Bouncing Account needs new email address
Forum Replies Created
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[Molle1018] “Do you think it is just a compatibility issue??”
Yes. Very likely.
There are many incompatiblily issues between brands of DV gear.
Especially Canon and JVC. -
What computer?
What burner?What DVD authoring program?
Is this just a back-up of files, or do you want to burn a standard DVD to play in a DVD player?
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[Molle1018] “The third tape is dropping frames when capturing and when playing on the camera. Would dubbing to a new Mini DV fix the problem??”
If it won’t play correctly on the camera on which it was recorded, its a very bad situation.
You can certainly try to dub from the shooting camera to another unit (via FW) and then try capturing from the dub. Its a good way to solve many kinds of problems.
If that fixes it, you’re home free.
If not… sorry.
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PHASE CANCELLATION.
Suffice it to say that it is something which can be better avoided by recording dialogue in mono with a single mic per input.
https://www.audiocourses.com/article1664.html
A quick bit of info at the above site.
Although it shows an extreme (worst) case, there can be varying amounts of it in any stereo mic set-up. -
Gremlin strikes again.
Don’t feed him after midnight!
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Two Words.
PHASE CANCELLATION.
Plus, the constant (apparent) SHIFTING of position of the voice on the “stereo sound-stage” as the talent’s head moves slightly in position.
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[Ryan Santos] “Velbon DV7000 tripod. It’s very very affordable. I’m thinking of mounting my Canon XL1 on it. Thanks. “
For a lock-down-and-walk-away,
or for panning and tilting?There’s a big difference in being able to “support 9.92 lbs.” and being able to
smoothly operate a camera.I’ve not run across a $100-range tripod with head that allows for pro shooting moves, especially if you zoom-in a bit.
Quote from Velbon PR (via B&H)-
“Be it fast-breaking news coverage or junior’s first tooth, you’ll be there and ready to cover the action with the solid, dependable support of the DV-7000.”I’m thinking that if this were supposed to be a pro tripod, they wouldn’t be discussing shoooting “junior’s first tooth” in the PR.
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Try looking here:
https://docs.info.apple.com/article.html?artnum=301852
This seems to be the answer to many of these kind of problems.
Worth a shot.
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[Bob O’Brien] “might use the iSight on my MacBook Pro through Skype to offer that. Seems like this might work for a down-N-dirty “phone patch” as well, no?
“There will likely be a sizable timing delay with all the digital conversions going on.
So just make the director aware not to jump in too quickly on a take.
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[joemac] “ld i use a signal splitter of some kind, or do the audio in’s and out’s make a loop during record mode so i can chain them together . . . any help would be great . . . thanks
“As a general practice, do not “daisy-chain” audio feeds from one machine’s output to another’s input, and so-forth.
From what source are you feeding the audio?
If its a pro audio board, you should be able to feed all three machines just paralleled from the line output of the board.
Slide the “load” switch above each audio input on the decks to 600 ohms.
Most good, audio board’s outputs will be robust enough to handle the multiple balanced loads with no distortion or other ill effects.
But, while the above will be OK in 90% of cases, the proper way to do this is…
Use an Audio Distribution Amplifier (ADA) that will provide an isolated feed to each of multiple machines from a single input. You want a pro model with balanced inputs and outputs.
Example-
https://www.tieline.com/Tieline_04/Prosolutions/ADA600.htmlGoogle for “Audio Distribution Amplifier” for more.