[George Mcmorrow]

Thanks Ty and Peter, it went smooth as butter.
George

George McMorrow
Cinecall Productions
http://www.cinecall.com

[George Mcmorrow]

Thanks Jeremy, I have set my scene files so that it won’t be a problem. I guess I was used to the 100 . Thanks again,
George

George McMorrow
Cinecall Productions
http://www.cinecall.com

[George Mcmorrow]

You can sometimes get a ground hum from the me66 and it could be caused by a couple of things. Try unscrewing and screwing it back firmly the two pieces of the mic and listen to the effect. Also, there is a little screw on the side that sometimes loosens up a bit, use small screwdriver to make sure that this is tight. It could be the xlr cable too, try pushing the connection and moving it gently side to side to see if this has an effect.
Luck has everything to do with it
George

George McMorrow
Cinecall Productions
http://www.cinecall.com

[George Mcmorrow]

Thanks Jeremy,
That did the trick. Wow, what a hassle. and a tough little preference to find. The switch to 30p from 24p at the last second really took me for a loop. LESSON LEARNED, don’t shoot 30p or 30pn in scene f5 or f6. I got no audio at all in 30pn and rough results in 30p. It almost cost me job and all future jobs from them. I now have been telling everyone, so they don’t repeat my mistake. The 170 should not let you shoot, or at least give priority to one setting or the other under those circumstances.
Once again, Thanks for the help,
George

[George Mcmorrow]

Thanks for the reply, John.
The audio plays in full in the camera from the p2 cards and it is in sync. It stops in the L&T window after a couple of seconds, along with the video stuttering, every place on the clip. The video plays on the timeline but the audio stops, even the waves flat line after about 5 sec. I can’t get the audio to import to FCP at all.
G

[George Mcmorrow]

All previous posts are correct, you probably need to reshoot. I also do audio and had the same problem when the the cameraman switched from line to mic level when he moved his position. Lesson learned, ALWAYS have the mixer send 1k tone to camera to set levels and repeat this every time the camera moves and ALWAYS monitor audio from camera headphone jack. if it is sent back to mixer as a confidence line, do a quick pull and reinsert of cable from headphone jack to make sure that it is the camera audio that you are listening to, and not the audio from the mixer.
I worked a corporate job yesterday that had the mixer levels sends set one side to mic and other to line. I figured this out quickly when I sent the 1k tone.
The lessons learned under stress are never forgotten
George McMorrow
Cinecall Productions
cinecall.com