Michael Cummins
Forum Replies Created
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Thanks for your help, guys. Yeah, the XH-A1 has a switch for both mic and line for the XLR inputs. It also has an option in the menu for a +12dB boost. I think what might’ve happened was I increased the transmitter’s sensitivity from the usual -20db to -10db, but didn’t feel the need to adjust the AF OUT on the receiver because I couldn’t pick up any distortion at all.
Honestly, I’ve been hearing a lot lately about the Sound Design 302, and would get it if we had another dedicated crew member on our shoots. But for now it looks like noise canceling headphones are going to have to work.
And $1,300 isn’t much in my mind for a good field mixer. We, of all people, should know that you get what you pay for.
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That sounds exactly like what was happening. Is there a process I can go through to get all the devices in line with each other to prevent this on other shoots? Or is this a “goes to show you” moment where I need to pick up some sort of mixer? Usually I’m the guy running the A camera, monitoring sound, and checking/moving lights around, while the other crew member helps setup and does what I tell him, so running another device (mixer) is going to be difficult, especially since the other crew member is hard of hearing.
Funny thing is, I had the exact opposite problem with the other mic. I had a wired lav on the other talent that sounded like it was overdriving before it even hit anywhere near zero on the LCD’s VU. So I had that audio pulled back so it wouldn’t continually peak, but in post it’s clean but a little quieter than what I hoped for.
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Quick update for anyone who was following:
We ended up finding the old files (before they were copied and renamed for better organization) in the Final Cut Server library, and were able to recopy, reconnect, and rename them. Luckily, FCSvr had a backup of each file in the library. We’re in the process of altering our workflow which adds the step of checking in a project with bundled assets at the end of every day, and checking it back out in the mornings. This eliminates the need to us the drobo as anything other than a purely background device. I’ll be installing a newly ordered 750GB drive in the MacPro to mirror an existing 750GB drive with a RAID setup in Disk Utility.
Sheesh….
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Quite FCP without saving. Rebooted. Checked in Finder. Drobo shows up. Did a quick search for a couple missing clips and couldn’t find them. Opened Disk Utility and Drobo is recognized there.
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In short, no. Knowing that CMYK and RGB were two different color profiles, I looked for a “convert to RGB” option in the adobe export dialog, but couldn’t find anything similar. I figured it’d come around to bite me in the end, but haven’t been able to specifically nail my problem solely on that.
In other news, I seem to have fixed my problem. Watching one of the videos on Adobe’s site, I saw where you could simulate different outputs. I found that once I added the comp to the render queue, opened the “Output Module Settings”, hit the “Color Management” tab, I could choose different output profiles. “sRGB IEC61966-2.1” gave me an exact color match to the PhotoShop file once I imported them both into FCP.
So if I have AfterEffects exporting with the sRGB profile, but my monitors are both running on a custom-calibrated profile, am I shooting myself in the foot anywhere here?
I might have to take this to another forum….
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Sounds like it’d be easier using polaroids…. *smirk*
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The only ones I know of are the Phantom high-speed camera systems and others like it. Amazing flexibility for resolution and frame rate. They’re really expensive, even to rent, mostly because unless you’ve used them before you’ll need to hire a DIT (digital image technician) to run the recording software.
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I know that. I’m wondering what to do about the large source clips containing hundreds of individual shots that need to be independently uploaded as assets in Final Cut Server.
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No, it wasn’t. We checked inside, and the card was secure. We removed it, inspected for any damage, and replaced it in the same slot. Worked fine after that! Sheesh….
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Are you talking about the XH-A1?
As far as I know, the sync issues have been dealt with. I’ve had no audio trouble capturing into FCP6 with 60i. Overall, I love the camera. It shoots HDV 1080 (1440×1080), and DV 4:3/16:9, in 60i, 30p, and 24p. Good little camera. We use two in out studio and on location.
The only issue I have (and one I’ve only recently run into), is that when you record HDV to tape, you can’t capture from it with a downconvert. It has an HDV>DV downconvert feature, but it’s disabled when you connect it via FireWire to your computer. I’m currently looking into workarounds for it.