[Thaxter Clavemarlton]

[Cut-Splice] ”
I see several companies offering to make DVD’s of weddings using the Bride/Groom’s CHOICE of music. Is this legal?”

Well, no it isn’t.

Do they usually get by with it?
Yes.

I would feel its not wise to “advertise” this practice, but they do that, too.

[Thaxter Clavemarlton]

You might also look at some “automatic” mixers that will automatically keep the mic channels turned OFF unless and until the person on a given mic is speaking.

https://www.shure.com/ProAudio/Products/MixersAndDSP/us_pro_SCM810_content

Google for more details and more choices.

[Thaxter Clavemarlton]

Sadly, the time for asking this kind of question was BEFORE the shoot.

The audio should not have been recorded using only the on-camera mic.
At the very least, there should have been mics placed on or susspended over the stage.

“PZM”-type mics are sometimes used on the stage floor.
Sometimes wireless mics are placed on the actors.
Other times mics are suspended from the light-pipes above the set.
Sometimes there are combinations of these… all mixed live by an audio technician.

Recording theatrical presentations can require some creative microphone techniques and even then, it can be a compromise that needs some EQ and Noise-gate work in the edit.

The audio you have now (recorded at a distance) is likely nearly 50% made up of unwanted room-reflections (reverb) and noise from the camera, audience members, and the air conditioning/heating.

I’ll say that you should EQ down the lower frequncies and boost the mid-range, but no amount of EQ will fix the poorly-recorded audio track.
Adding and adjusting the Noise-gate filter can make a difference… but it can also make matters worse, depending on the audio track you start with.

Sorry.

[Thaxter Clavemarlton]

You are exporting the wrong choice on the Quicktime Menu.

Park the cursor on the frame you want to export.
Then:

Step 1: File> Export> Using QuickTime Conversion… “Save” window appears
Step 2: Format> Still Image
Step 3: Options… > Format: (choose PNG, PICT, JPEG, Photoshop etc.) > OK
Step 4: Name your image, Set location (disk, folder, desktop) for your new still. > Save

After you have your new image you can manipulate it in Photoshop (et.al.).

[Thaxter Clavemarlton]

[John Steventon] “That’s midly misleading, though correct.”

Well, I guess that statement certainly clears everything up.

[Thaxter Clavemarlton]

I use “Woof” ALL the time.
Its fun to see the reactions of the newbies. 😉

[Thaxter Clavemarlton]

I think what Pierre-Luc was saying is that he thought 15 feet was the MAX length that FW was supposed to be used.

[Thaxter Clavemarlton]

If you have captured directly from the CD inside the Mac, and you are sure (SURE) the audio waveforms are CLIPPED, then the problem is with the CD itself.
But many commercial (store-bought) CDs are intentionally recorded very HOT in level, but NOT digitally clipped.

If you are judging the distortion by EAR, then yes, I’d take a look at your audio monitor set-up to see if that’s giving you false info.

[Thaxter Clavemarlton]

Once that kind of “damage” is applied, I’m afraid you’re stuck with it.

Echo/reverb is virtually impossible to remove without destroying the “wanted” audio.

Sorry.

[Thaxter Clavemarlton]

[Charlie King] “Believe me freelance people have heard everything. You won;t be able to come up with much they haven’t, such as give me a “Micky Rooney.” (little creep) meaning extremely slow push in.”

I’m always surprised (and a little comforted) when I hear the same “slang jargon” (coming from out-of-town crews and directors for sporting events) that we use commonly in our town.

Things like “bring it up” (instead of “fade up”) and (at the end of a segment or show) “Black City” (instead of “fade to black”), “Rolling and bowling” instead of “Tape rolling and locked”… things like that.

My “regular” crews can also adopt a totally INSIDE jargon that only WE would know.
One such camera command was given MY NAME by the crew on an all-night telethon.
The unique command meant, “Take the hand-held and lie on the floor, shoot up at the singer, and kick your feet” (the feet-kicking had no purpose for the shot, but we had a very obedient hand-held cameraman.)

So, once the crew and director get into sync, the commands don’t need to be absolutely “formal”, they just need to be understood at the time.