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[tony salgado] ”
Just understand if the one tv your paying client is watching happens to cut off the type…”

Problem is, even with the so-called “SAFE AREA” followed, the clinets can always seem to FIND a creaky old tube-set SOMEWHERE (Aunt Bessie’s house?) that will still cut off the disclaimers.

(Hey, that’s not all BAD to the client, IS it?)

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First thing that pops into my head is that you had the wireless receiver feeding the MIC-LEVEL setting on the camera, but the wireless receiver was actually outputting a LINE-level signal… and distorting the camera’s pre-amp.

This would likely not show up as badly on the METERS as it would if you were monitoring on headset coming from the camera (as the input could be adjusted to compensate for the LEVEL, but NOT the distortion).

It is essential to fully monitor, at all times, the audio as it is being recorded… without that it is like shooting without a viewfinder… a catastrophe waiting to happen.

To save you a lot of grief in the future, I suggest that you find a way to have a local audio pro SHOW YOU the proper settings and connections as its next to impossible to tell you “how much to turn it up and which pad to switch in” in a few lines on a computer screen

Audio is usually much more problematic to record properly than video… and audiences are much more likely to instantly judge that there is a problem in the SOUND than in the video.

You’ll get it right. You just need some “hands-on” help!

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If you are at SD DV resolution, the image does not need to be any larger than 720 x 540 and 72 DPI.

Anything much larger than that will slow down the render and not yield better quality.

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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) and a new one for FCP 5.

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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[eyecamiam] “Where do you mount your mixer in the field?”

I built a small mixer-sized tray that attaches to my tripod’s legs.
(It “adjusts” to however wide I have the tripod legs.)

Also, some use a mic stand or C-stand to hold the mixer near camera height.

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Here ya go-
https://forums.creativecow.net/cgi-bin/new_read_post.cgi?forumid=21&postid=855717&pview=t#head

from over on the Broadcast Forum.

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What is the FORMAT?

DV BetaSP DigiBeta?

If its DV you should be making the dub via FireWire.

There should be no actual “glitches” at the break-points (you’ll SEE the break, but the TC and actual video/audio on the dub should be fine. Make sure the deck is set to INTERNAL TC.

It its an ANALOG tape, you’ll probably have some tearing at the breaks.
Pre-blacking the new tape and recording the copy as an INSERT will help.

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I don’t think a “multimedia CD” will play video on most systems at 640 x 480 native size.

Besides, at 700 mb or so, you won’t fit much ONTO the CD at that size.

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[ben] “you could also, if timecode isn’t an issue, turn it off and capture that way…it should just record black at breaks,”

Sometimes, however, there will be a “slippage” between audio and video after theses “holes”.

And having solid, repeatable timecode can many times be invaluable during the edit process.

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I know the I’ll invoke the raining fire of dissension, but…

Why do you think its the “pre-amps” that make the Tonight Show “sound good”?

If that was the main reason, it would not sound good “at home” on most setups.

I would venture that its the combination of mics, placement, studio, EQ, and (MOST LIKELY) some carefully chosen and adjusted “processing units” that involve level compression at well-chosen frequencies.

A clean pre-amp should be basically “transparent” and not affect the tonal quality one way or the other.

(I’m strapping on my rain-helmet, even as we speak.)

😉