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Re: Problems capturing analog footage - 10 years ago
Your signal path is pretty convoluted, so if possible, I'd reduce the number of variables. Try to use the Hi-8 camera's composite outputs to go straight into an I/O converter. You can find those for pretty cheap now at Apple Stores. If the camera's own outputs are faulty, as Andrew suggested, then you're kind of screwed, but I'd try to reduce the number of elements in your chain first. Haveby derekmok - Café LA
Re: dropped frames in Cambodia - 10 years ago
> I have also seen personally that filling HDDs past 90% up to 100% can cause data loss and I have seen it on many occasions. Old wives tale it is not! Indeed it is not. I don't care what the numbers say, and I don't care what "test results" say. My field experiences see a drastic and instant slowdown of all operations the minute you hit the 90 per cent mark on storage. It's noby derekmok - Café LA
Re: Problems installing FCP - 10 years ago
Is your copy of FCP7 legit? It hasn't been available for purchase since 2011.by derekmok - Café LA
Re: crushingly URGENT help needed - multiclips offline - 10 years ago
> Is it enough to have the files reside in a folder like Projectname_audio/Sound01/Takename (with actual file name, 27T02.wav)? No, it's not. Remember, the computer goes by file names, not file paths, and file paths change all the time (for example, if you move things, or if you change media drives). In my opinion, in the tapeless age, it's usually desireable to retain the original filby derekmok - Café LA
Re: crushingly URGENT help needed - multiclips offline - 10 years ago
If you say there are no duplicate names, and that you already reconnected the media successfully (eg. master clips are up and running), then this is not the cause of the problem. What happens if you re-create a test multiclip, disconnect the media, and reconnect?by derekmok - Café LA
Re: crushingly URGENT help needed - multiclips offline - 10 years ago
> There are no filename duplicates. Thought you said you left the MVI_0001 as they were? Or is this a short project where no file names repeated? > there is no USB drive, a USB has not been used here. you're saying the USB changed files paths?? what USB? You wrote: > i'm editing a project with multiclips and some of them were out of sync, so my assistant to fixed them on hisby derekmok - Café LA
Re: crushingly URGENT help needed - multiclips offline - 10 years ago
> The files in the multiclips (two camera interviews) are labeled 'MVI_0001' etc . The audio is also labeled as generated. That means no assistant-editor work was done at all. That means when FCP asks you for "MVI_0001", you have no way of knowing which "MVI_0001" it's referring to unless you're reconnecting the clip by hand, choosing the exact correct clip to corresponby derekmok - Café LA
Re: crushingly URGENT help needed - multiclips offline - 10 years ago
Still didn't answer the crucial question. Did you, or did you not, ascertain that all files -- video or audio -- had unique names before proceeding? Or did you leave the files as "MVI_0001", "STE-001" and so on, therefore breaking one of the most important rules of digital editing? If this project were prepped properly, media reconnection would usually be an automated proby derekmok - Café LA
Re: crushingly URGENT help needed - multiclips offline - 10 years ago
Did you rename the dual-system audio before proceeding with editing work? It's a common oversight, and it's a deadly one because if you didn't, then your audio clips may well have multiple duplicate file names and they won't reconnect automatically. The last short film I cut took me three weeks to fix because of this. As for the "timeline being offline", unless you broke all masterby derekmok - Café LA
Re: Any way to anchor a shot’s motion to another shot? - 10 years ago
There is no way you'll be able to do this in FCP and there's no way a non-experienced operator will be able to do this. Get an FX artist.by derekmok - Café LA
Re: Which QT Settings Format to Choose to Export Project? - 10 years ago
You should probably get somebody to help you in person -- there are too many things you need to know in order to proceed. If you've never done this yourself, you'll be going around and around in circles. To check what settings were used in your Sequence, press COMMAND-0. To export the timeline, make sure no In/Out points are selected (unless they're intentional), COMMAND-E, Current Settingby derekmok - Café LA
Re: Which QT Settings Format to Choose to Export Project? - 10 years ago
You have two separate questions. The differing resolutions of your media means you first have to choose what resolution to edit with. Editing in 1280x720 would mean you'd have to blow up the 640x360 footage and it will lose sharpness, but your final product will be HD. Editing in Standard Def would mean all the footage will be sharp, but small. The second question is simple. Vimeo would acby derekmok - Café LA
OT: R.I.P Bob Hoskins - 10 years ago
A damn great actor who could put conviction and emotional truth into the role, even when he's acting with a cartoon rabbit.by derekmok - Café LA
Re: eye dropper tool in 3-way color corrector not changing any values - 10 years ago
> You're applying changes to a clip that isn't actually loaded in the Viewer. It's possible, but not definitive. I know for a fact that Color Corrector sometimes gets this bug where it stops responding to adjustments (and I almost never adjust the "master" filter by mistake, not for any significant length of time), and I'm sorry to say I have never found an adequate fix that workby derekmok - Café LA
Re: on-set audio recorded too low, raising volume = hiss - 10 years ago
> is the low audio due to a inexperienced sound mixer or just the locations were audio nightmares so he had to keep it low? It can be all of the above. What I've encountered a lot is that it's an inadequate recordist or inadequate equipment. Levels are levels, but the presence, richness and clarity of the signal are up to how good the microphone is, how well it was used (eg. positioning,by derekmok - Café LA
Re: on-set audio recorded too low, raising volume = hiss - 10 years ago
> Forgive me, Derek, I beg to differ- the Gain Adjust in FCP7 does not add anything outside the scale of the clip gain. Not the normal Level command, Loren...Gain is an audio filter that appeared around FCP6 or so. It doesn't have the "Relative" or "Absolute" option (achieved by Modify - Levels, or OPTION-COMMAND-L -- not a filter), nor does it have the +12dB limitationby derekmok - Café LA
Re: Editors have you ever received this request? - 10 years ago
> but now that I think about it wouldn't it be best to place the sync pops in the direct frame preceding/following > the first/last frames of picture? Absolutely not. The 2-pop goes where it goes -- two seconds before, at 00:59:58:00. I've gotten specific requests sometimes where they'd ask for a one-frame slate like "Picture Begins" on the frame before the first frame ofby derekmok - Café LA
Re: Any way to set overwrite instead of insert on drag to timeline? - 10 years ago
> Dragging it to canvas onto 'overwrite' is not an option because I'd have to move playhead to where I want it every time Don't quite get what the issue is. You'd have to set the playhead whichever option you use. > Annoyingly, they are often inserted, so everything in video and audio tracks has a gap If you perform the insert edit correctly, there shouldn't be an unwanted gap. Aby derekmok - Café LA
Re: on-set audio recorded too low, raising volume = hiss - 10 years ago
> Another trick is to nest the low audio region, name the nest after the speaker and append "audio boost" so it appears that way in the Browser, then in the Timeline you > have another 12DB you can raise on the nest clip! That's a very inefficient way to do it, left over from FCP history. Since FCP6 or so there has been a Gain filter you can add to an audio clip to raise levby derekmok - Café LA
Re: Proper FCP7 Audio Filter to use for Distorted Peaks - 10 years ago
That is what a compressor does -- make the soft sounds louder and put a clamp on the loudest sounds. It also drastically increases the hiss, because hiss is part of what the compressor would make louder. The order of the filters matters. You can try using EQ or high pass to drain out some of the low-end rumble, and then put a fat EQ to see if you can get a bit more low-end presence back to tby derekmok - Café LA
Re: HDV Import into FCP 7 - 10 years ago
It's more likely that a) somebody messed with the settings, or b) you were capturing to the wrong Scratch Disk.by derekmok - Café LA
Re: Proper FCP7 Audio Filter to use for Distorted Peaks - 10 years ago
> He would like it if I can do something about the blown out peaks. Not much. ADR is usually the go-to solution. Once audio overmodulates, you can take it down 20dB and it'd still be soft overmodulated audio. Garbage in, garbage out.by derekmok - Café LA
Re: Syncing XDCAM rushes in FCP - 10 years ago
Match Frame is a feature whereby you can take a certain frame of a certain clip in the timeline and call up the same frame of that clip from the master clips. And vice versa -- if a master clip is open with the playhead on a certain frame, you can Match Frame and locate that frame if it is also in the timeline. So, you set the playhead in the timeline to the beginning of a certain audio clipby derekmok - Café LA
Re: Syncing XDCAM rushes in FCP - 10 years ago
Notes are your friend. When you locate one audio file that matches a certain scene/shot/take number (eg. on camera reports or script-supervisor reports), put metadata onto that item in FCP (eg. by starting a "Master Comment" column). Sync is not that hard; it's locating the correct takes to marry that takes forever, given the fact that modern tapeless workflows, for both audio and vidby derekmok - Café LA
Re: How to rip a DVD and re-make it - 10 years ago
DVD Studio Pro is not an editing tool. You can try using QuickTime Player Pro to edit the MPEG-2, but in my view, you should be ripping the DVD and doing the edit properly, and bill the client for all that work. It's not your problem that the client wants to tinker so long after the project wrapped.by derekmok - Café LA
Re: Syncing XDCAM rushes in FCP - 10 years ago
> The director has stated "We have an edit which only has camera sound, we have the sound files. I need the sound files synced to the shots used in the edit" - Why > would the initial editor have not edited with the audio to the visual of each chosen shot? It's not always the editor's choice. If the producer or director says, "We need a cut in a week", then there'sby derekmok - Café LA
Re: Problem with Color - 10 years ago
Most of the time AVCHD should ingest into FCP with Log and Transfer, no problem. It shouldn't have been necessary to use this iSkysoft converter. ; There is free software out there that is reliable and used professionally -- MPEG Streamclip is one example. But you have to do some research. If you need an AVCHD converter, use Divergent Media's ClipWrap. $50.by derekmok - Café LA
Re: Problem with Color - 10 years ago
> which I converted for FCP using iSkysoft iMedia converter Sounds like low-quality Chinese spamware to me. When you use low-quality software to prep your media, all bets are off. Why are you working in 59.94fps? Do you have a lot of action footage that requires that high a frame rate? And playing back ProRes at that high a frame rate, I wouldn't use anything less than at least a RAID 0by derekmok - Café LA
Re: Extracting a bunch of audio tracks - 10 years ago
You're still using FCP7, so just export an OMF. OMF files include the actual media used plus handles specified by the user.by derekmok - Café LA
