Justin Whitney
Forum Replies Created
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In all honesty, I have no idea. Getting specs from the venue has been extremely difficult. And since I’m 4 states away, I can’t storm in there and find out for myself.
So what I’m learning is that (1) I need to get tech specs well in advance, like very detailed tech specs covering exactly the equipment used to project the video. (In this case it’s being projected on 2 screens in a large corporate auditorium. So every detail that I can’t see on my monitor will be clearly visible to 100s of people. Yikes.)
And (2) ideally I need a high quality monitor with variable settings that I can set to MATCH said projection equipment.
Here’s the deal: I’m a newbie, a 1-man shop. I shoot all my own stuff, then go home and edit it on a Macbook. Yes, a Macbook! And through a strange set of circumstances the “web video” I’ve been working on is now the centerpiece of a high-level corporate event keynoted by a state-level Cabinet member. I am so, so out of my league on this one. All I want is to mitigate the many unknown factors and give them something as far from Crap as possible. To someone with 0 experience with color correction, that translates to: “How much blue should I take out?” Sad, I know. But that’s pretty much the level I’m at right now.
In any case, thanks for the great feedback. It’s actually very informative. Knowing what I don’t know is the first step to learning.
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Lawd. That’s more complicated than I thought. Well, watch me punt this one. Extra equipment will have to wait.
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You guys are brilliant. This just happened to me and you gave me some great ideas. Here’s my situation and what worked:
– I was working on a very busy, 12-track sequence, one of about 100 or so sequences in my project. I had recently added a png and was manipulating it when this crash started. At that point, like many people here, the crash happened as soon as I opened FC (FCE in my case).
– I suspected the reason the crash happened on startup was related to the particular sequence I was using. Obviously there was no way to close it in time to prevent the crash since the very fact that it was open is what caused the crash. So I took Van Harrell’s suggestion/question and unmounted my drive before opening FCE.
– Oddly, the png in question was not on the mounted drive but a local drive. Still, for whatever reason, this allowed me to open FCE without crashing. I was able to make a copy of the corrupt sequence, delete the png, and close all the sequences.
– I remounted the drive and opened various sequences without any problem, including the copy without the png. When I opened the sequence with my new png, yep – it crashed. So the problem was obviously some corruption either in the file or on the hard drive at that location.
What I still don’t understand is how unmounting my drive affected a corruption in a *local* file. But the problem is fixed and I didn’t have to uninstall anything (whew). Good news for me since I’m on a deadline, too.
And that “KGCore” crap is SUCH a red herring!! Boo Apple!
Justin Whitney
https://www.justinwhitney.com -
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You saying that reminds me that I have attenuator switches on my camera for each line. You think that would help? That’s sort of an advance feature for me – I haven’t used it yet.
Justin Whitney
https://www.justinwhitney.com -
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Hm. That reminds me – my camera has an attenuator switch for each channel. Is this something I could’ve used to cut the signal back? (Ok, my ignorance is REALLY showing now.)
Justin Whitney
https://www.justinwhitney.com -
Ty, I just looked up the field mixer you mentioned – wow! What a great tip. I didn’t even know that existed (though I should expect it). That’s going to be a huge help in the future. You’re right – I can’t always rely on the talents of the guy behind the board.
As far as the headphones, I’ll check but that looks like the model I’m already using. They *look* the same, at least, but I can’t remember the exact model number. Unfortunately, they didn’t help in this case. Like I said, the venue was really, really loud. I spent the entire 5-hour event listening through the headphones and they were pretty useless. Unless I encase my head in a bubble, I just don’t know how to avoid that in the future. That mixer, multiple capture devices, and a small blessing to the sound gods may be my best hope.
Justin Whitney
https://www.justinwhitney.com -
Thanks, JC.
So, I’m a little confused about “-10dBV signal” vs “+4dBU outs” but I can research that separately. (I’m REALLY inexperienced at audio engineering.) If the sound guy had dropped the signal on the line out, do you think that would’ve solved the problem? Or is the root of the problem the fact that I had a line going into a mic input?
I also just remembered that the sound guy couldn’t even find an XLR out and had to use an adapter. I don’t know if that makes any difference at all or is unusual. I assumed sound boards had XLR outs for just this kind of setup. We ended up spending precious setup time going through a huge cardboard box looking for the right adapter. Bit of a clusterf***, really.
Thanks for the help!
Justin Whitney
https://www.justinwhitney.com -
Rob, thanks! Your response reminded me of an important detail I left out. When I first heard about doing this, my memory played tricks on me and re-imagined my camera has having a separate line/mic switch for each channel. But once I was set up, I realized that I only have 1 master switch for both. When it was on “line”, the mic channel went dead. When it was on “mic”, they were both live. I thought it better to keep it on mic and hope for the best rather than risk it all on 1 channel.
So now I know. I never imagined that there was such a huge difference. I’d love to keep recording both mic and line input, but it sounds like I shouldn’t run them both into my camera? I’m using a Canon XH-A1. I’ve heard of other people using setups with independent audio recorders but I’m worried that syncing will be a huge hassle. I’m taping dance events, so it’s vital that the music is synced to perfection with the movement onstage.
Justin Whitney
https://www.justinwhitney.com