Ray Chung
Forum Replies Created
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Thanks for replying, John. I’m not aware of a latency setting on my monitor…is it in the menu? Can’t seem to find it in the settings or any mention of it in the manual, so maybe just your version has it.
I hear what you’re saying about the delay setting in FCP originally meant for firwire, but it doesn’t seem to work the same way in MC6. When it delays in FCP, the audio stays in sync with the video through the BM. With the MC6 one the audio stays in its original sync with the video playing however many frames later that’s indicated. At least that’s what’s been happening with mine. On my FCP system, I set the ‘frame offset’ from 4 to 5 with a 1080p sequence, to 2 for a 720.
Again, it’s understandable that there may be some unavoidable delay in the external hardware used in conjunction…and that can be compensated for on the tail end with audio delays et al. But this really should be a function in MC6 like it is in FCP to take care of it beforehand.
I guess it also has to do with the ‘video out’ in FCP, like firewire, being something that’s indicated specifically…whereas in MC6 you can choose HD or two other things, but the video out via whatever PCI-E you use is a constant setting with just an on/off toggle….hence the desktop delay not having the same effect on it.
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I don’t thing there is without actually adding some motion blur to each frame via an effects program or the like…don’t think there’s a plugin/effect for tat in Avid but I may be wrong. Maybe you could try some things with the ‘Time Warp’ effect in Adobe After Effects…which can be used to create ‘virtual slomos’ and basically add/warp the missing in-between frames of movement. Maybe a slo-mo back to regular or something. But no, if the shutter speed is such that it doesn’t capture as much motion blur @ normal speed and hence has that ‘choppy’ look (like some of the beginning of Saving Private Ryan)…then it’s nowhere to be extracted back from. It’ll have to somehow be manufactured.
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The issue with very low output is that the 1/4″ outputs on the MBox 2 are UNBALANCED ONLY. For those who plug (with TRS 1/4″ balanced cables or TS cables) into a stereo channel on a mixer that offers both bal/unbal for its 1/4″ inputs, it’s fine because your mixer inputs automatically adjust. But for someone who plugs into balanced-only 1/4″ inputs on a mixer or in my case, the balanced-only 1/4″ inputs on a JBL MSC1…it can cause a severe drop in volume because the input is expecting something very different. The cure is to use the RCA/unbal input ‘c’ on my MSC1 (via 1/4″ TS to RCA cable/adapter), or the ‘tape’/rca inputs on a mixer if it only offers balanced TRS stereo channel inputs.
This is rather odd because I believe the manual for the MBox 2 says that it’s both bal/unbal…but in reality, it’s just ‘consumer-level’ unbalanced. You’d think for a Pro-Tools interface…even one as affordable as this, it’d offer or standardize on the ‘professional’ balanced level for its outputs. Weird!
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….that this is by design for some reason….
https://duc.avid.com/showthread.php?t=273406
Well, luckily I can set my Multibridge’s audio output to ‘consumer level’ which is more in line with the MBox’s, and adjust my input level so that my reference fader positions are more even between he two with out big shifts in level. the AD/DA converter’s levels are still way high, but I don’t really use that for monitoring.
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Have you tried arranging them with ‘displays’ in the Mac’s system preferences?
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I’ve experienced this (many frames of black/dropout) with a Multibridge Pro while trying to capture a RED camera’s 720p/59.94 video tap output (for instant playback purposes) from its SDI monitor out. After some searching, it turns out that the RED’s video out isn’t very stable, with jitter levels well outside SMPTE standards. Doable on most production monitors, but not stable enough for some SDI inputs like on the Blackmagic cards or perhaps some decks. Here’s a discussion on the matter….
https://www.reduser.net/forum/showthread.php?t=18632
In some ways, understandable seeing that the RED’s video out is really only for monitoring since most shooters are using it for its 4K-to-drive capturing, but I would think that an HDCAM would specifically be designed for that option, so it may not be the signal quality itself. Perhaps excessively-long SDI cable runs or the like, or perhaps the need for an external sync generator.
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Have you updated the latest Blackmagic software for your card?
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I gave 7.5 a try last night, and I wasn’t getting output to my monitor via HDMI for a ProRes 444 FCP project. Went back to 7.3.2 and it’s working fine, so I’m staying with it for a while.
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The onboard analog sound cards on computers aren’t that great. You’re better off with a separate audio input/output device. A simple one is something like this….
https://www.behringer.com/EN/Products/UCA202.aspx
You could simply hookup your mic receiver’s 1/4″ unbalanced out to one of the RCA in’s on the interface above with a 1/4″ to RCA adapter or cable. Then select the device as input on whatever software you’re using to record audio. You can also record audio in Quicktime.
If you need to adjust levels of the recording signal, then you may be better served with an interface that acts as more of a preamp, with adjustable levels for various mic and line-level inputs, like….
https://pro-audio.musiciansfriend.com/product/MAudio-FireWire-Solo-Mobile-Audio-Interface?sku=701364
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When starting up FCP initially, or after trashing prefs….did you set the ‘easy setup’ for your 1080/25i format, or just leave it at default and skip to your project? I’ve found that that can have an effect on audio drift/sync if, say, the initial easy setup of ‘DV-NSTC/all frame rates’ is kept, even though your project is a different format. Don’t know if this is your issue, but here’s some more info on what I alluded to. Look near the bottom of the thread….
https://discussions.apple.com/thread.jspa?threadID=1918928&tstart=0
That solved it for me regarding exporting and importing audio files while working on a 1080p ProRes (HQ) in both 24 and 23.98 fps.