[Bouncing Account needs new email address]

How many cameras did you use?

I have a workaround that might help you, but you need to post with MORE INFO.

Is the timeline edited from clips from more than one camera?

Did you shoot with one camera but, over time, was it under different lighting conditions?

Did you capture an “entire tape” in one long capture?

Please be very specific.

[Bouncing Account needs new email address]

The fact that you’re asking the question indicates to me that you really prefer the Sony.

If its in good condition, buy it.

[Bouncing Account needs new email address]

Well, it takes a long time to do, but it WILL “fix” the problem.

The recommended way to “save” these broken TC tapes is to FireWire dub from the original to a new tape. Under most conditions this will result in continuous TC on the dub (if you’re using a “pro” deck, make sure it it set for INTERNAL TC.) Most camcorders ignore the TC on the original tape anyway and always generate their own. You would then only capture the newly dubbed tape.

As I said, this will take a long time, but if you are off-lining, it CAN SAVE YOUR EDIT when you need to up-rez later.

I’d set this up with two stand-alone DV “dubbing” units (camcorders or decks) SEPARATE from your “capture” DV unit. That way, you can continue to work while you just keep dubbing all the time with the other two units.

BTW, the “other” DV dubbers could be “home video” camcorders. There is no “quaility difference” in the FW and dubbing sections of these and pro gear.

[Bouncing Account needs new email address]

FCP edits 32 kHz audio perfectly..

I have never had any trouble capturing and mixing the 32 k audio on a 48 k timeline.

And there will be no perceptible audio quality “difference” in your edit audio.

If you have any “issues” during your edit, post back.

[Bouncing Account needs new email address]

[Ernie Santella] “BUT, if I stay all internal and go to QT or compressor to make a DVD, the audio is out-of-sync due to the audio delay caused by the AJA box while the video is not being delay and staying internal.
“

Don’t see how that could be, unless you were “mixing” your monitor sources.
During the edit, you should NOT monitor audio from the mac and video thru the card… or vise versa.

When you edit, you MUST either monitor BOTH audio and video EITHER from the Mac and Canvas… OR both from the AJA (or other DV convertor, like a camcorder or deck.)

That way, no matter how you “export”, the A/V will have been cut with the same delay.

[Bouncing Account needs new email address]

There will be no audio “drift” if you send the audio analog and the video SDI.

Now, as you said, there might be (probably WILL be) a SYNC issue, but it will not get any WORSE (drift) as the tape plays (if its off by 8 frames, it will stay off by 8 frames).

Are you SURE you have the DigiBeta’s audio input SWITCHED correctly?
(There are several choices.)

The analog audio input on your DigiBeta is 600 ohm “Pro” High-powered line-level and the analog audio output from a DSR-11 is “consumer” 10,000 ohm Low-powered line-level.
So to get the DSR-11 analog audio to even READ on the Digibeta’s meters, you’d likely need to crank it up all the way. (A good audio MIXER can be used to amplify the weak DSR-11’s audio to send to the DigiBeta.

Otherwise, concerning analog VIDEO…
Are you SURE your DigiBeta even HAS the analog Composite input card? (Composite analog in is OPTIONAL on that deck).

You may need to get a better FW-to-SDI box (or FW-to-COMPONENT analog box) and transfer that way.

[Bouncing Account needs new email address]

There are some great FREE (they would like a donation) plug-ins from “Too Much Too Soon”.

https://mattias.nu/plugins/

One of them is called “Clock” and you can keyframe any number to count-down (or count-up) and key that over the video.

[Bouncing Account needs new email address]

[creatureteacher] “The simple title I created required 2 tracks & titles to execute. That can’t be right.”

Ah, but it IS right.

My FCP titles for a typical “car commercial” may be 8 to 10 layers high.

Its a far different system than Avid.

I’ve been editing both systems for years.

I still like the Avid title system much better,
but its a small complaint after getting the feel of FCP and “Title 3D” (I don’t EVER use the native FCP title generators.)

[Bouncing Account needs new email address]

I don’t understand what you want to know.

Do you not know how to select specific areas of an image and create an alpha channel around them?

You need to be specific with the problems you’ve had so we can be helpful.

[Bouncing Account needs new email address]

Thousands of these in use every day by audio pros around the world.

I use Tram and Countryman.