Bret Williams
Forum Replies Created
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I looked at the UK site, and the price seems very similar, maybe 15% more which is understandable. Probably some shipping, tariffs, etc. But below the listed price, is a price listed as VAT and is approximately 90-95% of the price. I don’t really understand VAT too well, but it seems to me that that’s not the US problem, but the UK’s problem. If the UK is collecting a nearly 100% VAT, how is Apple responsible for that?
On the UK site…
CS3 Design Premium
Upgrade from
546.38
(465. ex VAT)That reads to me that there will be a 465.00 VAT tax added to the price. It certainly isn’t included in the price, because that would be ridiculously cheap.
So if I’m reading it all correctly, yeah it should be illegal. Illegal for the VAT to rip you the UK off like that.
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Since it’s happening on all your systems and they’re all different, and it’s not happening on anyone elses, then the common denominator is you. Perhaps there is something you put on the systems. A plugin you love. A control panel. A driver. A disk utility. Virus software. Must be something.
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Well, as we’ve pointed out, it is completely Canon. I don’t know why the DP used 32, but perhaps his last shoot had 4 audio channels. It is in the spec of DV and should work just fine. Odd that FCP doesn’t have a true 12bit setting for capturing it, however it can output 32khz 4 track audio like a champ.
I think perhaps the 16 bit 32khz capture settng in FCP is actually a typo. It captures fine and doesn’t give any errors. That is when you’re not trying to capture with a Canon XL1s. But alas that’s all we had with my producer’s deck in the shop.
So at what point in your book would dubbing the tapes be a ridiculous solution? What if I had 300 tapes? Sometimes people like to actually find out where the problem lies to keep it from happening in the future. From my testing I found it’s the Canon. I can now tell people it’s the Canon in this situation. But if you use the “dub the tapes” as a solution it just becomes something that builds on itself. Maybe this time it would be an economical “answer” but if I don’t figure out what happens, I’m stuck with dubbing tapes again next time. Maybe next time I do have more like 20, 30 or 40 tapes.
It’s kind of like folks saying “trash your prefs” all the time here. I really hate hearing that. In my 7 years of FCP that has been the answer maybe once. Trashing prefs is hardly ever the answer and on all the systems I’ve worked on it just isn’t something that gets corrupted. It’s an answer 99% of the time because people change some setting they shouldn’t be messing with, and trashing prefs sets everything back, that’s all.
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If you’re running version 3 there’s no telling what could be wrong. What OS are you running? 9 or X? IF X you should probably be running jaguar max and something like QT 5. But if you’ve been updating the OS and QT, while leaving FCP (an app completely reliant on QT and the OS) at version 3, you’re in for trouble.
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[debe] “Capture Now should really only be used under extreme circumstances. It isn’t a reliable capture method.”
What kind of bizarre comment is that? This is a very common and standard way of capturing video on any nle. Without it, many type of production would just be ridiculous. It is a completely reliable capture method. How odd of you to say that.
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Yeah, probably more like 15 by the time you’re don’t using the keyboard to navigate and autoselect the tracks, etc. See above light-hearted rant. 🙂
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And how did it know which clip to pick in your 23 layered file? Let’s see, auto select that layer (how many keystrokes is that?), oh and don’t forget the playhead has to be there (navigate with jkl, how many keystrokes?), now press x, now press option+a, now what? Add a filter? Good God. No wonder people think keyboard only avid-type editors are fast. They sure look fast (and they better be) when it takes 10-20 keystrokes to do what one mouse click can do. God forbid one had leave the keyboard to replace 15 keyboard strokes with one mouse movement or click. If all these keyboard strokes is what you’re doing that is so important that you wouldn’t want to move your hand to the mouse, ya’ll are nuts. There’s a reason the invention of the mouse improved productivity like a zillion million percent (look it up if you don’t believe me). I’m a firm beleiver in the old mouse keyboard combo. Or pen/keyboard. But a pointing device is where it’s at. Walter mentions pen tablets and they have some great features in that you can program all sorts of stuff into their own regions and buttons. Shortcut keys are great when they’re just that. A shortcut. But trying to do everything with the keyboard is just a challenge, not a shortcut. Blah humbug. 🙂
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That’s just a ridiculous solution. There is no reason FCP shouldn’t be able to load 32khz audio. It has had no trouble mixing 32khz with 48 since version 1.0. You’re also asking to dub 7 masters of 1 hour each. Only a total of about 60 minutes even needs to be captured. Once you make the dub, you’ll still have to capture. And wait, if you dub firewire to firewire, won’t the copy be 32khz anyway? I think so if you make a clone. Which you would, because the tc needs to be retained of course. Nah.
Anyway, see above post. I think it’s the XL1s we were loading from. I brought a tape home and had no trouble from my DSR-11. Blame Canon again.
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But you do get the error message that says the audio rate doesn’t match your capture settings, right? Or have you made a custom 32khz 12bit setting somehow?
Anyway, here’s my discovery… We have been using an xl1s to load in because the DV deck is in the shop. So, I brought one of the tapes home to my system tonight and tried it with my DSR-11. I got the same error message when loading 32khz into the standard DV 48khz easy setup, but there were no problems with the file. No sync issues, no pops or gaps.
I conclude, that it’s 32khz being loaded from the XL1s over firewire. It sounds fine being monitored.
The only other difference is that the other system we were using is 5.1.2 and my system is 5.1.4. But I don’t think there’s any 32khz bug with 5.1.2.
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That’s what I thought as well, but if you look at the dialog there in AV devices, you’ll see it says “playback settings”
That’s the only way to get 32khz 12bit out of FCP. You have to change that setting and I’m familiar with it.
So, I went ahead and changed it. You never know. But still when you create a capture preset the only audio options for DV are 48 16 or 32 16bit. There is no such thing as a 32khz 16bit DV signal. But I tried it. Guess, what, all the clips are out of sync!
So, I can go back to 48 and they’re in sync, but have strange audio gaps and pops, because the clips themselves are trying to do some weird on the fly conversion.
I’d pull my hair out if I had any left.