J. Nedy
Forum Replies Created
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Thanks everyone. It turns out it was a decklink issue, it was the culprite of adding the setup to the signal.
But I really do appreciate all your advice, thanks a million.
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Actually, I think your friend is right.
Funny thing is, I had the same situation not long ago. Anyways, an anologue meter is more of an averaging meter and a digital meter is a peak meter, meaning the anologue meters takes into account 20db of headroom, while the digital meters don’t need this.
If your hitting 0db on your PVW-2800 meters that means you are in a good sound range and have some headroom if you need it. 0db’s in FCP means your distorting your audio, and you DO have digital distortion becuase after all, if not, then why have the red at all?
Once my co-worker explained this to e, I gave it a try, and low an behold, he was right, now I edit everything so it bounces around -12db, lay it to tape at 0db, and it sounds wonderfull, no distortion, and the sound floor is way far below my range that it’s not much of an issue.
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You can also use “apple L” if you want to unlink certain selections, or link audio and video that wasn’t originally linked.
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Thanks for the help!
That solved the frame rate issue!
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I know how you feel. I edit medical videos and my Producers went out and shot a case in 16×9 but got thrown a curve ball and had to use a 4×3 secondary source, without realizing the aspect ratios would case a problem later in post.
The options you posted would work (at least in my opinion) depending on what project you are working on. In my case, I could not perform a matt on the 16×9 footage since the client wanted the ability to play this in a 16×9 plasma monitor, I couldn’t re-scale the 4×3 footage, cause it would have killed the quality beyond being useable, and I couldn’t re-shoot cause well.. an open heart surgery is not something you just redo.
The solution we came up with worked for us since this is mainly corporate video. But basically we set the project up for 16×9 and then brought the 4×3 in, leaving the black bars on the side. I justified the footage to the right and our graphics department created a subtle jump-back to go in behind it. We then used this space for text based bullet points when needed. When not, the client logo remained up like a bug.
It wasn’t ideal, but it kept the video quality where we wanted it, the client got their 16×9 video, and we avoided unsightly black bars on the sides.
All in all, I guess it really just depends on what your trying to do.
Josh
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Thanks a bunch, it worked like a charm.
I really appreciate your help.
Joshua
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Well heres the thing, I went to the mannual and typed “Vignette” in before posting this and got nothing. Checked my filters just to be sure I wasn’t going crazy and sure enough, no Vignette. Which tells me your running Motion 2.0 probably.
I’m running 1.0.1 But thanks for that tip.With that bit of much needed info can you now tell me if there is a way to do this in v1.0?
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This sparked an interesting conversation in my office, but here is what we came up with.
From your post I’m assuming your going from a format such as beta to MiniDV, if I am wrong on this, I’m sorry. Anyways, to answer your question, yes, MiniDV CAN support timecode if certain elements are present. For instance your machine will need a timecode in (One of our Producers here says that’s not very common, but it’s out there) if your wanting to jam the time code.
As far as originating on MiniDV, then it all depends on the camera. Some cameras that work primarily if not souly in MiniDV only generate DV code and not SMPTE time code.
Hope this helps.
Joshua
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Oh, and I forgot to add the version of FCP is the FCP HD 4.5
Thanks.
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No motion files are in the sequence.
However, there are a few internal motion effects in all three of the sequences.
I just ran a quick test by nesting that part of the sequence, and the graphics dept. said they can play the file. I’m going to try and export the whole thing this tim and see if it works.