Bouncing Account needs new email address
Forum Replies Created
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I listened to the WAV files and heard very little difference.
So Ty, what is YOUR evaluation having been in the room with the mics?
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1. Open a NEW empty timeline (just for a test).
2. Only edit the clip with the “missing” audio, by itself, to the new timeline.
3. See if it plays.
This will tell us if its a problem strictly with the CLIP OR a problem with your edited TIMELINE hiding a “ghost-command” (It happens. I’ve had odd VIDEO flashes that only cleared after I edited to a NEW timeline).
If its a “bad” CLIP, make a FW dub of the problem clip directly between two DV units (camcorders or decks) and then re-import the COPY… which should clear the problem.
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What LENS?
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What’s the deal? You didn’t LIKE my answer to you over on the Sony DV board from YESTERDAY?
Well here it is again.1. Unplug the FW cable at both ends.
2. Turn off camcorder and remove the battery for 30 minutes.
3. Find the “Reset” button on the Camcorder and press it in for 2 full seconds.
4. Turn on the camcorder.
5. Shutdown, then Restart the computer (but not the edit software, yet).
6. Reconnect the FW cable at both ends.
7. Start the EDIT software.
8. See if the FW connection is OK now.If not,
Get a NEW FW cable and start with step 5 above.If still no-go,
try your camcorder FW output sent directly into another FW DV deck or camcorder to see if the FW out is working at all.
You’ll see your camera’s FW feed on the LCD screen of another camcorder if you put the other camcorder in VCR mode with no tape playing in the 2nd camcorder.If no-go there, looks like you have a “dead” FW port on your camcorder and yes, it will cost several hundred dollars for the original manufacturer to repair it.
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There are MANY camcorders not listed.
But I have NEVER found any FW remote-controlled device that would NOT work with FCP (and that includes the absolute cheapest low-end home video camcorders.)
Every one I’ve ever connected immediately “woke-up” and ran just fine via FCP FW control.I always say, why would a company RE-WRITE a software protocol for only a SINGLE camcorder when it would be simpler, cheaper, and more reliable to just use the same standard, proven software and controller chips in ALL of their devices (which apparently they DO.)
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Many pros on these boards will recommend B&H.
https://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=339002&is=REG
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[Dean Andersen] “Is this mic. to hot for this camcorder? Is their away to turn this down? I tried manual mode had better results but had to consistently adjust the volume to hear host comments between songs.”
I would think you WOULD have to manually adjust the audio louder for spoken word vs. a band playing.
Recording consistent audio requires constant attention.
That’s why many shooters employ a full-time audio operator for a gig.“Auto-level” on a camcorder (especially with an on-camera mic) is going to give you only “passable” results suitable for “run & gun” footage but not anything that’s considered “good” audio for many serious recordings (especially MUSIC).
Not a lecture, just the simple facts. We all have to live by them.All that said, it is possible to PAD a higher-output mic (like your new one) so that it does not “over-drive” the pre-amp on a more sensitive camcorder.
A pad with a selectable attenuation is like this one:https://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=68600&is=REG
These pads fit between the mic output and the input of the camcorder.
The main draw-back is they add about 3 to 4 inches to the total mic length when connected directly to the mic, or stick out by that much if connected directly to the camcorder, or “dangle” if you use a short XLR cord to attach it.
According to the Shure specs, you can use this pad and still use Phantom Power for your mic.
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[zac bolinger] “I was surprised because the Gl1 lets you do it. I asked the man at Canon why the lower version of a camera has feature that the high end camera has and he gave me the 3 ccd answer.”
That is why I said it was “odd”… the GL1 IS a 3CCD camcorder.
Its always wise to take with a “grain of salt” anything someone on the other end of a telephone (or on a bulletin board) just “SAYS”.
You need to filter it through logic and experience. -
[zac bolinger] “Canon disables this feature to prevent people from duping tapes on 3 ccd chip cameras.”
What an odd thing to post.
Why would you think Canon would not want tapes “duped” on 3CCD camcorders (the CCD’s are in no way involved in this process, and the “electronic sections” that ARE are virtually identical in ALL Canon miniDV camcorders)?
Any 3CCD Canon camcorder that HAS this (Analog-in) feature (GL1, GL2, XL1, etc.) works just fine from a “standard” NTSC source.
If its not working, I’d suspect (as do others) that the source is not a “standard” NTSC signal. -
[jeri rowland] “My camera (if it matters) is a Panasonic DVC-30.”
It can matter a LOT.
Some camcorders can’t accept analog inputs at all.
Some do but don’t “transcode” A-D out via the FireWire.
Some WILL do this, but only if a preset in the menu (or on a switch) is set for this to occur.I don’t know about your camera, but you might look for a setting that says something like “A/V > DV out” (which is the Sony version of this setting.)
All that said,
I strongly agree that you’ll get better results if you first record an unstable analog source like VHS to a DV TAPE first, then capture the DV tape. This can even help “stabilize” the VHS (which, if captured “directly,” will likely cause capture problems with FCP due to the VHS’s horrible timebase instability.