[J. Tad newberry]

anyone have an idea on this? just checking…

thanks again!

mh

[J. Tad newberry]

sounds like David gave you a very good fix. one other thing i will add is that i’m currently working on a project with a similar problem, though in this one the talent had a mic on, but the level was just very low. we raised it as high as possible in FCP (12 dB). works great! and in some cases, the mic level was so low, we raised it to 12 AND duplicated the clip on top of itself. the difference here is that our mic levels were just low – but they were there. talent AND ambient levels were therefore low. in your case, you have a bride and groom who are off mic, so their levels are fighting with your pastor’s mic’s ambient levels. raising their levels will also raise the ambient levels just as much. . . but at least you’ll hear them better? as suggested, maybe taking their tracks into STP and playing with the filters might yield a solution. also, with Davids “cut and move” option, as he suggested you’ll obviously hear the ambient levels jump as the timeline goes from cut to cut. it will take longer, but if you want a more gradual change in ambient sound, you’ll have to keyframe the audio levels from when the pastor talks to when the bride and/or groom talk. the ambient will still go up and down, but at least it will be a little more gradual (kind of like when the mic levels have been set to “auto”).

obviously, you have seen what to do next time. usually, the more mics the better! (or get a boom guy, but that would look purdy funny in a wedding…)

oh, the most important thing here: hopefully, the vows the bride and groom are trying to hear will be remembered in the coming years as they become richer or poorer, get sick or stay healthy, and things get better or worse. if more couples would KEEP their vows today…(okay, off my soapbox for now…)

thanks again!

mh

[J. Tad newberry]

doh! ya, i read that in the manual, but it didn’t strike me until YOU said it that the clip i’m analyzing is only a 1-minute sub-clip of a much longer clip! i’ll bet that will be the little bit of “Eureka” on this question.

i’ll do as you said. (see, this is why i call so many of you guys, “smarty pants”…because you are!)

thanks again!

mh

[J. Tad newberry]

“slow” seems to be a serious understatement. i applied the SmoothCam to a 1 minute DVCPro HD clip…and it has been analyzing since yesterday, with 36 hours left to go. it’s cool that it does this in the background and i’ve kept working mostly unencumbered and i’ll just be patient and see how well it works. are you guys experiencing these kinds of times on yours?

thanks again!

mh

[J. Tad newberry]

i’m assuming you hadn’t given the very first clip a name when you first started shooting? i did my first XDCam a few weeks ago and we started a naming convention on the first disk and it help up (sequentially adding a number) throughout 6 discs….so no duplicate clip names, BUT, i was still amazed to find that the native file on each disc still starts over at C0001, like you said.

my guess is your best option would be to capture all your clips, and keep them separated on your drives by putting all clips from disc 1 in a folder called “disc 1”, and so on. then as you import clips into FCP, just make subclips with unique names, or rename entire XDCam clips as you see fit within FCP.

hopefully i haven’t given you an answer you’ve already considered. take care and keep us posted…

thanks again!

mh

[J. Tad newberry]

hmmmm…and what software versions art thou using?

thanks again!

mh

[J. Tad newberry]

i got the joke (even without the smiley face) and i’m sure Jeremy did, too.

Jeremy, you said you exported them, but in what codec(s)? did you do a QT out, current settings, customize your own? just curious…

thanks again!

mh

[J. Tad newberry]

do you mean the drugs or the software?

: )

FCS 2, with all updates

QT 7.2

thanks again!

mh

[J. Tad newberry]

yes, some have said i must’ve been struck by lightning a couple times…

my problems were few and far between when all i had to worry about was my trusty Betacam SP equipment. Beta is Beta. one flavor. one codec. i kind of miss those days.

the reason i’m doing the export here is that i’m wanting to render out one sequence which is to be inserted into a larger sequence, and then i’ll end up rendering out the whole thing as a single file (like what Shane was talking about) and going to an HDCam master. my only fear there is that i know i’m introducing an extra layer of compression on that sub-sequence, but the final render time speeds up dramatically. if i see a big difference on the HD screen, i’ll probably just go back to the old way of nesting an unrendered sequence within my main sequence and let ‘er go…

thanks again!

mh

[J. Tad newberry]

i had the brilliant idea of doing a Media Manager copy/move of the media in the project to another drive. i did a copy, and it all went smoothly, EXCEPT for two Motion (v2) projects which were on the timeline. i skipped those, and continued with the copy.

after loading this MM version of the project, i reconnected those two Motion files and everything rendered smoothly from there. my guess is that since i have Motion 2 and 3 on my system there was a bit of confusion in the G5 about this.

anyway, hopefully that bit will help someone else when they see “file error: unknown file”.

thanks again!

mh