Chris Conlee
Forum Replies Created
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Yes, as hard as it is to believe, this is a “non-supported” SD card issue. Have you recently put a new card in that machine? There is a detailed list of certified cards on Zoom’s site, and believe it or not, it DOES make a difference. I started having the exact same issue as you when I put a new card in my Zoom H4N. When I got a certified card off eBay, the problem went away.
If you Google hard enough, you’ll find others with the same problem; I did.
Chris
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Does anybody have any info on what technology they’re using for the sensor? Looking at the sample footage, I’m not noticing any wobble or jello footage, and the lights are flaring. Could it be they’re using CCD tech? I’d actually LOVE that, if it were true. I’ll take flares over wobble any day of the week.
Chris
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[Pat Horridge] “then you need to be woring on a long term plan”
Pat, is that “working” or “whoring” on a long term plan? I couldn’t decide. LOL.
ChriS
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[Richard Herd] “Does this help?”
Slightly different beast. Match frame allows you to sit on a frame in the timeline and “match back” to that frame in the original media in the bin. Makes it quick and easy to go from one line of dialog in the timeline, say, to that character’s next line of dialog in the same take. Many uses, but that’s a quick one that I do all the time.
Chris
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Generally speaking, what you want to do is get whatever microphone you’re using as close as humanly possible to the talent who’s speaking. That’s why every professional movie and television show has a boom operator and a production mixer. Getting the mic as close to the talent as possible increases the dialog level relative to the surrounding ambience (noise) and creates a better track.
Any mic that you put on your camera is already going to be operating from a position of compromise, because it will be further from your talent than you want.
A shotgun mic will be more directional and can sort of zero in on your talent, but if the talent is not directly in front of the camera’s lens, the audio will start to fall off quite aggressively. Conversely, an omni cardiod mic will pick up talent in a broader range, but will also pick up more surrounding noise. It’s not a simple answer.
The shock mount, however, is simply a device which seeks to minimize sounds incurred by handling the camera and mic. Since the mic is directly connected to the camera, any handling sounds get transfered directly to the mic and end up in your soundtrack. But with a proper shock mount you can reduce that.
Good luck.
Chris
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Well I’m going to have to confess to probably sounding a bit more educated on this particular subject than I truly am. I’m still in the reading and digesting phase myself. However, I found what I think is a GREAT thread on it at Gearslutz. You can check it out here:
Read down the first page, trying to digest it all, and then it comes into pretty sharp focus at about post #14. The guy sounds like he knows what he’s talking about.
Chris
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[Chris Heuer] “I’m not sure I have any way to control the DialNorm.”
Do you have access to a Mac with Compressor? You can use that to encode your AC3s with proper DialNorm. However, as Jean-Christophe mentioned, you need to actually mix to the DialNorm, in order for it to work properly, then you need to hope that the rest of the chain is properly handling your stream.
Chris
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Yeah, that’s an interesting question, and I find myself wondering a lot why I keep coming back. In my case, being an Avid fanboy, I think I keep coming back to convince myself that I don’t have to re-learn FCP. Selfish, but true, I suppose. I might still play around with X just to have it in my quiver for certain things, but so far I don’t feel an overwhelming need to drop all and learn it.
Chris
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Something like Select all clips to the right, and select all clips to the left. But seriously, read up on “asynchronous trimming.” Once you’ve gotten your head around that, you’ll never need anything else. If I want to open a gap in a timeline I add an edit to an empty track above the timeline (remember, in Avid the empty spaces on your timeline still mean something; they can be grabbed, moved, trimmed, and effected — analogous to leader in the days of film), then set my asynchronous trim rollers exactly the way I want them and open up a gap, leaving EVERYTHING in exactly the place I want it to be. I can then add in shots, etc, and close up the sequence with the same trim tool. extremely powerful and infinitely flexible.
Chris
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It’s a tough business they’re in. Who knows. Right now they’re back to being the undisputed champion for broadcast and feature film work, but that’s a relatively narrow market with very heavy support demands. Apple’s trend toward servicing the consumers is undoubtedly going to be more profitable. Can Avid maintain themselves as a going concern in this narrow market segment? Who knows?
But I’d learn it if you hope to be gainfully employed in the broadcast or feature market.
Chris