and which quality settings you have selected.

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No, but a FireWire copy IS standard procedure to correct this problem.

You do NOT need to dub to a “striped” tape.

Just hook two camcorders (or decks) together via FW and just make a full new copy of the “broken TC” tape to a new DV tape.
Then, only capture and edit from the copy.

99% of all camcorders and decks will NOT re-dub the original TC, but simply generate new continuous TC on the new tape when in the record mode.

If your friend gave you edit marks based on the original tape’s bad TC, you can have him/her give you new instructions based on the new copy.

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[nleonidas] “never picked up the book..”

This is not a BOOK. Its a 2 minute essay on how to use type in thye DV codec.
That’s why I gave you the link.

Here it is again.

If you can invest 2 minutes to read it, it might explain a lot of your problems.

https://www.creativecow.net/articles/hodgetts_philip/titles/index.html

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Are you checking for QUALITY only on an EXTERNAL video monitor (and NOT on the computer screen?

AND have you read the following?

Great Titles with the DV Codec
By Philip Hodgetts

https://www.creativecow.net/articles/hodgetts_philip/titles/index.html

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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 on how to do this.

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/