[John Fishback]

We have a Panny 17″ for our field package and have put it side-by-side with our TVLogic edit suite monitor. It looks very good in comparison. I have an older Sony BVM monitor which is very nice. You’re probably fine with either choice. Do you have both monitors in your rental stock? If so, put hehem side-by-side and see how they compare. If there’s a chance you will need to travel the monitor, then I’d suggest the Panny.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

How is your scapture scratch drive formatted? What codec are you capturing in? It always helps to describe your system and software versions.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

In FCP, the bottom filter acts on the one above it. I never use FCP’s keyer so don’t know its vagaries. The Primatte keyer in Motion is excellent. That might have worked better for you. Another approach might be to export the FCP-keyed layer using the Animation codec to preserve the alpha channel, and then put your supression CC on that after importing it and replacing the original track, although, that’s probably as time consuming as the method you described.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

In general, Compressor will do a much better job of scaling than QT. You need to turn Frame Controls on and select Best for the scaling quality. Also, I recall a couple of posts on the best file to provide for upload to Vimeo and You Tube using Compressor. A search will turn them up.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

Are the pops truly random or do they occur in the same place every time? Have you checked your audio levels inside FCP. Are there any clips(meter goes red). Also, as Andy says, check your clip properties and see what sample rate is listed. Some camcorders record audio with a sample rate other than 48k (eg. 44.1 or 32kHz). Also, try an audio mixdown: Sequence Menu > Render Only > Mixdown and see if that helps.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

Your Avid guidelines are pretty much the same for FCP. For the web, I compress and normalize audio. The only concern I’d have is the levels of existing audio on the site. You want your audio to be consitent with that audio. This is why there are detailed audio specs for broadcast. If yours is the only audio being used, then max it.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

There was an issue with the 300 and the new E-type P2 cards where certain file types wouldn’t L&T. I don’t recall the specifics, but if you search the Cow, it’ll show up. I’m fairly certain Panasonic has posted a firmware update to address the problem.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

I’ve never used an external audio recorder on a video shoot where we were syncing timecode. However, I’ve done it many times for multicamera shoots. In that case, we feed reference video to all cameras and/or decks as well as a timecode signal. That way timecode is always in sync. Sometimes the timecode is TOD and for cameras that have to roam and not be cabled, we’d sync with cables attached and then disconnect the cables. Sync would hold at least for a couple of hours, usually longer. Depending on the audio recorder you’re using (Does it have ref or word sync in? Does it have timecode in?) you could use a similar workflow to achieve sync. You might have to find a menu setting which allows ext sync and type of timecode.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

Play with the Delay effects. That will give you the echo. Reverb is the sound you hear in a large hall (or your shower).

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[John Fishback]

Also in Soundtrack Pro check out the Modulation effects for monsters, etc.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.5 QT7.5.5 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5

Final Cut Studio 2 (up to date)

Pro Tools HD w SYNC IO, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN