Thaxter Clavemarlton
Forum Replies Created
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A better videographer is my first suggestion.
There IS no fix for this. Its primary to the “look”of the image and the motion.
You didn’t say what the “wrong” speed was and what the “right” speed was, so I can’t suggest anything more specific without that information.
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You cannot make QUALITY EVALUATIONS based on the Canvas window or another window viewed on the computer screen.
If you do, you can end up making the wrong creative/corrective decisions.
You need to view the FCP output on an external video monitor (NTSC or PAL, depending on where you are) to check motion and/or quality of a FCP image or graphic DURING the edit.
The better the quality of the monitor, the better you can judge the levels, color and resolution of the edit… but in a pinch ANY outboard monitor will show you how the actual motion will appear and relative sharpness of the image you’re working with.
Again this is a must for making these evaluations on any project that will be output to tape or DVD.Monitoring FCP on an external video monitor is as easy as:
Mac > Camcorder > Monitor.
Here’s how to connect it, step-by-step:1. “Quit” the Final Cut Pro program.
2. Connect your camcorder to the Mac via FireWire.
3. Hook any standard monitor or TV (with a video input) to the outputs on your DV camcorder.
You can use the standard (usually colored yellow) video cable or the “S-video” output from the camcorder if the monitor has one of those kind of inputs.You should ALSO hook up the AUDIO outputs from the camcorder to the same monitor, or any “amplified speakers” so you can monitor the FCP audio along with the video.
4. Turn ON the camcorder. Switch it to the VCR (player) mode, but don’t put a tape in it (unless you intend to record from FCP to a DV tape.)
5. Turn ON the Video Monitor and set to view the “Video Input”.
6. Open Final Cut Pro on the Mac.
7. In FCP, make sure under the pulldown menu: View > External > ALL FRAMES is set.
You should now see the output of FCP on the camcorder’s viewfinder screen AND the external monitor.
You will also hear FCP’s audio from the speakers that you connected to the camcorder.
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I give up.
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[kwwadeace] “I will be using the z1s as their main cameras, and was wondering if anyone now of a way to control the tally light,”
Easy one.
Don’t use the “tally” that’s ON the camera.
Run another small “speaker cable” connected to a stand-alone indicator light that’s mounted very near the camera. Use the tally circuit in the switcher to activate it (might need a wall-wart power supply for that lamp.)
This method could be used for any and all cameras in the set-up, if needed.
That would be an easy workaround that would be a “no-brainer” for a good tech to hook up.
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Given your posted problem, with YOUR setup it does not.
The settings on the Mac and the way the card works, in your case creates the unwanted sounds being output.But every system is different, I know what to expect on MINE, and I’ve had to learn the idiosycraces on the many other systems (FCP and Avids) I use around town.
Regardless, as I said (and I’m not joking), I stay completely AWAY from any Mac that is dubbing OUT.
Far too easy to cause it to “stop in the middle” due to an inadvertent command. (Even a “static” discharge could affect the playing.)
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[cwise73] “Now I know that I shouldn’t be running anything else while I am doing this… I was allways under the impression that FCP blocked out all sounds while you are laying off. Was I wrong in thinking this?”
I would not be doing anything at all on the Mac during a play-out to tape… for many reasons.
So if you don’t, this can’t happen.
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[Michael Kellam] “If I put it on Ebay, I expect that there’s a good chance I won’t get enough from it to even mess with listing it.”
WoW. With a positive attitude like that, you must be in ADVERTISING!
😉
Seriously, eBay is a GREAT place to post it.
It won’t cost you much of anything if it doesn’t sell.
Take a few digital images to post, and be very CLEAR in your title and body copy as to exactly what you HAVE and what the problem is. (Just copy-and-paste what you posted HERE, that was great info.)
List it with a “reserve price” as the lowest you’d take for it, figure the shipping costs to post, and go for it.
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[dbl9000] “I just digitized in a bunch of music videos that I need to edit together, and mistakenly had the audio set to digitize 2 mono tracks instead of a stereo pair.”
The OP’s reason for this post is that its a “Music Video” project and NEEDS 2-channel STEREO, not dual mono.
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[Khashyar Darvich] “Are you saying that if audio is recorded low (let’s say, with an average level between -30db and -24 db), that increasing the gain so that the average is -12 to -6 db WILL result in some artifacts or hiss, even if the gain is added through ProTools?”
Always.
What ever noise there is will be increased when you bring up the gain.But it may or may not be noticable in the finished presentation.
A quiet studio with good mics will yield better results than under lesser conditions.
But the big question is WHY would someone INTENTIONALLY record at such a LOW level they KNOW will need to be increased tremendously for the finished production?Yes, avoid clipping at all costs, but there is a BIG difference between clipping and -30dB on peaks.
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[Khashyar Darvich] “The audio engineer also mentioned to me that you want to set the audio level a bit lower during a field recording in case their is an unexpected loud sound that could peak the levels.
“I have always done this with recording “dual mono” on a 2-track recorder (or camcorder).
Setting one track 3 to 6 dB lower than the other. That way you have more head-room on one track, and less “less noise” on the other.