Daniel E
Forum Replies Created
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What would make them unusable is the actual recording is too low. The peaks should be hot enough to get a good volume on the recording. In the set up described you should see audio peaking over the -20 line consistently. If everything is below -20 then you have a lot of boosting to do. I have found this with sound men who are too worried about distortions from peaks and not worried enough about overall record level. Doubling the good tracks is not unusual as a way to boost the low recordings if the 12 db boost per track in FCP is not enough. If the audio is clean but low this is a way to deal with low signals.
Daniel Epstein
Gold Teleproductions, Inc
New York, NY
http://www.goldtele.com -
My laptop is having the same issue with QMaster preference panel. Trying a render in Compressor with the still listed cluster. Taking a long time to get started but no errors yet. No progress either. After about 20 minutes the rendering is working so patience is being rewarded. It is a long movie. Probably would start faster with just using a single processor but not as much fun.
. I haven’t found any other gotchas yet with FCP 7 but it is just the computer with know external video etc. So far projects open and play back. Holding off upgrading my Mac Pro which has a Black Magic card etc.Daniel Epstein
Gold Teleproductions, Inc
New York, NY
http://www.goldtele.com -
Panasonic often has the camera shutter speed set to the Frame rate. So at 30P your camer could be at 1/30th of a second. Too slow for much motion. Set the shutter to half the frame rate (in this case make sure it is 1/60 instead of off) I often shoot with 1/60 even in 24p to avoid flicker motion issues as well.
Daniel Epstein
Gold Teleproductions, Inc
New York, NY
http://www.goldtele.com -
Are you transferring the files on a Mac? If the card was not protected you might be corrupting the files with the Mac. I have read about this but never had it happen but it is worth making sure you put the switch on the card in the protected mode before transferring.
Daniel Epstein
Gold Teleproductions, Inc
New York, NY
http://www.goldtele.com -
The capture Now button is for when the tape is running. Capture Clip is if you have set in and out points. Log Clip is if you want to batch capture later. My experience with HDV leads me to Capture Now most of the time since capture clip seems to be a little flaky although this may have been fixed in later versions of FCP (I am on 5.1.4)
Daniel Epstein
Gold Teleproductions, Inc
New York, NY
http://www.goldtele.com -
Check you settings Page 109 of the Manual to make sure you have the playback standards set correctly. You should be able to get control of the camera and see picture and sound before you digitize anything. Also set the camera up before connecting it to the the firewire port.
Daniel Epstein
Gold Teleproductions, Inc
New York, NY
http://www.goldtele.com -
Interesting that you brought up the Lens shading issue. I have noticed that when I rent cameras like the SDX-900 that have Fuji Lenses that they are on the green side compared to the ones I rent with Canon Lenses. The correct shading should take care of this but who really has time for that when swapping lenses. On one job I had to swap out Fuji Lenses from the rental company for Canon so the cameras matched better. I could have also gone all Fuji but that would have cost me money since I had Canon Lenses for my gear.
Daniel Epstein
Gold Teleproductions, Inc
New York, NY
http://www.goldtele.com -
The Panasonic DVX-100B 24P is recorded in DV as 24P in 60i. The XH-A1 records 24F in 60i in DV the same way. Both need to have the pull down removed to have true 24 frames. The DVX chips are progressive and the XH-A1 chips are interlaced but the frames are integrated by the processor so in DV they are essentially the same. The advantage of the XHA1 is it can record HDV which the DVX 100B can’t and that is where things get more complex.
Daniel Epstein
Gold Teleproductions, Inc
New York, NY
http://www.goldtele.com -
Well that depends on what you call the same. If you are talking about 24 Frame recording per second on the XH-A1, XH-G1 and XL-H1 compared to 24 frames per second motion on say an HDCAM camera in 24P mode then you could say it is the same thing (if not the same quality). If you are comparing the XH-A1 24F HDV to the HV20 24P mode HDV or the Sony 24P HDV mode they are not exactly the same thing since the signal is recorded to tape differently by the different cameras and the editing systems deal with it differently. 24F HDV is recorded to tape as as 24 Frames HDV while the HV20 24P records to tape as 24 frames in a 60i stream. (similar to the way DV works). This means the signals look different to the edit system when coming in over firewire. If you end up editing in 24 frames you might see a difference in artifacts or you might not. Theoretically you might see the difference on motion which stretches the capabilities of HDV Bandwidth in 24P over 60i but doesn’t overwhelm 24F HDV. The 24P over 60i has to record the pulldown in the same bandwidth as the 24F only reocrds the frames. Also the name 24F was used since the chips are interlace and the Frame is put together in the camera while the 24P chip is progressive and Canon didn’t want to pay for the right to call it 24P until recently
Daniel Epstein
Gold Teleproductions, Inc
New York, NY
http://www.goldtele.com -
I do think you can see a real difference in the motion of 2:3 and 2:3:3:2 when looking at it in 60i. The reason for the two standards of 24 is the motion vs removal of pulldown issue. The 24P 2:3 motion is smoother when looked at on 60i while 24PA is easier to remove the pulldown but the cost is the look of the motion. I do agree that looking at a live 60i signal while shooting 24P makes it harder to judge what the motion looks like in post.
Daniel Epstein
Gold Teleproductions, Inc
New York, NY
http://www.goldtele.com