Rob Forsythe
Forum Replies Created
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This list contains virtually everything to try to enable:
a. External Monitor VIDEO and AUDIO via FireWire & DV deck or camcorder.
b. Viewing in the Canvas window on the computer screen.
c. Being able to record on the external FW DV deck or camcorder.
d. Being able to capture from a FW device.If working this list doesn’t cure the problem… you may have a serious PROBLEM!
Try things in this order until you find the “cure”:
1. Make sure you have only ONE (1) FireWire deck, camcorder, DV capture “card”, or D-to-A converter or video device attached to the computer at a time. Any more than one DV device can cause loss of signal and control.
2. Make sure you have View (Menu) > External Video> All Frames set.
(If the ALL FRAMES option is grayed-out… jump to step 6 below and continue.)
3. Make SURE your Canvas window (right window) in FCP is set to “Fit to Window”… AND that it has not been “pushed off” the edge of the computer screen or “pushed into” other windows.
4. Make sure your CANVAS View Menu (Box Icon with broken sides) is checked on Image or Image+Wireframe… NOT just Wireframe.
5. Make sure your CANVAS View Menu is checked on RGB… NOT just Alpha.
6. Make sure your Final Cut Pro (menu) > Easy Setup… is set for DV-NTSC (or DV-PAL, if that’s where you are).
7. Some camcorders/decks work better under “FW (NTSC/PAL)” -or- “FW (NTSC/PAL) Basic” control (in the capture settings). Try either setting to see which works best for your device.
8. Make sure your Final Cut Pro (menu) > Audio/Video Settings > A/V Devices (tab) > Mirror on Desktop > must be CHECKED. (If not, playing video will not appear in the Canvas.)
9. Make sure the “Log and Capture” Window is CLOSED and not just “hidden” behind other windows.
10. Make sure you have chosen FW output for A/V:
Final Cut Pro (menu) > Audio/Video Settings… >
Video Playback: Apple FireWire NTSC (720 x480)
Audio Playback: FireWire DV
11. Turn off the power to the Camera/Deck/Converter Box, then turn it back ON.
12. Make sure the camera is in VTR mode… or the deck is in DV (DV, iLink, or FW) input.
13. On a Sony camcorder or deck, make sure the menu setting “A/V > DV Out” is set to OFF.
14. Re-check that your FW cable is well-connected at both ends (or try a new cable).
15. Important: Quit FCP, then Restart FCP.
16. Now again, make sure you have View > External Video > ALL FRAMES set…If it still does not work. “Trash” the FCP Preferences on the Mac
“FCP Rescue” is a free Apple Script that will Trash the Preferences.
It will also restore your user settings afterwards.
Download:
https://www.macupdate.com/info.php/id/14729If you have “lost” your entire FW connection between the Mac and the device, go HERE:
https://docs.info.apple.com/article.html?artnum=301852>Then, start again at my “step 1” above.
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This link reveals all the basics:
https://www.kenstone.net/fcp_homepage/basic_ps.html
VERY IMPORTANT:
If you re-position graphics or any video image in FCP, make SURE the VERTICAL setting for each KEY-FRAME (start, stop or hold) is always a EVEN INTEGER (Even Whole Number). Examples: 4, not 3 / -144, not -143.27 / 336, not 335.62 / 12 not 11.
The positioning settings/info (as well as many other settings) are found under the “Motion” tab in the Viewer.
Vertical position is the number in the RIGHT window in the area called “Center” (the horizontal position is displayed in the LEFT window).I sometimes forget to check this and I can end up with images that look fuzzy when in-position.
This info applies to re-positioning anything on the Timeline: moving video, freeze-frames, internally-generated titles, and imported graphics.
It can be quite detrimental to the quality of your final output to not double-check this every time you reposition and/or re-size an image.
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The Canon GL2 only has a 1/8″ stereo (TRS) mic-level input.
The Shure XLR line-to-Mic pad will handle the LEVEL issue, but it will be problematic to make it “idiot proof” with needing another XLR-to mini-plug configuration (and the fact that likely the audio would only show up on Channel 1 of the camera.)
So, in this case, I’d recommend a box specifically designed for this purpose.
https://beachtek.com/dxa4.html
more-
https://dvcreators.net/beachtek-xlr-adapters
There are many models with various features and price-points that reflect the level of features offered.
Some of these even provide “phantom power” for mics that need it (and can operate on lower than 48v.)
Tom (the OP) can likely get by with a more basic model that offers Line-to-Mic-level padding and a “stereo/mono” switch.
These units are also VERY handy it that they will allow you to record the line-feed on one channel and a “live room” mic on the other channel, something that these cameras can’t normally do.
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A video camera’s built-in “time-lapse” effect is not smooth at all (the way we are used to seeing it.)
In FILM time-lapse, only one or two FRAMES are exposed at a time (calculated on the length of the end-result desired.)
This gives a very smooth look to the completed sequence (and the illusion of the actual event merely speeding up.)
In-camera VIDEO “time-lapse” (using timed SECTIONS of recording, not single frames) yield a “start-stop” jerky pattern on playback.
If this is OK for your purposes, got for it!But, it is quite possible to EDIT-DOWN from a tape that was recorded in this start-stop manner to create the 1 or 2-frame smooth finished look of a film.
(In FCP, capture the tape and edit out all but 1 or 2 frames per “exposure.”)
The real difference is in how you set up the shoot.
You will need to make far more “exposures” over the 12 hours because your edit would “eat-up” 15 (2-frame) or 30 (1-frame) clips per SECOND of finished work so you need to decide how LONG the finished work needs to be. (There’s that math stuff again.)There is also computer software that will “record” smooth single-frame time-lapse from your FireWire camera direct to a laptop or tower computer’s hard-drive (don’t need to use tape in the camera at all.)
Here’s a link for one such (Mac) product:Do a Google search for more info.
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[MVPfilm] “Can you recommend a very good mini dv deck for FCP Studio 2 use?
“Sony DSR-11.
[MVPfilm] “Also, I will be putting old vhs to dvd (after editing), any trick or special deck or other equipment I may need?
“Copy the VHS to DV tape first, then capture the DV tape.
Likely will have more playback stability and the DV tape will have repeatable time code. -
RGB is not the same type of signal as component.
Component is
YPbPr
or sometimes called
Y
B-Y
R-YRGB is usually reserved for a computer monitor kind of output.
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If the still image is a freeze of moving video, you will likely need to add a de-interlace or flicker filter to remove the inter-frame flicker.
If you re-position graphics or any video image in FCP, make SURE the VERTICAL setting for each KEY-FRAME (start, stop or hold) is always a EVEN INTEGER (Even Whole Number). Examples: 4, not 3 / -144, not -143.27 / 336, not 335.62 / 12 not 11.
The positioning settings/info (as well as many other settings) are found under the “Motion” tab in the Viewer.
Vertical position is the number in the RIGHT window in the area called “Center” (the horizontal position is displayed in the LEFT window).I sometimes forget to check this and I can end up with images that look fuzzy when in-position.
This info applies to re-positioning anything on the Timeline: moving video, freeze-frames, internally-generated titles, and imported graphics.
It can be quite detrimental to the quality of your final output to not double-check this every time you reposition and/or re-size an image.
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One tip is to back-light the talent with a light gelled in the “opposite color” of the chroma-key color.
Blue-screen: Yellow back-light.
Green-screen: Orange back-light.
Also, keep the talent far in front of (and separately-lit) from the flat-lit background.
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[FischTale] “ll, asking these guys to wear a headband would be about as natural as asking them to wear ballet slippers!”
No martial arts headbands, but necklaces are macho.
Well, I’m out of the loop.
😉
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Since you will still need a belt-pack and you’ll see the cable running down the talents’ back…
How about putting the mic in a head-band?
https://www.amazon.com/Chappells-Family-Karate-Martial-Headbands/dp/B000NL02LS
https://asianideas.com/headbands.html
That should look a lot more natural than a necklace, I’d think.