Don Greening
Forum Replies Created
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I read somewhere a while ago that the biggest difference between North American and European TV broadcasts has to do with the colour saturation levels i.e. in North America, audiences equate brighter and richer colour to be more dramatic and a more expensive production. Europeans seem to be satisfied with a picture that has more realistic colour, or colour that is basically the same as if they went outside their door and looked around at everyday life. Does this mean that when North Americans watch TV or go to the movies they want to live in a dreamworld where the perception of film and colour is bigger than life? So it would seem.
Interestingly enough, if you go to Japan, the people there perceive the look of interlaced video to be very dramatic and realistic, quite the opposite of how we think of the video look here in North America.
I guess it boils down to what one is used to and brought up with, and that anything different is considered to be inferior or not to be taken seriously. We certainly are a product of our respective environments.
– Don.
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Glad I was able to help a little. Good luck.
– Don
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There must be clips on either side of the one you want to make the speed change on that would be changed or altered, time or length-wise if your spped change command was carried out. For example, if you’re trying to slow down a clip it’s going to be longer than the original, so make sure there’s enough room between clips to allow for the extra length.
– Don
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Adam,
Try pulling out the XL2’s memory battery and allowing the camera to go back to its default settings, because it sounds like there’s something to do with the XL2 that’s not right. I match my XL2 and GL2 all the time without any problem. If anything, the XL2 should show less picture noise and have a cleaner image than the GL2 because of its bigger chips. The XL2 also works better in low light than the GL2.
– Don
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I’m pretty sure you can do as you describe. Once you’re hooked up, put the XL1S into VCR mode, hit record, then start your VHS tape and you should see the recording going on in the Canon’s VF.
– Don
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Have you tried using Compressor as a stand alone app? I used to have the same problem in DVDSP2 as you’re having in version 3 and I stopped using DVDSP for encoding a long time ago. Using Compressor ended up being much more reliable for me.
– Don
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[Tom Wolsky] “Worth a lot more than .02. Thank you for the detailed write-up.”
Indeed. Thanks, Gary. Your detailed explanation basically mirrors what I’ve been doing in ProTools for quite some time now. Just before xmas I was tasked with transferring 28 vinyl record tracks to 2 CDs for a local church group, whose chior had recorded everything back in the late 70’s to mid 80’s. I used ProTools for the recording, then I brought everything into Soundtrack Pro for noise, scratches and pops elimination. This was my first time using Soundtrack Pro and found it to be fairly proficient in doing that job. Then back to Protools for compression/limiting and final output. In 3 days 🙂 They wanted everything done in time for xmas so they could sell copies, mostly because there were a lot of xmas carols they’d recorded. Oh yeah, and I did the CD jacket and insert art at the same time. I think I charged around 200 bucks for everything, since it was for the local church and being it was xmas and all. They got a deal and and a half, alright.
– Don
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You could also go to your autosave vault and try to work with an earlier version of your project. The most recent version of your project file may have become corrupted, but earlier versions may not be. Another thing to check is there may be a corrupt render file. Try going to your project’s render folder and rename it so FCP doesn’t recognize it as the render folder. Create a new empty render folder so FCP recognizes that one. Start your project and if it works, FCP will tell you it can’t find the old render files, so just choose to bypass the old renders and re-render everything again.
– Don
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Clint,
Go to http://www.dv.com and watch Adam Wilt’s webcast from DV Expo East 2005 entitled: Maximizing Success with DV Cameras. Among other things he talks at length about the way HDV cams compress to tape using MPEG2 and 15 frame GOPS, as well as the pitfalls associated with this format. If you’re consideriing the Canon XL-H1 Adam Wilt’s webcast is a must see. Also keep in mind that the Canon XL-H1 doesn’t have a true progressive scan mode, but rather an “F” mode, and this is something that Final Cut Pro can’t deal with at the moment. Of course, even HDV shot @60i looks better than DV shot @60i, provided you change the way you shoot. Adam Wilt explains this, too.
– Don
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A true “home theatre” system will have a centre channel, stereo left and right front, stereo left and right rear and a sub. With my system you can adjust/balance the rear, front and centre channels independantly, depending on how far the viewer sits from all these different speaker sources. If you’re close to the television then you may need more volume from the rear channels, etc. The short answer is that you can’t really customize your 5.1 sound design to suit every home theatre system. It’s up to the owner of each system to tailor the channel volume to suit their needs. It’s also been my experience that most people don’t take the time to properly configure their home systems to suit themselves, but end up just “living with it” as it were.
I would suggest mixing your tracks to be as equal in volume as possible. Of course, if you know for sure that your project will be viewed mostly on regular stereo speaker televisions then you may want to increase the centre/dialogue track to be a bit higher in volume than the rest of the tracks, so it jumps out ahead of everything else.
To be honest, any answer you get to this question will be very subjective because each person’s ears are as unique as the person using those ears. On my system the centre channel is preset substantially higher than the rest so the dialoque is crystal……and then everything else is a bonus……e.g. the house shakes when the thunder hits 🙂
– Don