Frank Nolan
Forum Replies Created
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Is the audio staring off in sync when you press play and then drifting out of sync as it plays, or is it out of sync a contant amount from the time you hit play?
Being that the I/O is firewire there is a latency issue with it. You need to set the frame offset (usually around 4 frames).
Are you monitoring the audio back out through the I/O or through the computer speakers?
Are you monitoring the video on the computer screen or a tv monitor? If so is that hooked up to the I/O? -
[Steve Courtney] “But I am under the impression I can do this with an XML export. I’ve just never done it, so I don’t know what’s involved.”
Yes you can do this. You need to do an XML of more than just the timeline though. IF you want access to all the clips, you need to do the entire project. Here is a tutorial on what to do.
https://www.kenstone.net/fcp_homepage/xml_export_FCP_5_to_4.html
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Do you have a job starting in 10 days that would justify spending the money right now? If yes then go for it. If not you may want to wait. Someone had mentioned that for a fee you can set it up with apple that if they release the new machines within 90 days of purchase you can upgrade.
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[gary adcock] “Just to be clear here -this 720p24 over 60 workflow predates the HVX200 and has been in use since the varicam arrived on the market 5 years ago.
FCP knows what to do for 2 reasons”
Gary my response was not related to 720p24 over 60. It was in response to Lars asking if he shot 720/60p and then tried to convert that to 24p in FCP.
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[hector66] “I haven’t heard if this is wrong, but doesn’t DVCpro HD use 4:2:2 colour sampling, and Mpeg2-based codecs use 4:2:0?”
That is correct! Several people that are using the mpeg2 formats like the XDCam HD and HDV are using a capture card and transferring the footage into FCP using the DVCProHD codec. Makes for better keying and it is less taxing on the CPU for editing.
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[doka15] “What I can’t wrap my head around yet is why if I import a 60 fps stream and have FCP convert that to 24 it will be mushy and not the same thing as shooting in 24p. There are still 60 frames per Second. Why can’t FCP pull 24 of those 60 frames giving me the same results as shooting 24p in the first place? In other words flag those frames in post instead of on capture since all 60 frames are still there. That is what I am having a hard time understanding.”
In Post how would FCP know which 24 frames of the 60 to pull as you have 60 distinct frames? I’m sure someone will correct me if I’m wrong but when you shoot 24p it flags those 24 frames in the 60 stream and just pads out the remaining 36 with duplicates, so in post it just gets rid of those.
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[Donato M. Rondinelli] ” I thought I heard someone saying that XDCAM was MPEG 2?”
You heard right! This from Sony’s website:
“This new XDCAM HD lineup includes the PDW-F330 1/2-inch-type three-CCD camcorder, the PDW-F70 recording deck, and the PDW-F30 viewing deck. They are capable of recording 1080i video lines of multiple frame rates at a high bit rate of up to 35 Mb/s using the
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[alan smithee] “another way of asking the question is if i was to take my edit to dubbing mixer in a sound studio and ask him to increase the levels etc what method would he use”
If the overall quality was good and it just needed more volume, chances are he would raise a fader on the mixing console.
[alan smithee] “i’m trying to find out as much as i can about simple sound mixing so i can get decent results in the same way.”
As has been explained sound mixing is not a simple task. There are many variables to take into consideration and guys who sit at a console on a dubbing stage have usually spent years perfecting there skills. It is not something you can teach someone in an online forum. That being said, I gave you the simplest solution to your situation in my first response.
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Try nesting the sequence then just raise the overall level in FCP before output.
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Pete,
I think the only way to get a true indication of the difference is to have the test done at the same time. The way you explained it, sounds like you had the talent speak while rolling the DVX and then again when rolling the HVX. Excuse me if this is not correct.
What I would suggest is to set up a small mixer. Have the mic panned center. Send the left channel to one camera and the right channel to the other. Switch the camera to line input and prior to recording any voice, send a 1kz tone into the mixer and make sure the gain structure is set correctly so as to output a 0db signal (if it’s an analog mixer). While playing the tone set the input level on both cameras to be identical at -20db. Then record your subject to both cameras at the same time.