Bouncing Account needs new email address
Forum Replies Created
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[Carl Crawford] “The dropped frames only shows up on the monitor I have hooked to the Sony deck, but not on the video mirrored on my desktop. Nor does FCP give me a dropped frame error. When I go back and look at the tape I mastered, I do not hear or see any audio or video dropout.”
Sorry, but if this is exactly as you describe it, cannot be a problem with FCP.
If the tape is fine, then it must be a deck-to-monitor related problem.
Dropped, stalled, or black frames coming from FCP would show up on the tape, they would have to.If you ARE getting dropped, stalled, or black frames coming from FCP, try an Audio MIXDOWN before you dub out.
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HE 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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[Ruby Gold] “I noticed that the colors I was seeing in the lcd screen were significantly off from the painting”
LCD screens are NOT accurate for judging color or level.
For critical work you need to plug the camcorder into a properly calibrated NTSC (or PAL) external “CRT” monitor.
The best color quality you can hope for on prosumer camcorders is to CAREFULLY set the iris level and then CAREFULLY set the White Balance (push the button and let the camera set itself) on a pure white source.
Any video can’t perfectly reproduce the subtlety of color from art paintings, but with a single kind of light source and accurate white balance, it should look very nice.
If you’re going to do a lot of shooting where you need to have accuracy of monitoring, get an CRT (standard “picture tube”) monitor like one from the Sony PVM series (i.e. Sony PVM-8041).
Don’t put your trust in any LCD video monitor for judging color or iris-level accuracy. -
[stu aull] “is there a search engine on COW to easily find this in the
archives? “When you are at the TOP of any of the Forums…
Look at the left edge of the screen under the Cow logo,
SEARCH POSTS is in the Green area. -
Don’t use capture NOW.
Try logging an IN-point and OUT-Point, enter a Clip Name and Log the clip(s) first.
Then capture with “Clip” or “Batch”.See if that works better.
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The audio is, by default, MUTED to the Mac’s speaker output during Log and Capture.
You should normally monitor the audio directly from the camcorder or deck you are using to capture.
Don’t know if the io had audio outputs that will allow you to monitor from THERE during capture.
(I know that the VHS’s audio outs are “tied up” feeding the io, but you could choose to listen on a TV set to channel 3 or 4).NOTE:
Many people have reported that noise or “pops” appear in the captured clips if the Mac audio is left on WHILE capturing… so may want to choose “Off During Capture.”However, there is a way you can turn ON the Mac’s speaker if you really WANT to:
Final Cut Pro (menu) > Audio/Video Settings… > Capture Presets (tab)
“Duplicate” the Capture Preset you are now using, when the window opens rename it (I added “MacAudioOn” to the file name).
Click open the “Advanced” button in the Audio section and turn speakers to “ON during Capture.”
The Mac speakers/audio-out will now play Audio during the preview in the Log and Capture window. -
Don is correct.
Also, if you where using an EXTERNAL VIDEO MONITOR (and not just the computer screen) for quality checks during your edit (as is recommended by Final Cut Pro) you would be able to SEE the frame-jitter BEFORE you exported to the final product.
An external video monitor very useful and highly recommended for checking actual image QUALITY. The Canvas on the FCP computer screen is designed to be limited quality (for reasons of computer processing power) and it can’t show you details such as true color, contrast, resolution and image-jitter.
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[Peter Ralph] “I assume you are using the term CRT to refer to the typical (pre-lcd) computer monitor? “
Well, yes I am.
CRT (Cathode Ray Tube) is the only term I know of to describe “standard” TV sets and other image displays that are still in use by the billions around the globe.[Peter Ralph] “I prefer NTSC monitors to verify color, gamma, exposure and LCD monitors for just about everything else.”
TO say you” prefer NTSC monitors” is like saying, for transportation you prefer “Unleaded”.
That is just TYPE of fuel what you “PUT INTO” a unit. The unit (in this case) could be a 4-cylinder, 6-cylinder, 2-stroke, 4-stroke, a sedan, a van, a pickup, a motorcycle, etc.
Similarly, (if you allow the stretch) “NTSC” is a video SYSTEM or TYPE (its what you “PUT INTO” a monitor).
It does not refer (necessarily) specifically to a TYPE of monitor DISPLAY.
Although monitors CAN be described as being “NTSC”, either exclusively or as just ONE of several of their display modes (PAL, SECAM, RGB, etc.)In North America, we do use the NTSC system (SD) and so anything we shoot on NTSC cameras MUST be monitored on NTSC-capable monitors (or via a computer with transcoding).
All that is to say that when we (any of us) talk (at length) about monitors we need to be more specific than just “NTSC”.
So, when I say “NTSC CRT” (as Doug reiterated) I am being very SPECIFIC as to MEAN an “NTSC monitor with a Cathode Ray Tube” display.The reason I am so specific is that… NTSC “LCD” monitors have very limited “sweet” angles so that if you are at a slightly “wrong” angle you can make a very (VERY) “wrong” iris decision.
We have all seen this using the little swing-out LCD’s on camcorders… they might give us a GREAT image as we shoot head-on, but if we raise or lower the camera (or pan) the image will simply CHANGE in levels… if we were to judge the IRIS based on this LCD, we could suffer dire consequences.Also, the color renditions are different between CRT and LCD (you can’t really judge true chroma levels or temperatures).
The contrast “steps” (degrees of full-black to full-white) are very different (LCDs are quite limited) and that can give you the wrong impression of whether the blacks are too high or low (as well as incorrect readings on white-clipping areas).
Unlike NTSC CRT monitors, to actually GET an analog (composite, RGB, Component or S-video) NTSC image to DISPLAY on a digital LCD, the image must be digitally converted (one could say “compressed”) into the proper number of pixels and “routed” digitally to the proper LCD pixels. For most (“affordable”) LCD monitors, this creates many digital artifacts that are evident in close examination of the LCD screen.
Back to our camcorder “swing-out screen” example… the images on that LCD screen look GREAT even on a $300 home video camera at an in-store demo rack.
But just look at the difference if you switch it onto the $200 “CRT” TV/Monitor they have in the same display… the video noise, exposure and color anomalies, and resolution limitations quickly become apparent.So…
When monitoring NTSC images, CRTs offer the truest, widest-range, most-accurate, and artifact-free image (as well as lower cost).
Those are the facts as they are today and likely for a while to come.PLEASE DON’T THINK THAT I DON’T LIKE NEW TECHNOLOGY.
(I’m not an “digital-hater” with only LP’s in my music library.)
I have been scouting for a reasonably-priced 13″ or 19″ LCD to use for my location work, but when compared side-by-side to a similarly-sized calibrated CRT, the images simply do not MATCH (and that can only mean the LCD is largely INACCURATE).I would LOVE to be able to TRUST an LCD monitor for my (I can’t stress this enough) LIVE, REAL-TIME, ONE-CHANCE-ONLY, constantly-changing light-level and distance form camera STAGE-EVENTS (very similar, in fact to a WEDDING).
Because LCD monitors are much more convenient than bulky CRTs.
But Waveform monitors and Vectorscopes aside, just by looking at the image on my properly calibrated NTSC “CRT” monitor (regardless of my viewing angle) I can TRUST that is EXACTLY the image that I’m recording.
And that kind of assurance can help me capture the best images I can.And this was the point I tried to make at the very beginning of this thread.
(Sorry for the length. I’m just trying to better-explain my position.)
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from the Canon website:
“Can’t find the part or accessory you’re looking for? Customer Support can help.
Call 1-800-828-4040 for assistance.” -
There’s a very fast way to create a flash for $0.00 in FCP, Avid, anything.
1. Add a new video layer above the clip(s) you want to “flash”:
2. On that layer, edit a one-frame clip of a WHITE color Matte.
3. Add a 5-frame Dissolve to the right side of that White Matte.
4. Render
FLASH!