Thaxter Clavemarlton
Forum Replies Created
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Ah- HAH!
(I just like saying “Ah- HAH!)
To import a CD track, the method I use is via “itunes.”
iTunes is a simple ready process after the initial set-up presets:
iTunes > Preferences > Importing > AIFF> Custom > 48.000 kHz, 16 bit, Stereo >OKOnce these are set, you won’t have to set them again.
Put a CD in the Mac (or use a imported audio file that’s already on the HD), open it up in iTunes, click once on the track you need, and choose:
Advanced > Convert Selection to AIFF.Works VERY fast and stores new 48 kHz file in the iTunes library. You can just “drag and drop” this new file (.aif) onto your open FCP Browser.
Quicktime Pro works great, too, but I’m just MAD at ’em for wanting to charge me AGAIN after I upgrade the QT on the Mac… I paid $30 once, why do I need to buy it AGAIN?
iTunes is already on my Mac so I use it.
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The long FW cameera runs simply “worked” during the shoots.
And the long runs in the edit bays work with FCP and DV decks.
It just works like a 6-footer does if you had the deck right next to the Mac.
Where did you find “15 feet” as a recommended max. length?
Obviously, the shorter the better.
My point is that we have actually (and consistently) USED long-run FW cables and had no problems.
As always, “your mileage may vary.”
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“Deinterlace” it in Photoshop (in Video Filters).
And change its aspect to a 16 by 9 ratio.
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Just to stir the pot…
I do work at a production house where the decks are all in the “tape machine room” and we routinely run FW cables up to 80 feet to FCP Macs every day.
With that same company, we recorded on-location at a ball-park with multiple cameras feeding a switcher with FW inputs.
One of the camera’s FW cables was about 200 feet long (two 80-footers and a 40-footer, end-to-end) and the other two were each on 80-foot FW lines.
The image and audio (we fed the wireless mics into one of the cameras) was just perfect over three days of outdoor shooting.
Its a digital signal, so its either “there” or its not. No deterioration like in analog line-loss.
We were skeptical as well, but we tried it, it worked great, and now we have used a similar set-up (not EVERY shoot requires THAT much distance, of course) several times.
No speculation, just my experience.
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I have never heard of this.
CD audio files(if properly-recorded, and not distorted in the first place) should play perfectly in FCP.
These digital files, once imported and re-sampled to 48kHz for editing to the timeline (you did that, right) should sound virtually identical to the tracks played right off the CD.
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[Wayne K.] “Here you go – the answers to your prayers – better than anything one can achieve in PS with 4 keystrokes:
” target=”_blank”>https://www.digital-heaven.co.uk/fcplugins/dh_retrotv.php”
Oh SURE Wayne, easy for YOU, maybe.
But DH has hit us with a staggering 100% price increase (DOUBLE the previous charge!)
Maybe you can pass along these outrageous price-points to the client, but my poor budgets can’t take cost-increases of that magnitude.
(Used to be $10, now its $20… OUCH!)
BTW, can I borrow a twenty from you for coffee?
(Tee-Hee) 😉
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[NickM] “then again, you could always film your images off a TV…”
That is SOOOOO “1998” thinking.
🙂
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Create a full-screen-sized image in Photoshop filled with narrow black lines separated by about 2 lines of “clear”.
Super or key this over your clean video.
Adjust the amount of the lined image you see to fit your taste.
Here’s a tutorial on how to do this.
https://www.good-tutorials.com/track/40
There are also several 3rd-party filters for this purpose.
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Boom Up-Down
Swing Right-LeftStart low and standby to boom up quickly
Don’t HIT anyone with the boom! 😉
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Tilt Up
Tlt Down
Pan Right
Pan Left
Zoom In
Zoom Out
Focus
Give me a Two-shot
Give me a Tight Shot
Give me a Cover Shot
Push In
Pull Out
Standby for a slow Rack-focus on my dissolve.
When your tallyn goes out, give be a tight shot on the guy talking.
Close Up
ECU
Medium Shot
Wide ShotI could go on, but what else wolud you like to know?