Bouncing Account needs new email address
Forum Replies Created
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This is ostensibly about Off-line to On-line, but what you need to know is in here.
https://www.kenstone.net/fcp_homepage/basic_onlining_jordan.html
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[JRF] “Sometimes the noise isn’t exactly 60Hz.”
You are exactly right, if this was an “unknown” hum (say, from an on-location noise-source other than AC-line noise).
But if this is an NTSC analog tape that has “sync buzz”(and other video-related hum) related to a too-low level of audio, it is 99.44% sure that it IS 60 Hz.
That’s why I didn’t explain “finding” the proper frequency.The heads are rotating (and “switching”) locked to (basically) 60Hz in the USA.
The “sync buzz” in a TV signal is (virtually) 60 Hz and harmonics thereof.When trying to knock-down hum/buzz on a poorly-modulated analog video tape, 60 Hz (and the harmonics of 120 Hz and 240 Hz) are the center frequencies to adjust.
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In FCP 4 and earlier:
Open Log and Capture window.
In the “Clip Settings” Tab:
Set the Capture: (Video Only, Audio Only, Aud+Vid)
and Audio Format: (Stereo, etc.)In the “Logging” Tab:
Type in Reel Name.
Type name of clip in Description window.
Type in “IN-POINT” TC number in the Left box under the “video viewer” window.
Type in “OUT-POINT” TC number in the Right box under the “video viewer” window.
Hit “Log Clip”
The newly-logged clip should pop right into the Browser.
Does this not work in FCP5??
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In FCP 4 and earlier, you will likely need a 3rd party filter to more completely perform hum and other constant noise removal.
SoundSoap from Bias is very popular and costs under $100.
If you don’t want to buy more software, you can TRY the following:
The 3 Band EQ and turn down the 60Hz, 120Hz, and 240Hz frequencies (but this is what the “Hum Remover” filter also does.)
The Parametric EQ and find the “worst” noise frequencies and reduce them.
The Expander/Noise Gate audio filter and adjust it to make the louder sections (audio) louder and the softer sections (hum) softer… but this will also allow the noise to “fluctuate” in level along with the “good” audio.
The “buzz” you hear is made up of some noise in the higher frequency ranges as well as the lower-frequency hum components. If you try to reduce all of the buzz, you’re likely going to reduce the actual program audio too much.
IMO, an “intelligent” filter like SoundSoap will be much more effective in reducing constant noise without destroying the “good and wanted” audio along with the hum.
(I read that FCP 5 now includes this kind of noise filter.) -
It works for me in FCP4x.
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[mproductions] “This will be projected on a Canon Multi Media Projector LV-7555 / I beleive its SD
The playback media is a computer Hard Drive.
The project itself is a combination of DV Pal, the 35 mm stills.”
If its a theatre’s “built-in” projector (like an AMC theatre) the “standard” image is projected at 16×9 aspect.
You may want to produce in that aspect ratio OR do the whole thing in 4×3 and have them bring any stage-curtains in a bit top cover any unused screen. t
Yes, 35mm slides are closer to 4×3… but let’s not forget the ever-present slides that the camera-op thought would look better shot VERTICAL!!! (yikes!)
How will you DELIVER your project onto their computer Hard Drive?
Also, I’d double-check to see if the system is actually High-Def (HD)-capable… if so, you might want to follow Chris’ advice and produce in HD.
If you find out more, post back.
(Chris, I was not criticizing you… I was trying to amplify the importance of getting MORE info by way of continuing to ASK these kinds of questions.)
See how much more we know NOW.
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Will, you’re a faster typist than me 😉
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It all depends on the framing and what’s NEAR the “fluffy area”.
If its mostly a lock-down, you can “Make Freeze-Frame” of the frame when there is no “fur” in it, put the clean freeze on a video track above the moving footage and use the Garbage Matte (or just the “crop”) to mask out the fur area.
If the image is moving too much for just a few of these freezes to remedy, you could place a copy of the entire same moving footage (synchronized) over itself. On the upper track, “move” it slightly up and to either side of the fuzzy stuff, then crop/matte it just enough to cover the fuzz.
A last (and highly NOT-recommended) fix is to “zoom-in” the entire image and re-frame it so the fuzz is cropped. This will degrade the entire image so much that it is only a last-resort-gotta-do-it-or-nothing kind of fix.
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If you have fully rendered your timeline, there is absolutely NO NECESSITY to use “Print to Video” at all. The quality is identical if you just PLAY the timeline.
Make sure your audio playback is set to “High Quality” and perform an “Audio Mixdown” before you dub out.
Just hit record on the deck and play the timeline.
You can add the Color Bars, tone, slate and countdown right on the timeline.
You can even very closely hit a given TC on a tape, if you are just careful when you hit the “play” on FCP.I have never once used “Print to Video” in hundreds of broadcast projects from FCP.
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[Chris Poisson] “This is more of another question than an answer, but if this is going to the big screen, wouldn’t it be best to start the project in an HD format?”
Chris, you say that like its some form of apology… to be asking a question instead of just “giving an answer… (sometimes ANY answer.)
The reason you asked YOUR question and the reason I asked mine (“How will this be projected?”), is the technical details directly affect how to correctly answer the original question.
The projection system could be SD, HD, or FILM.
The playback media might be DVD, DV, Digi-Beta, DVD-ROM, computer Hard Drive, or 16mm to 35 mm film.So I hope most poster don’t consider it an “imposition” to actually ASK for more info before others start making “assumptive replies”.
Many times, I’ll ONLY post a more direct question, hoping the poster’s reply will spark others to give a more-complete, accurate response.