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[Johan van Oyen] ” I’m looking for a clear, sparkling. direct sound.”

That comes FIRST from choosing the proper Microphone, a trained Talent, and correct Placement between the mic and the person.
Also, the environment (noise, unwanted room reverb/echo) can degrade the sound.

Adding EQ and Compression can only improve what is first recorded properly.
If its added to a “below average” track, you’ll just accentuate the imperfections.

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Maybe I can cut this single question/single answer thing down a bit.

There is nothing special or unique about the composite output of an XL1.

Next time, send the camera’s composite output to a professional color monitor and “LOOP” the monitor’s output to the microwave. (Turn OFF the 75 ohm termination of the monitor, if it has a switch).

If you are seeing chroma and video from the camera’s output on the monitor, the microwave should have no trouble sending the full signal.

If there’s still a problem, I’d suspect the microwave unit.
They are supposed to sync to incoming video and just “pass it through” to the receiving link.

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In general, prosumer camcorders (or nearly ANY camcorder) cannot perform single-frame timelapse due to the complexities of internal editing accuracy issues.
While a FILM timelapse would reveal as “smooth” right out of the camera (after processing) without editing.
The prosumer camcorder’s tape is NOT smooth right out of the camera. (i.e. Clouds will “jerk/stutter” through the sky at a high rate of speed with the RAW prosumer “timelapse”.)

The better solution for shooting timelapse on VIDEO is to do the “RECORDING” on an outboard device rather than on the internal tape.

A common method is to connect the camera to a laptop via FireWire and run a computer program that can be set to record any number of frames at any increment you decide. (This can even work over a period of months if needed.

There are several programs to be found online that can do this.

Here’s a link for one such (Mac) product:
https://www.bensoftware.com/

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[Ariane43] “cannot capture anymore imges on Final Cut Pro”

What kind of images?

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This is a VERY frequently asked question.
If you sill always FIRST use the SEARCH POSTS feature here on the COW you can usually get your answer in just a few seconds.
But here are links to three of the more popular DVD rippers for Mac/FCP:

https://www.dvdxdv.com/
https://www.miraizon.com/products/products.html
https://www.alfanet.it/squared5/

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Hi Andrew,

I use SP for the bulk of the dubs I do and they will usually play just fine.
The only time I get a complaint is when the DVD had an “iffy” burn (bad blank?)

As a test, next time you get an SP-speed disc back, make ANOTHER dub at SP and try again.

I can’t see that an LP dub would work “better”.

It may just be that the TOC or similar was not burned “perfectly enough” on that first dub for the client’s DVD player.

SP sholud always be the best quality and easiest to read.

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Can’t believe nobody mentioned this one:
A slick trick is to connect the first (A) camera via FireWire to a second (B) inexpensive home-video-type DV camcorder with a second tape at the ready (B will be in “VTR” mode so it will “see” the video/audio from the A camcorder coming down the FW).
After set-up, power down the B camcorder until just before you need it.

Have a volunteer helper stand-by at the 1-hour point and turn on the B camera and put it into RECORD just before the tape in the A camera runs out (you’ll have an “overlap” for a couple of minutes on both tapes).

I have several inexpensive Dv camcorders that I bought at pawn shops for under $200.
These work great as secondary record “decks” for this kind of location need.

The VIDEO/AUDIO quality on the B camera will be IDENTICAL to the A camera because all you are using of the inexpensive camcorder is the “tape deck” section and not the image section.
It will appear that you simply were able to record for 2 hours on the same camcorder.

(And I’ll chime in again with the “NEVER use LP speed” for anything at any time. It is UN-reliable.)

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A good place to post this Q is on the “Apple Final Cut Pro” board here on the COW.

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In most Mac text programs just put the cursor between letters, hold down the “option” key and tap the left and right arrow keys.

This also works if you highlight all of (or any part of) your text “at once”.

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Syncing all of your video takes on separate, stacked layers is the preferred way to edit these kinds of things.
You can just stop playback at each point you want (need) a cut and click thru each of your angles, picking the one that best-fits the mood.

OR… You can “shrink” each of the video tracks (with “Scale” in the Motion Tab) and position each so that ALL tracks are visible (though small) at the same time. Depending on your system (and the number or tracks) you may need to render this temporary “split-screen” so that it will play in real-time.

This will make fast work of your cut decisions.
Each time you decide which of the shots you want in the final edit, slice it (razor blade) on both ends, and “shift-drag” (won’t slip) it up to a new, TOP video track (which will be ultimately be your “final” track.)
After you are finished making cut decisions, select ALL the clips on this TOP track and “Remove Attributes” so all the video will snap back to full size and normal position.

BTW, this is one of the most processor-dependent kinds of editing (multiple video streams).
I’m not surprised you’re having trouble attempting to do this on a PowerBook… you need more MAC to make this work faster.
Good grief, there is only so much a little box can do!