Michael Gissing
Forum Replies Created
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Posts like this one make me glad I am in PAL land.
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The video game footage is probably de-interlaced as it was generated for a computer monitor. There is nothing to gain and plenty of resolution to lose by de-interlacing, depending on how you go about it.
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Clapper board. Might sound trite and od fashioned but it works.
Other alternative is to drop the files into a DAW that can sync the file timecode, do the varispeed and then output new bwavs with embedded code. However, when the pictures are run at half speed what happens to their timecode?
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I find myself agreeing with Dave except that it is a gain problem not necessarily impedance. The signal is distorted by the input electronics getting a signal too high to cope so it clips. Meters might look fine but you are puting audio to air not a picture of meters.
A pair of headphones costs far less than a reshoot. Go crazy and hire a sound recordist perhaps.
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I wouldn’t try to do that in FCP. Although there is a timecode relationship between the B wavs and the camera original, I don’t think there is any automated way to sync based on code.
If I was to do that in my studio I would use my audio DAW to conform the files as reels from an EDL. The system I use is dSP which is not common but can do this. Ask your audio post people if they have similar tools.
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After doing sound post on over 720 docos, I absolutely do not want edit suite keyframes. It is enough to have to pull apart offline tracks without deleting superfluous level info.
If you want me to list the many reasons I am happy to do so.
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I capture HDV from the Canon camera with HD SDI to the Blackmagic card and firewire control for time code/ machine control. I usually go straight to uncompressed HD as I am online conforming finished edits.
The offline is done with firewire capture from the HDV camera/ deck as DV codec. Timecode is good both for offline and recapture
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If you add a music track to the mix, it is likely that you will create a tiny but noticeable phase difference. Not at all recommended, especially if you are using Dolby Surround decoding.
Not sure what actual value high green is but mixing for cinema or broadcast doesn’t have level that peak close to 0 dbfs. Their levels are likely to be correct. Don’t muck around with them as there may be peaks that you will distort.
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Very misleading title Harry. It should have read “Failure to use Media Manager Disaster”
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Was the Canon set up for 2 tk 48khz or 4 track 32 khz?
Also on the Sony Deck what tracks can you see/ hear before you try to capture. The sample rate thing is one possibility but also the playback deck may be causing issues. I do the opposite – capture Sony Z1 material on the XL H1 without a problem so I am confident that the two cameras are playback compatible.