Don Greening
Forum Replies Created
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Gunleik,
To trash Motion prefs go to: Macintosh HD>Users>’usename’>Library>Preferences>com.apple.motion.plist
Hopefully this will do the trick for you.
– DOn
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This thread may help answer some of your questions:
You GL2 will be better than the GL1 in widescreen mode because of the newer CCD’s but you’ll still lose some resolution because of the electronic ‘stretch’. You need to shoot some footage and decide for yourself if it’s going to be adequate for your needs. Comparatively, the in-camera widescreen mode of my Sony PD170 is awful when looking at the same widescreen footage shot with the GL2, even though the Sony has bigger CCD’s than the Canon. Go figure.
I’ve never noticed any increase in picture noise between the two modes, just a drop in resolution. Your subject matter will also play a role in the quality of your widescreen footage. For example, a close up of someone’s face will look better in widescreen mode than a shot of scenery or buildings with lots of high contrast detail, etc.
– Don
“I never knew the true meaning of happiness until I started shooting DV. But by then it was too late.”
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[MacDave] “I just hope this is not indicative of the quality of the Canon product.”
It shouldn’t be. I haven’t had a lick of trouble with my GL2 at all, and it’s been going on 3 years since i’ve had it. No trouble with any of my Canon cameras for that matter.
– Don
“I never knew the true meaning of happiness until I started shooting DV. But by then it was too late.”
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If you haven’t formatted the FW drive in Mac OS Extended then you’d better do that before attempting to transfer files. If, for some reason, the FW drive was formatted in FAT32 then it won’t accept files greater than 4 Gbytes in size. FYI FAT32 is the format that enables both Mac and Windows machines to file share……..up to a point.
– Don
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I just found something else you might want to research before you ship your GL2 off to the repair facility. I tmight be worth a shot.
https://docs.info.apple.com/article.html?artnum=301852
– Don
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Has your setup worked okay in the past or have you had this audio trouble right from the start?
Just so I’m understanding you, you’re saying that the audio sounds okay from the camera but it all goes south when you capture to Final Cut Pro? If this is indeed the situation, then the first thing I’d suggest is borrowing any type of firewire equipped camcorder and trying to capture from that using the same source tape. If that works then there’s an issue with the FW connection at the GL2. If it doesn’t work, then try a different FW cable. After that, try looking for a computer problem. This might be harder to track down, but since it’s happening with both iMovie and FCP try looking for a problem that would be common to both programs affecting only the audio input.
– Don
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[FranciscoDauhajre] “Is there any adjustment I can make for this problem?”
Yes, but it’s not something you can do yourself. The backfocus adjustment, as you now know from your lens changing experiments, is an electronic adjustment within the camera body itself and has little to do with the actual lens. Take your camera to an authorized Canon repair facility and have them do it. They have to put your XL1S on a calibration machine. Be sure to bring both your camera body and lens, so they can make sure the backfocus adjustment worked.
– Don
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[Peter Ralph] “is zooming/panning/cropping the H1 HDV footage in an SD FCP timeline viable? caveats?
“Sorry, Peter but I don’t know. I don’t own an XL-H1. But I do read a lot. The cameras that I do own are all standard def. I’ve decided to hold off on any HD buying decisions for at least another year ro so.
– Don
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DVCPRO HD 1080i50 is for PAL format video and DVCPRO HD 1080i60 is for NTSC video. So, since you live in a NTSC country you’ll probably want to use the second option you mentioned.
– Don
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[nvelis] “Can Final Cut handle 30F HD video from the XL H1?”
Not yet. You need to shoot in 60i for editing in FCP. If you’ve already shot your footage in 30F I’m at a loss as to what to suggest other than connect the XL H1 to another camera/deck and do a straight transfer using a codec that’s already supported by FCP.
– Don