[Pat Spahr]

I just saw you posted someone fixed it? Please what fixed it?

[Pat Spahr]

Gary, I see this is an old thread but I am having this SAME ISSUE. I *HATE* that I can not see well defined peaks and valleys in the audio wave form in FCP. I am editing a musical showcase and its maddening. You can sortof get a good view if you zoom in far enough. Then I have to zoom back out to get on with the show. Takes F O R E V E R 😴

[Pat Spahr]

My problem is a little different and I’m not sure where / how to look for help.
I have read the manual 3 times. After all the shots are taken, it’s supposed to bring up the “Confirmation Screen” that “stitches” all the images together in a mp4 file.
Manual says: Confirmation screen for creating a motion picture is displayed next, so select [Yes].
But all I get is a message that says “Time Lapse shot completed.

Does anyone know how to take all those images and create the mp4 file?

Thanks.

[Pat Spahr]

How often do you close everything and completely shut-down (not just “sleep”) and then restart your Mac? I find mine has memory leaks (where apps begin using memory and not fully releasing it when they are done with it) as well as memory fragmentation. The OS assigns your apps and data to available blocks of storage in memory that, depending on what is and has been running, are not usually contiguous. That means the more different addresses the OS needs to reference to find both your apps and data (and plug-ins and drivers and extensions… everything) the harder it needs to work to juggle all that. When you restart fresh, you flush out what was there and when you launch your app (Premiere, in this case) and re-open your project, the OS will load all this information into contiguous (next to or together in sequence) memory address locations.
I was a software engineer long before I got into film production. This is a real thing.
If you do this perhaps as often as once a day, you may find not only less crashes but also gain a noticeable performance increase.

[Pat Spahr]

Thanks for those insights Larry. What you’re suggesting frightens me as I’ve been working on this documentary for over a year and am in the final final final edits just now. As I posted above, the bug is a minor annoyance. But it is also a disturbing one in so much as this only began happening in the last 60 or 90 days. No one likes these kind of sudden, unexpected surprises, especially when involved in a critical project. So I am glad this is on other’s radar as well. Thanks everyone.

[Pat Spahr]

This thread is over a year old now and I’m wondering if you guys ever got it sorted out? I just had my MacBook pro have a hard crash — totally locked up and had to do a hard restart.

I had been experimenting with some footage in my feature length documentary and as I was immersed in the creation process, realized I had not saved in over an hour. All those changes in the project file were lost. I went to look for the auto-saved version and at first could not find it. I eventually found it and others saved in my mac/users/documents/adobe/premiere pro/8.0/adobe premiere pro auto-save folder!!!

THAT IS NOT my “project folder.” But there they are and it seemed to open fine and I am grateful and happy. But the info about PP putting auto-save files in the project directory is not correct. At least, for me.
I found the file using search in finder.

[Pat Spahr]

This is an older thread by now but I learned what I came here looking for, i.e., a discussion about the available frequency bands.

A word on lavaliere mics. Someone mentioned the Countryman mics above. Yes, they are really nice and surely superior to the M2/M4 Sennheisers. But no one mentioned the Sanken mics. I had a chance to do some location sound for a short feature using Sanken mics (into the Sennheiser G3 transmitter/receive pair) and fell in love with those little gems! Well worth the cost (not cheap).

And a word on boom mics. If you have the equipment and adequate tracks to record on, use both! And I took a workshop with a gifted Hollywood type supervising sound editor/re-recording mixer who gave the tip that if you have the luxury to do so (and on my recent projects, we did!) use TWO boom mics! (in addition to your lav mics.) It really is not overkill. There is nothing better than having options when it comes to doing the dialog mix. And nothing worse than finding you didn’t get what you needed.

[Pat Spahr]

Okay, Thank you Ty. I’ll have to figure out if the receivers output mic or line level. (it’s my school’s equipment. we have some lectrasonics and some sennheisers…)

[Pat Spahr]

Frank, I know your post is old but I see the guys never answered your 1st question:

1. Do I set my camera’s input to MIC or LINE for the receiver?

Did you ever figure this out? Because that is my question now. If I run the receiver from my wireless mic into a field recorder (Sound Devices 744t) or into a mixer (Sound Devices 302), does one set the input sensitivity to LINE or MIC?

[Pat Spahr]

When I found this thread, I was looking for a tutorial on how to setup and edit multicam (multiclip) in Premiere Pro since I have switched to that platform and am still re-learning how to do some of the things that were easy in FCP7.