Bouncing Account needs new email address
Forum Replies Created
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The 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.
https://www.kenstone.net/fcp_homepage/trashing_fcp_prefs.html
A great way to do this 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 (Pro) & FCE (Express).Download these free Apple Scripts at
https://fcprescue.andersholck.com/
or
https://pistolerapost2.com/fcprescue/This is one FCP tip that has helped in solving hundreds of “odd” problems.
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[Bret Williams] ” I brought a tape home and had no trouble from my DSR-11.”
That was what I was trying to say earlier.
The sample-rate difference has never given me any trouble in years of editing FCP.Sync, even in very long clips, simply has been dead-on, 32k or 48k.
As to the Canon issue:
I have vowed long ago never to purchase ANYTHING with a Canon nameplate.
Ever since the problematic XL1’s (75% of the time, the heads simply don’t match any other DV unit) and my GL1 with its “dead pixels” appearing right after the warranty ended.I even threw out my Canon printer and bought Epson, just so i would not give Canon any more money for INK.
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Sorry,
My “fabulous analogy” fell flat due to poor proofreading.
It SHOULD read:
58 seconds of 32k audio plays in 58 seconds.
58 seconds of 48k audio plays in 58 seconds.
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I have never, ever had any issues with 32k audio on a 48k timeline.
The consideration is that that capture is based on SECONDS, not SAMPLES, anyway.
So 58 seconds of 32k audio plays in 58 seconds.
And 58 seconds of 32k audio plays in 58 seconds.Just go ahead and capture at 48k and see.
I’ll bet it won’t give you any problems. -
Make sure your view setting in the Canvas is “Image” or “Image+Wireframe.”
This setting is in a pull-down menu just above the image area in the Canvas with an icon that looks like a square box with broken sides.
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You must only monitor quality on an external video monitor.
When I scale-down high-rez video, I add the Guassian Blur filter to the clip and key-frame the amount of blur during the “move.”
Add just enough blur to remove the “jaggies” but not enough soften the image to the eye.
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[Nick Ryan] “However, after dropping the filter on, how do I get to it to adjust it? If I double-click the nest, it opens up the original sequence instead of loading it in the viewer window (I realize that this is the way it’s supposed to work, and I’m fine with that – but my ignorance is hampering me here).”
DRAG the nest from the timeline and DROP it into the Viewer.
Or click once (highlight) the nest and Control-click (Right-click) “Open in Viewer”.
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Google: “production release form.”
There are plenty.
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[Sophie876] “I had hoped to avoid using Capture Now because in the past, footage has always looked soft when I used it.”
There can be NO difference in the quality of the footage captured in “Capture Now” or “Batch Capture” or any other DV-transfer.
Its simply a “file-transfer” from the tape to the hard drive.
Anything else would not appear as the footage from the tape.That said, I strongly recommend that you dub the errant tape to another new DV tape with units connected via FireWire.
The quality of the dub will be identical to the camera master, and it will have new, continuous TC that can be very valuable during your total edit process. -
Will it “help”? I doubt it.
You simply can’t, in production, compensate for a weak, low contrast projection (which is what happens in a too-light environment).
If there is nobody AT THE EVENT who can make the optimum adjustments for the gear and environment, no amount of “over-compensation” on your park will do much good.
You’ll likely just create an image that will look “bad” no matter WHERE its shown.