[John Fishback]

The board output may be unbalanced in which case you’d use a 1/4″ plug divided in two sections (tip & sleeve), or it’s hopefully balanced in which case the 1/4 plug should have 3 sections (tip, ring & sleeve). These three sections correspond to the three pins of the XLR. If you use the wrong adapter you will either get hum or the audio will sound thin and tinny. Get the other type of adapter, too. It’s best to be prepared.

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
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5
24″ TV-Logic Monitor
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]

It uses SD cards for storage.

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
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5
24″ TV-Logic Monitor
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]

It’s possible you are not supplying video ref to the IO HD. Look in the Control tab and see if there’s a setting for Genlock. If it has Video In, check that and see what happens when you capture. If it just has Ref in or Internal, try Internal. If that doesn’t work, route the video out of your VHS to the Ref In on the HD and then take the Loop Out of the Ref In and feed that to the Video In of the HD. Then select Ref In for the Genlock. That way the HD uses the sync in the video as ref. Hope this 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
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5
24″ TV-Logic Monitor
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 Flash Encoder>Settings>Video use the On2 VP6 codec. You’ll get the best results. Ask your client if they want a particular data rate and then you can crank that in, too. 400 to 500kpps will be good for most purposes. Of course, you can run some tests at various rates and let them decide. The larger the image, the higher the rate you’ll need.

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
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5
24″ TV-Logic Monitor
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]

HPX500 doesn’t have built in unislot. See post below re shooting with HPX300 https://forums.creativecow.net/readpost/193/874956

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
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5
24″ TV-Logic Monitor
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]

The best way IMHO to encode anything is to export a ref or self-contained QT file and then use that in the encoding program. I use Squeeze to encode flvs. You can also use Flash encoder in CS3/4. If you search this forum you’ll also see some posts about using H.264 filed and simply changing the .mov to .flv. Doing it that way, you’d use Compressor to encode the H.264 file.

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
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5
24″ TV-Logic Monitor
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]

You have the right approach, but as you mention, the tools are limited.

Try adding a parameter equalizer with a frequency centered on 150 Hz. Add a boost of 10 and a Q setting of 6. Q affects the range of frequencies around the center freq that are boosted or cut. A lower number means more freqs are affected and a higher number means less.

Add a second parametric equalizer to the clip with a center freq of 4000, a Q of 3 and boost it by 3.

These are starting points. Try varying the settings to get the sound closer to what you want. There is some distortion in the higher frequencies so you don’t want to boost that too much.

As with video, the quality of your monitor affects your results, so use the best audio monitoring setup you can.

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
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5
24″ TV-Logic Monitor
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]

Have you tried switching the cables from the 2 monitors at the card? What happens? Does the problem follow the monitor or is the other monitor now bad? Unfortunately, power losses are often coupled with power surges. Either the monitor graphics card may have been damaged.

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
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5
24″ TV-Logic Monitor
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]

1) Most professional boards will have XLRs. However, it might have a 1/4″ jack. Check with the PA person to find out or bring a phone plug to XLR adapter. If it is a phone plug make sure it’s a balanced connection or you might pick up hum.

2) It’s most likely line level. But, ask the board op to be sure. After you have hooked up the feed to your camera with line inputs selected, if you hear no or very low audio, it may be mic level. Then, switch the inputs to mic level and see what you have. If you still have a problem, it’s probably the cable.

In any case, always record some audio and play it back and listen carefully. During the ceremony, it will be too late to make major adjustments. Request some kind of sound check. I can’t believe the people handling the PA won’t be doing checks. Be there when they do, record their sound check and make sure your audio is good.

Again, if you can find a more experienced audio person, even if only to help with the hook up, it might save you a lot of trouble.

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
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5
24″ TV-Logic Monitor
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]

Open a third sequemce and drag one edited sequence to the first video track of the sequence 3 and then drag the second edited sequence to the video track above the first. Now, you’ll only see the top track so open that track in the viewer and change its size in the motion tab. Now click on the lower track and do the same thing. You can resize and reposition each as you like. If you want a background, put that on V1 and drag the others up to V2 and V3.

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
ATTO ExpressSAS R380 RAID Adapter, PDE Enclosure with 8-drive 6TB RAID 5
24″ TV-Logic Monitor
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