[Jerrold Le tourneau]

The Mackie site has a lot of great info. Check out the hookup guide and the owners manuals. They include dia grams on the proper way to hook up components and expalin is clear language technical audio terms.

https://www.mackie.com/support/downloads/manuals.html

[Jerrold Le tourneau]

Thanks, I was about to loose my mind.

[Jerrold Le tourneau]

Your levels recipe is exactly what I employ now. Just confirms my thought that the dub house is setting thier Bars and Tone levels for a Digital dub and not an analog copy. That would explain the Bars being 12db lower than the program material. I’m just programmed to see Bars and Tone on an analog system at 0db so this screws me up especiialy when I have to turn around and make dub copies from the production house provided tapes. I keep having to adjust the levels between the Bars and Tone and the program material to keep everything in line.

I duplicate tape master copies coming from an in-house FCP system and out-sourced production houses that are sent to various media outlets for inclusion into news features. So, I try to be aware of audio and video levels so that nothing is bounced back.

[Jerrold Le tourneau]

I set my levels as you have suggested in practice. What is causing me grief is that I am making video dubs from tapes that come from a couple different post houses and the BAR and Tone are substanially lower 12db to 18db that the program material. When I make a dubs from them I have to set the audio level for bars and Tone at -12db so that the program audio does not peak beyond 0 on the decks VU meters. I always thought the prupose of Bars and Tone was to set the MAXIMUM audio level. When I master my tapes I always leave at least 6db headroom and don’t peg my audio levels into the red on the decks.

For the record I use a Sony UVW-1800 and a JVC BRS-800U S-VHS deck for dubs.

[Jerrold Le tourneau]

Makes a great night light.

[Jerrold Le tourneau]

Sounds like your sequence settings and capture settings are set differently. You may want to change your sequence settings to match your capture settings. Also, better look at your footage on an external monitor before thinking that your footge doesn’t look right.

Jerry

[Jerrold Le tourneau]

Cool… lol

I thought I was loosing my mind or at least my Mac.

Thanks for the info.

[Jerrold Le tourneau]

I may be mistaken but iDVD will not support anything longer than 90 minutes. Need to do this in DVDSP or another DVD authoring program. At least that’s what I’m doing now since I only have version 4 of iDVD.

Jerry

[Jerrold Le tourneau]

Not sure why you need to do copy paste to get the FCP EDL into Excel. The FCP EDL is a tab delimited file so you can open directly in Excel. I go in a slightly different direction pulling the FCP EDL into Filemaker (OS X Database program). My database program has a template/script to pull in only the information I need from the FCP exported EDL. This way I can create a storyboard for project archives, client review and track program edit history. The only thing that I haven’t been able to figure out is a way to get a thumbnail image from the FCP edit time-line into the EDL export file. If I could do that I would be a very happy camper.

Jerry

[Jerrold Le tourneau]

I’ve had good results applying a “unsharp mask filter” to upscaled (130%) footage. Use just a little bit as too much becomes noticable. Also, I have played with the samples setting in the motion tab moving it from the default 8 to 32. Your render times will increase a lot so use this sparingly on short clips.

Jerry