Thaxter Clavemarlton
Forum Replies Created
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1. Make sure the window is not edging off the computer screen.
2. Click “Fit to Window” in the small left oval menu.
[Select the Canvas or Viewer > Command 4 > Shift Z (Fit in Window)] -
Sorry to say that this is one of those questions that can be summed up as, “Nobody bothered to record the audio correctly, how can I fix it with filters?”
Consider that if the DP shot the images out-of-focus and poorly-framed that a filter could not fix it.
The same can be said of poor audio.
You don’t really “sweeten” BAD audio, you “sweeten” GOOD audio.
Try the digital noise reduction (sample just the “noise”) and try some EQ for the poor “presence”… but don’t expect filters to “save” a poorly-recorded track.
That’s the sad truth.
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Very easy and low-tech.
Draw a white star shape in Photoshop.
Position, size and key it over the image in FCP using the Motion tabs.
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Try playing the problem tapes in a home VHS deck that DOES have the slow-speed playback.
If that works, you can:
A. Transcribe while using that other VHS decck,
B. Dub from that deck to another tape being recorded at SP speed, then use the new SP dub in your pro player.
Home VHS decks can be bought new for $35 or used in pawn shops for $10 or so.
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An audio wave IS generally “random” by nature (unless its a “tone”).
Audio properties can be divided/isolated by “units” of similar frequency, amplitude, or repetitive patterns.
But trying to isolate two or more very similar “patterns” (such as multiple voices) on the same clip is virtually impossible (in spite of what they routinely accomplish with sliding two knobs on “CSI: Your Town Here” every week.)
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This is the kind of “continuous” noise that a program like Bias “SoundSoap” can help remove.
https://www.kenstone.net/fcp_homepage/review_soundsoap.html
https://www.bias-inc.com/products/soundsoap/
It works very well.
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The one in FCP 4.5 identifies which channel.
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Don’t you find a column called “Audio”?
It contains lisings of “Stereo”, “A1″,”A2″,”A1+A2”, and “Mono Mix”.
I’m editing on FCP 4.5 on a DV timeling right now and its there.
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A good way to ride the iris is to ignore the LCD screens and shoot while framing on a GOOD CRT video monitor connected to the camera’s output.
A CRT monitor will reveal the subtile differences in iris levels on the overall image.LCD’s can make very poorly exposed scenes look just fine… that is, UNTIL you start the edit. ;-(
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If the lighting is truly the style you describe, you are in for a terrible situation, regardless.
Spotlights on stage make for badly over-exposed and under-exposed video.
Anywhere the lights hit will be BLAZING and anywhere they are not pointed will be in DARK shadows.No gels are likely the best, if the spots have “quartz” bulbs in them.
But, if they are true “arc-lights” the unfiltered light will be very BLUE, so an amber-tinted gel will help balance that back a bit.I shoot many times under stage conditions where I have ZERO control of the lighting.
I just constantly manually ride the iris and then correct as best I can in post.It can be a real problem.
I’ve talked here about this over the years and some flatly tell me I need to “tell the lighting designer what I need.”
That would be fine, if I (video shoot) was the “reason” the performance was being given, but I am documenting a live-audience performance for which the lighting was specifically designed.
I can’t any more tell them how I want it lit, that I can tell them which actors to cast.