Thaxter Clavemarlton
Forum Replies Created
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You are wading in some pretty deep water, here.
Many shooters of musical performances (especially Pop and Jazz) bring along another crew-member just to monitor, adjust and record the audio.
There are so many variables in each venue, with each band, with how and where you set up or move around, radio frequency interference and cut-out problems using wireless, poor mix from the house PA (just to name a few)… that its going to be a stong probability that you, alone on a shoot, will just not be able to do a decent job on the audio AND the video.
I suggest that you might want to find a local audio pro to give you (at LEAST) some hands-on help and advice on a shoot or two before you start spending $$ on more gear.
BTW, the minidisc “dual-system” recording is generally much more reliable than using “wireless” audio to the camera.
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[Mark Suszko] “But civilians just often have no concept of taste or quality, what we do has been commoditized to the point it’s no longer recognized as a craft, though along with the stills it’s about the only part of the day that remains after all else is gone and forgotten.”
Your whole post made me cringe with familiar recognition.
The more “hideous” the transitions and timing, the more “civilians” NOTICE them.
“Power-Point” (the scourge of the business) and its ilk have made random non-sequitur pacing and transitions common and accepted in most every two-bit amateur “production.”On the screen you’ll see a badly cropped image of the last-known photo of “Great Uncle Bill” on his death-bed… suddenly making flying circular passes to reveal little “Devon” eating ice cream for the first time… all set to the tune of “We Are the Champions” makes for a snappy Golden Wedding celebration!
Ahhhhhhhhhhhhhhhhh, indeed!
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I didn’t talk about and “RF Choke” that might help a bit.
You’d affix a capacitor across the conductors of each mic cable just as each cable came into the mixer.
The right value cap might reduce the RF signal while allowing the voice audio frequencies to pass.
The PROBLEM with this is that it will not be 100% effective as the RF will have harmonics that are at the same frequencies that you need to amplify.
Shutting off the phones (or the “officer” idea) will work more effectively.
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[Legend] “I get intereference from some cell phones especially nextel what can I do (besides turn off the cell phones)…”
OFF is the best way.
The frequent “polling” (with the tower) a powered-up cellphone does (even when not in use) can a noisey problem when it sits in close proximity to A/V gear.
Alternative:
If some of those at the mics “need” to keep their phones ON…Assign a “cellphone officer” who collects those phones before the meeting, sits far enough away from the cables and gear that the RF noise does not get amplified, and answers any phones that might ring during the meeting. That Cell-officer would have instructions from each member as to what constitutes an “interruptible” call and whould hand the phone back to that person at that time.
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Steve gave good advice.
Another way is to duplicate the timeline 8 times and just mark and delete the areas you don’t want on each one.
That way you’ll have an editied timeline for each separate “sub-clip” in FCP.
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Without knowing exactly what you threw out (because, I guess YOU don’t know what you threw out) I wouldn’t know where to start.
Do you have any OTHER FCP projects on your Mac?
If so, try opening another older project that does not have any relation to the one you’re having problems with.
If THAT one opens, FCP is OK but you must have “tossed” some important files in the “problematic” project.
Without some hands-on expert help, you may be in trouble.If another older project does not open…
Try Reinstalling FCP from its install disc(s), then try opening your project again. -
Name/number the images sequencially.
Final Cut Pro (menu) > User Preferences > Editing >
Still/Freeze Duration (set for the duration you want each “frame” of the animation to be seen)Then import your frames.
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Levels have no direct relation to sample-rate.
-12 is the same peak at 24 bits as it is at 16 bits.
Work with the levels your final user desires.
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[Steve Eisen] “DVD is excepted as a delivery format of on extremely rare conditions.”
To paraphrase HBO promotions:
Its not TV… its CABLE.
😉
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[lear2006] “So my ultimate question, how would i get my video file to have the capture source audio, without going back and redoing a 3 pt edit?
“Like many things, once you create an edit and then make several changes and save the project and continue “down the road”… you can’t just “undo” all the major changes with a simple command (the exception would be “remove attributes” but that does not apply to your specific question).
A good practice is to edit up to a point and then DUPLICATE the timeline and continue additonal changes (like your audio adjustments) on the COPY.
That way, you can always go back to the original timeline that did not have the changes that you made to the copy.