Don Greening
Forum Replies Created
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Thanks steve. I’ll try that.
– Don
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Thank you! I think I get it. I’ve just started using multiclips and the reason I want to hear all the audio tracks is to help me sync up all the cameras before I start cutting the multiclip. Before multiclips were an option I’ve always just lined up all the video and audio tracks in the timeline by listening to the audio “until the echo goes away.”
Since my video tracks start at different timecodes and are different lengths I was hoping to be able to sync them all using the “echo” method before actually using the “create multiclip’ command. If I’ve got this right, your suggestion is for listening to all the audio after the multiclip is synchronized. Your method is still good to know for listening to all the audio while I cut the multiclip when the timeline is playing. Thanks again, Tom.
– Don
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Here’s someone’s test to see why footage exported from FCP can be visibly darker one way, then brighter when exported another way. Different workpath, different result.
https://www.visiontracks.com/compressortests/
– Don
“Please take a moment to fill out your profile, including your computer system and relevant software. Help us help you.”
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[debe] “It’s going to take some time, tweaking and patience, but you should be able to make it better. I don’t know about perfect, but better.
“…….or you could try the broadcast safe filter set on ‘very conservative’ and see if that does the trick for you. That’s the easy way, but if you’re not satisfied with the result then debe’s way is probably much better albiet more time consuming to set up.
– Don
“Please take a moment to fill out your profile, including your computer system and relevant software. Help us help you.”
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If you can get some playground/beach sand and 3 large zip lock bags, that should do the trick until you can get to a broadcast supply house and get some sandbags for your tripod. If so inclined, you could always make some cloth slip covers for your zip lock sandbags. You may like the result so much that you won’t need to buy anything.
– Don
“Please take a moment to fill out your profile, including your computer system and relevant software. Help us help you.”
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Hi Todd,
Glad to hear that your post production tweaking has paid off. I know that there have been more than a few people that feel satisfied with the results of the GL2’s fame mode and (whether they still do it or not) were using this preset all the time. One poster to the Canon forum here are the Cow used to use frame mode and the 16:9 setting together and always liked the result. Just keep in mind that frame mode loses resolution and so does the 16:9 setting compared to 60i. But in some cases I guess it all looks good, depending on what you’re shooting.
– Don
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[Todd] “I have the XL 1 and I understand its not true 30p.”
You’re right. What 30 “frame mode” does is combine the two interlaced video fields before recording the image to tape. Picture resolution does suffer somewhat when you shoot using this option. With 30p the “p” stands for “progressive” and only one full video frame is recorded without combining anything first. The XL1, XL1S and the GL2 don’t have progressive scan CCD’s and therefore can’t produce a 30p image.
30p and 30f are in reality a 29.97 frame rate, so that’s why you weren’t given the option to capture @ 30 frames per second. It’s a bit confusing, but everybody, including camera makers round off the 29.97 frame rate number to a nice even number of 30. What’s more confusing is that when you shoot 29.97 interlaced it’s referred to as 60i.
Footage shot at 30f won’t look as smooth as if you’d shot at 30 interlaced because the 30f was designed to look more like the footage was shot on film. Some people like the look and others don’t. You have to learn to shoot differently: no snap zooms or quick pans or else your footage will stutter or jerk.
For your future consideration, if you want to emulate the look of film or progressive scanning I recommend you shoot clean, meaning in 60i, then you can apply one of the many film effects plugins available for your particular NLE to achieve the look you want. If you don’t like it you’ll always have the option of hitting “undo”.
– Don
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[Arniepix] “I just tried it with both a commercial disk, & one that I authored, & both mount & play normally.”
Same here. I tried both and they’re fine.
Running a 2.7 G5 with QT7.1 and OS10.4.4 w/ 2.5G RAM.
– Don
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Glad my suggestions worked for you.
If I want to convert .aif audio to different sample rates in iTunes I don’t really have a favourite setting, but just set the conversion rates for what I need to do at the time.
I use a lot of royalty free music that I buy online. It always comes in @ 44.1Khz so I need to up-convert to 48Khz for use in FCP. In iTunes go to Preferences>Advanced>Importing and choose AIF Encoder. In the drop down menu choose Custom instead of automatic and in the 3 resulting fields choose 48Khz, 16bit and lastly, Stereo. Then everytime you want to export a 44.1Khz file from iTunes it will use those settings.
If you want to take 48Khz audio from FCP for use on a CD then you export audio only from FCP, bring that into iTunes and export with the .AIF Encoder settings of 44.1Khz 16bit Stereo, which is the CD standard.
Hope this helps.
– Don
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Hey Alan,
Try this:
https://www.apple.com/support/downloads/quicktime652reinstallerforquicktime701.html
It will remove QT 7 and install QT 6.5.2
All you have to do is sit back and watch 🙂
– Don