[Thaxter Clavemarlton]

[Rennie] “Laird makes an INTERVAL switcher for firewire.
This is as close as you can get to a dv production mixer for around $1000.00. “

This is not the kind of “switch” that’s needed to “share” a single FW device between two computers.
To the converse, It takes multiple FW sources and “routes” them to go one output.
It is an “active” circuit” that only allows a “one-way” operation of the FW sikgnal.

The OP needs to go the “other way”.
The PASSIVE A/B switch I posted allows this type of set-up (AND would allow the signals to pass BOTH ways between the source and the computer).

You’d hook one computer’s FW port to the “A” jack, the other computer’s FW port to the “B” jack and the FW Deck/Camcorder/Source to the “common” jack.

[Thaxter Clavemarlton]

The only “safe” wqay to do this is with a FW Switch,
since having the deck connected to both computers at ONCE would likely create a FW conflict.

https://www.signvideo.com/firewire-switch-ieee-1394.htm

That’s one of the most popular FW switches.

[Thaxter Clavemarlton]

There are different versions of filters that might be “called” normalize, but are, in fact, compressors.

And, many of the various terms are used interchangeably by different operators and designers.

Regardless of the terminology, just use the filter that does what you want it to do.

[Thaxter Clavemarlton]

[Julie B] “I will get another card and hopefully that will solve the problem.”

Don’t forget to let us know how it works for you.

[Thaxter Clavemarlton]

Dynamic range is the difference between the lowest level of audio and the highest level of audio.

A true “Normalize” should have no effect on the dynamic RANGE (it just makes sure that the highest levels in a clip are reaching the maximum set up in the Normalize filter or device),

Adjusting the overall level (“master volume”) will have no effect on dynamic range either.

ITOH, a “Compressor” is designed to DECREASE the dynamic range, and an “Expander” is designed to INCREASE the dynamic range.

[Thaxter Clavemarlton]

Agreed.
But the “Mixdown” the Audio for playback” is a separate and very useful command.

This suggestion has been posted countless times, and more often than not, it can cure the “dropped” A and/or V.

On the other matter.

I make hundreds of dubs going out to stations.
:30 B&T, a slate, program material.
I don’t bother with setting the TC (other than a reset off the top). No need.

There are times when it is needed if I’m working with a click-track and/or scratch-track or a general rough mix and I need ADR, sweetening, or otherwise interact with another audio or post house.

Or when I might want to insert into the middle of a finished tape.

For client TC previews, I just send ’em a burn-in window dub on VHS or DVD.
They can’t play a BSP or Digibeta (or even a DV) anyway.

Lots of ways to use FCP w and w/o TC.

Sorry, getting VERY late here.
Peace.

[Thaxter Clavemarlton]

[Danrnw] “so much for taking your seriously. My bad.”

Your “BAD” was being so condesending about being a “pro” and finding fault with someone offering a possible workaround for an editor who was in a jam.

[Thaxter Clavemarlton]

[Danrnw] “But for many of us, timecode is a way of life when it comes to
matching what we do with other people working on other elements of a show.
“

Jeepers!

I wish I had me one of them TIMECODERS down here in Sloppyville.

Mebby when we git on the city power we can order one from Sears.

Do you have to set it, or does the govermint guy come out to adjust it?

[Thaxter Clavemarlton]

[Danrnw] “Off on a tangent here I know, but that comment about “I only just hit record”
got me going.
“

Thank you for the kind words.

What is timecode used for in the pro world?

[Thaxter Clavemarlton]

There is a function in FCP that is often overlooked… and it can help with many audio and video “skipping”, “sticking” and “missing” problems.

You should “Mixdown” the Audio for playback before you dub out of FCP, or during the edit, if you have audio/video stuttering, drop-outs, sync-slippage, or freezes.

NOTE: Mixdown has even been demonstrated to help with slipping, skipping problems (or “missing” audio clips) for files being EXPORTED as QT (or similar) files out of FCP.

First, SELECT ALL of your audio tracks (highlight them) on the timeline, then:

Sequence Menu > Render Only > Mixdown.

You should see a dialog box telling you its rendering.

It might seem to make little sense that “Mixing down” even simple audio tracks will “fix” complex video “freezes” or random audio dropouts to tape or export, but it CAN.

NOTE: It does not matter of you only have one audio track, if there are random freezes during output, you should try the Mixdown.

I think that this is one of the functions that is SUPPOSED to take place automatically during pre-processing of “Edit to… Master to… Print to…” but sometimes it may just not quite perform this completely.
I flat-out NEVER use any of these playback “features” anyway. I always just hit “record” on the deck and PLAY the timeline out to tape.