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[Michael Alberts] “Insert editing via Firewire isn’t supported by most DV decks.”

When you get right down to it, “Insert editing” isn’t supported by many DV decks AT ALL.
That goes for the DSR-45… it does NOT insert.

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[Shane Ross] “You are going to have to set the FW device to UNCONTROLLED DEVICE and manually press play on the camera, THEN capture now.”

I don’t think FCExpress HAS an “uncontrolled device” setting.

My next question is HOW can there be a DV tape “without timecode”?
TC is part of the format. I doubt that these tapes were recorded on a “DVCAM” camcorder with the TC generator left in the “wrong position” (but that COULD explain the missing TC).

My best guess is that the tapes were recorded on a camcorder with heads are not in exact alignment with the camcorder used for capture (or the capture camcorder is the one that is “misaligned”).
This can cause the TC to be partly (or fully) unreadable.

Another reason could be that the DV tapes were recorded in “LP speed” (which is nearly always a “disaster waiting to happen”).

The best hope, in any case, is to get the camcorder that SHOT the tapes and capture with THAT unit into FCEx.

Another workaround is to connect two camcorders together via FireWire and make a complete COPY of the tape(s) that don’t play TC to a NEW tape.
The new copy WILL have its own Timecode and you would be able to capture from the copy.

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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

Another method 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 FCP & FCE.

Download these free Apple Scripts at

https://fcprescue.andersholck.com/

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Just a guess.

If there are plugs connected to the audio inputs on the DSR-20 deck, unplug them and see what happens.
(This is to see if there might be an analog “loop” happening.)

Again, make sure you have nothing at all plugged into the audio INPUTS on the deck.

Then post back.

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[arty] “what’s the best way to do this ?”

The BEST way is to run a coax cable from your video out to a video input on a monitor backstage.
(Do not send any audio, let the audio operator for the event do this if they want it.)

The cable-run will be long, difficult to keep folks from tripping over and will cost a bit of money, but it WILL be reliable.
There are wireless transmitters that can be used for this purpose, but it has been my experience (and I have a LOT of experience) that the wireless method will simply NOT be reliable.
Example:
https://www.camera-supply.com/
(If this is just a “convenience” for the backstage folks, you might be able to go wireless and the real probability of constant static and video break-up won’t be a big deal.)

OTOH, I can tell you something that is a real secret, so don’t let anyone else know.
(Anyone else but Arty reading this… just STOP and move along… nothing to see here, people.)

Standard MICROPHONE cables will work very well for connecting rather long runs of standard VIDEO signals from cameras to monitors (especially just for viewing backstage).

So if there are long mic cables available in the theater (and if you can get the audio operator to lend some to you) you can get some RCA plug-to-XLR plug adapters for each end of the mic cable (if, like usual, your camera has an RCA output and the monitor has an RCA input), and run MIC cable from your video position to the backstage monitor.
This will even be easier if there happens to be an unused BUILT-IN mic line from near your position in the house (or booth) to backstage (there are usually LOTS of unused mic lines available in theaters.)
Again, if you can make “close personal friends” with the audio person, you can make your life a bit easier.

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Here’s how it works with multiple video layers:

You can use any high-contrast image (a Title, a Photoshop image, a moving video clip, etc) to cut a HOLE (in it’s exact shape) and “Fill” it with other moving (or static) video… all “keyed over” another video track.

V3: Fill clip. What you want to be “inside” the “hole(s)”. (Where the WHITE area of the V2 clip is.)
– Select (highlight) THIS clip on V3, then:
Modify (menu) > Composite Mode > Travel Matte – Luma

V2: “Hole-cutter” clip or title
V2 can be any HIGH-CONTRAST (B&W preferred) video or CG.

V1: Background clip. Will be seen outside the “hole(s)”. (Where the BLACK area of the V2 clip is.)
V1 can be a VIDEO CLIP or a MATTE COLOR.

If you end up with the “reverse” of what you want, swap the clips on V1 and V3.
Remember to change the settings (Modify (menu) > Composite Mode > Travel Matte – Luma) on the clip that is now on V3.

You can move/expand/reposition the V2 clip or even use it as a custom “wipe”.

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There are thousands of combinations of settings for Quicktime conversion.
I have numerous PC users who view these QT files and have them posted on websites.

Here is my list.

Video:
Quality: Medium
Comp: Sorenson-3
10fps (or 15 fps if more action)
Keyframe every 30
(UN-check the limit rate)

Size:
240 x 180 (or 320 x 240 if larger image wanted)

Audio:
IMA-4
22.050
16bit
Mono
CHECK prepare for Streaming

Export > OK

And, as was stated, have your PC user friend go to the Quicktime website and download the free QT Player for PC’s.

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Why would you ever need to pre-stripe mini DV tapes for use in camcorders?

IMHO, it adds nothing but head wear to the gear used to stripe the tape, since all camcorders fully record OVER any TC that is striped on the tapes.

This practice does NOT always preclude inadvertent resets to 00:00:00 due to inattentive playbck checks and re-starts.

But if you are intent on doing this, any properly-operating camcorder or deck (home video type to full broadcast unit) will do the job.

Just remember that if you want DVCAM speed tapes, stripe them on a DVCAM unit in DV mode.
Otherwise, any DV unit can stripe DV SP.

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[Trevor Gilchrist] “I think I’m going to nest my seq in a new timeline and simply crop it vertically in front of a black slug.”

There is another way to do this without “nesting” (although nesting will work).

Simply add another Video track to the top of your timeline and edit in the “Slug” and mask out the center area to the aspect/position you want (with Mask Shape> Rectangle>Invert).

This is my quickie-fix that doesn’t require the Nesting (which can slow you down if you need to “revise” sections of your edit at a later time.)

Lots of ways to get the job done… this is mine.

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I’d have the whole thing transribed and just type-in a close approximation of the timecodes every paragraph or so.

Example:

(00:10:32:00)
Good morrow to you, magistrate.
Blah blath yadda yadda yap yap rubbish and garbage. Blah blath yadda yadda yap yap rubbish and garbage. Blah blath yadda yadda yap yap rubbish and garbage.
(00:10:32:30)
China Clipper calling Alameda.
Blah blath yadda yadda yap yap rubbish and garbage. Blah blath yadda yadda yap yap rubbish and garbage. Blah blath yadda yadda yap yap rubbish and garbage. Blah blath yadda yadda yap yap rubbish and garbage. Blah blath yadda yadda yap yap rubbish and garbage.
(00:10:33:10)
Watson, come here, I want you.
Blah blath yadda yadda yap yap rubbish and garbage. Blah blath yadda yadda yap yap rubbish and garbage. Blah blath yadda yadda yap yap rubbish and garbage. Blah blath yadda yadda yap yap rubbish and garbage. Blah blath yadda yadda yap yap rubbish and garbage.