Best way to elimnate tape hiss?

...some old tapes being edited to digital. Anyone have a good formula for removing tape hiss? Thanks

The noise reduction algorithm in STP isn't so bad (actually, I like it very much). This is for STP 1.x (2.x has slightly different menus, but the same general process)
Before 1! Save a copy of the original audio somewhere else. You know, just in case.
1. Select a part of the waveform with just the hiss you want to remove (no signal you intend to keep whatsoever.)
2. Go to the Process menu. Select "Set Noise Print"
3. Then go back to the Process menu and choose Reduce Noise.
4. Fiddle with the thing until you get the best balance between reduction of noise and retention of desired signal. Use the "Noise only" switch to make sure that you're not removing part of the signal you want to keep.
If you're unhappy with it, Waves X-Noise is one I've used and it's pretty good in a similar way. I hear Z-Noise is excellent, but I've been quite happy with STPs audio restoration tools for the most part.
Message was edited by: yoink

Similar Messages

  • Best way to remove isolated Hiss channel?

    FCP X: Our production audio was imported as stereo with clean audio on L and empty Hiss track on R. In the Audio Inspector, I set Pan Mode to Stereo, then swing the pan full left, and the hiss track is gone (i.e. Audio sounds perfect). However, I cannot find a way to then have this newly panned Left-only Audio play out of both speakers. Even Dual Mono in Channel Config has no effect once I've panned out the unnecessary Right Channel.
    Is there a way to force Panned audio onto both channels?
    Or, is there a better way I can handle this issue?
    Thank you.

    Dual Mono, deselect the right channel. No need to pan anything.

  • Best Way to Import VCR tapes to iMovie

    Hello, all.
    I have a small problem that I hope somebody can help me with: I currently have an ADS Pyro A/V unit. I was told my the local Apple dealer that would be the best way to import VHS tapes into iMovie. It has worked for a few tapes, but now does nothing except give me a static-greenish-loud-high pitch sound when I try to import a tape.
    I have given up on this unit!!!!!!
    Can anybody recommend a decent way to import my old VHS movies to my MacBook and into iMovie??
    Thanks for your time & input!

    I have the same situation as the original poster (VHS tapes I want to edit and store on DVD).
    However I don't have a CamCorder.
    What I do have is a PVR that I have used to capture the video and I can write that to a DVD. That gives me the base video that I can work on.
    However, the files on the DVD have a .VOB file type. I have tried StreamClip but it provides me with a number of options as to the format I can import it into.
    Ultimately I want to bring the image into iMovie, edit it and then burn it back onto a DVD. I don't really care if the intermediate files are large, but I am a little concerned about loosing picture quality (which is not great to start with - the original images were on recorded on Super-8 movie film, then 'projected' and recorded onto the VHS tape of which I have a copy. However it is all I have!!!)
    What is the best format (and if necessary, tool) to copy the .VOB files to - something that iMovie can use without conversion preferrable - and then write back to a DVD.
    Thanks
    Susan
    (PS in case you haven't gathered, I'm new to all this side of things, but I have time and a strong desire to learn!)

  • Best way to get 3/4 inch tape material into FCP?

    I have several 3/4 inch tapes I would like to edit on my FCP system.
    I can only Capture through firewire.
    Is it better to transfer the 3/4 material to DVD or create QT files?
    (I can create the QT files on an Avid Adrenaline)
    I need to keep the material at the best quality.
    Thanks.

    OK, I'm back now. Let's get to the first part of your question... and some tips.
    To start with let me clear up some semantic errors that I may have inadvertently created. When I say "up-rez" I'm not talking about it the way you would use the term in print production and Photoshop. I was using the term "up-rez" as a more generic term meaning a general improvement in picture quality and upgrade of color space.
    Now, to the improvement I have seen by taking my DV source material into a sequence using PhotoJPEG 75% or DVCPRO50 codecs with a 4:2:2 color space.
    First, as a baseline, to all of my DV clips in the timeline I add the "4:1:1 Color Smoothing" filter as the first in line, and the final filter is always "Broadcast Safe" set to the lowest preset of "100" or "Extremely Conservative." If I use any color correction filter I always use it after the color smoothing and before "Broadcast Safe." Unless it works better using a different order, but this is where I start. However "Color Smoothing" is almost always the first filter.
    It is the "Color Smoothing" filter that provides the extra chroma data that is used by the 4:2:2 codec to "improve" the color after rendering. Now understand, this is an interpolation process. The computer is guessing at what the extra color data should be. But in most cases where my goal is to provide "pleasing color" the computer usually makes some pretty good guesses.
    Especially if you use color correction to remove any exising color casts from the clips in question. If you have a definite color cast in your original clip, you may find it necessary to color correct that cast out, then add the Color Smoothing, and then do your "primary" or "balancing" color correction by adding that filter a second time in the list to get things to look right. Confused yet? Don't be - if you have a good calibrated video monitor, then you can really trust your eyes a lot more than you might think. The point is, if you present the "Color Smoothing" filter with reasonably good color when it looks at the DV clip, then it will do a good job of "enhancing" your color after you render with a 4:2:2 codec.
    Oh yeah, make sure your rendering quality level in the "Video Processing" tab of the sequence "Settings" is set to the best you have. FCP 4.5 and FCP 5.x differ slightly in how they word this setting, but the intent is the same.
    So that's how I "improve" the color of a DV clip by taking it into a sequence with a 4:2:2 color space. I hope I explained it clearly enough.
    BTW - Nattress suggests using PhotoJPEG 75% over DVCPRO50 for content that comes from an analog capture. He says that an unintended but positive consequence of the "lossy" compression in the PhotoJPEG codec is to remove some of the latent analog noise from the video during final rendering and encoding. I had my doubts about this at first since the specs would suggest that DVCPRO50 is the best way to go. But after trying it out I must say that Graeme is dead-on with this. A lot of the minor video noise in the luminence and chroma that comes in with the analog video is removed pretty cleanly when you look at your final rendered digital video. So once again we learn that Graeme Nattress is "The Man."
    The truly scary thing is that among his peers in the community of this forum, Nattress is only one of several similar intellects. This forum is a gold mine for all of us FCP users. Nattress, Shane, Sheffield, and all the rest who I am probably making mad because I forgot to mention them -- wow! We couldn't afford to take classes from all these guys, and here they give it all for free. I hope everyone appreciates the value of the resource we have in this forum. I certainly do. Belated and future thanks to all you gurus out there.
    Anyway, back to your analog capture issues. Here's some tips from my own experience. When doing my initial capture from analog via the A-to-D converter...
    1) I always find I need to boost the saturation levels a bit. Use a vectorscope to keep track of this, but my analog source material always seems to come in 20 to 25% light in the chroma value. Boosting the saturation setting a little bit in the convertor fixes this.
    2) I know I'll get some arguments about this one. In my ADVC-300 I have a "Sharpening" setting, with "0" being no enhancement, "-100" being totally blurred, and "+100" being totally sharpened. I find that adding a significant amount of "sharpening" to my capture settings really improves the quality of the analog input without leaving a lot of visible and unpleasant artifacts in the picture. So I always add between +15 and +35 of sharpening. Usually +25 works best so that's where I start.
    Now, understand that I find this completely counter-intuitive after my years of experience with digital image editors and scanning software like "Photoshop" and "Scantastic," and the generally complete uselessness of the vanilla "sharpen" tools for sophisticated image enhancement. But for some reason, with these tools in this environment, "sharpening" works wonders.
    The way it looks to me when I compare the "before" and "after" by switching the inputs on my video monitor is that the "after" picture looks like someone properly backlit the scene. The entire effect is to give that look of 3D depth to the picture that still photographers call "snap," and that I was taught to try to achieve by the guys who taught me TV lighting. When used in a subtle and appropriate fashion, the effect of this "sharpening" filter is stunning. But this is a matter of personal taste. To my eye the sharpened picture looks better, but you may disagree. Like I said, it's a matter of taste.
    I must add that I am unable to duplicate these results by adding FCP's sharpening filter to an already digitized clip. This says to me that either you need to sharpen before digitizing, or the sharpening algorithm in my Canopus ADVC-300 is way better than the FCP filter. I don't know which it is, but I really don't need to know, practically speaking. It's practical results we are after here, so I can live with the mystery.
    3) Always go back to the earliest generation of analog source tapes you can find. If this means re-editing the program, then be prepared to do it if max quality is your goal.
    In 3/4-inch U-matic format (and especially with 1/2-inch S-VHS or lesser formats) the difference in picture quality between a third-generation dub and a second-generation edit master is immense. Look at the degradation of edge definition and the increase in noise between the generations. It's huge. It's even more striking if you compare the first-generation master tapes with a distribution dub or duplication master.
    Conversely, don't even waste your time if you have a fourth-gen or later distribution dub. If you are dealing with a late generation tape source, then none of our digital and computer editing or enhancement wizardry will matter a hoot. Garbage in equals garbage out. So if you really care about quality, be prepared to go back to the earliest generation tape you can find, even if that means re-editing the program from the first-gen shooting masters.
    OK, that's all I have for you right now. Please post any additional questions or any comments you have on my missives and I'll be glad to get into this further - at least until you suck me dry of usable info.
    Let me leave you with this. It's funny how viewers don't seem to mind poor video quality when watching a late-gen dub on a VHS player. But when you offer them a DVD, they expect to see feature film or broadcast TV quality, and if they don't see something close they won't watch the program with the same degree of receptivity.
    In my experience, picture quality really matters in its effect on the communication process, and that's why we should all take it seriously. Worrying about quality is not a purely technical exercise important only to technicians. Poor audio and poor video quality will negatively impact the communication process. That's why we care about quality.
    After all, it's our business - the COMMUNICATION business. That's the perspective I try to maintain in my work.
    Good Luck in your endeavor. Please let me know how it works out. My e-mail address is in my posted profile.

  • What is the best way to convert mini dv tapes to digital

    I have a Canon ZR800 that I have created several mini dv tapes with.  What is the best way to convert these tapes I made to a digital format?  I have a Macbook to use for the digital format.

    Hello Jhoslter,
    To transfer footage from the ZR800 to your Mac, you will need a firewire (IEEE-1394) cable and a firewire port on your computer.  If your computer is not equipped with a firewire port, we would suggest contacting your computer manufacturer for information regarding which firewire card will work best on your system.
    As it is only possible to transfer video to a computer via firewire connection with the Canon camcorder, any video capturing program that supports firewire connections should be fine to use to transfer video to your computer.  Canon does not manufacture video capturing programs or support a particular brand.   
    Canon does not require firewire drivers for any of our miniDV camcorders.  Our camcorders use the driver for your firewire card to communicate with the computer.
    The appearance of the "DV IN" message in the camcorder's LCD screen indicates that the camcorder has detected your firewire port and is waiting for a signal from the video editing software to begin the transfer of footage.  The remainder of the transfer process is controlled by that software; we would suggest reviewing the instructions for that program for further information.
    Did this answer your question? Please click the Accept as Solution button so that others may find the answer as well.

  • What is the best way to export HDV from Final Cut Pro 5.1.2 ???

    Should I even use the compressor route? i want my to export hdv footage to dvd studio pro and burn to dvd. i want to understand the best way so it looks like the original mini hdv tape.
    can anyone help that has experience in this area?

    you can use compressor to encode your HDV footage.
    believe it or not, you can obtain stunning results when you encode and output to DVD.
    i guess my only questions to you are:
    will you want to output a "HD DVD" or a SD DVD?
    how long is your footage?
    in what mode did you shoot (720p or 1080i)?
    what type of footage, overall, would you say you have (fast action paced, slow action, interviews)?
    to be honest with you aaron, there isn't really a setting that is a "set all". compression is both an art and science. additionally, quality of your encoded file can be very subjective!
    let me know and we can get ya started on the right track
    Mikey M.

  • The best way to get help with logic

    I was posting in a thread on support for logic which appears to have been deleted. anyway, what I was going to say I think is useful info for people, so I'm going to post it anyway. to the mods - it doesn't contain any speculation about policies or anything like that. just an explanation of my views on the best way to deal with issues people have with logic, which I think is a valuable contribution to this forum.
    I think there's a need for perspective. when you buy an apple product you get 90 days of free phone support to get everything working nice and neat. you can call them whenever, and you could actually keep them on the phone all day if you wanted, making them explain to you how to copy a file, install microsoft office, or any number of little questions no matter how simple - what is that red button thingy in my window for?.. on top of that, you've got a 14 day dead on arrival period (or 10 days I can't remember) in which if your machine has any kind of hardware fault whatsoever it's exchanged for a totally new one, no questions asked. a lot of people complain that applecare is overpriced.. and if you think of it just as an extended warranty, then it is a little pricey. but if you are someone that could use a lot of phone support, then it's actually potentially a total bargain. the fact that 2 or more years after you bought a computer, you could still be calling them every single day, asking for any kind of advice on how to use anything on the machine, is quite something. many people on this forum have had problems when they made the mistake of upgrading to 10.4.9 without first creating a system clone or checking first with their 3rd party plug in vendors to make sure it was ok. so, with apple care, you could call them and keep a technician on the phone _all day_ talking you through step-by-step how to back up all of your user data, how to go through and preserve your preferences and any other specific settings you might not want to lose, and then how to rollback to an earlier OS version.. they'll hold your hand through the whole thing if you need them to.
    as for applecare support for pro apps like logic, I'd be the first person to agree that it's not great for anyone except beginners and first time users. if you look at what it takes to get even the highest level of logic certification, it's all pretty basic stuff. and logic doesn't exist in a vacuum, there is an entire universe of 3rd party software and hardware, as well as studio culture and advanced user techniques that are going to be totally invisible to some poor phone support guy at apple that did a logic 101. but it's not hard to see that apple are trying to promote a different kind of support culture, it's up to you to decide whether you want to buy into it or not.
    the idea is that they are able to provide basic setup support for new users, including troubleshooting. because it's a simpler level of support, at least they can do this well. so there's no reason why any new user with say a new imac and logic can't get up and running with the 90 days of phone support they get for free.
    but the thing is, for extremely high end pro users it's a different matter altogether. pro use of logic within the context of say, a studio or a film composition scenario is a very different world. it's almost a nonsense to imagine that apple could even hire people capable of giving useful support for this end of the spectrum, over the phone. there are so many variables, and so many things that require a very experienced studio person or in-work composer to even begin to understand the setup, let alone troubleshoot it. and it's a constantly evolving world, you actually have to be working in it and aware of developments on 3rd party fronts as well as changes in hardware.. not to mention even changes in the culture of studio production and the changed expectations that come from that. there's no way some poor little guy sitting at a help desk at apple can even hope to be privy to that kind of knowledge. it's already good enough that they don't outsource their support staff to india, let alone go out to studios and hire the very people with the skills that should be staying in the studio! not answering phones for apple.
    so, given this reality.. companies have two choices. they can either offer an email based support ticket system, which others do. but in my opinion.. this can just be frustrating and only a half-solution. sure you 'feel' like you are getting a response from the people that make the software and therefore must know it.. but it's not really the case due to what I said above. DAWs don't exist in a vacuum, and so much of what you need to understand to help people requires an intimate knowledge of the music industry in which they are working. you still won't get that from steinberg, even if they sort of answer your emails. the other problem is that this kind of system can mean sporadic answers, a lot of tail-chasing, and quite often you won't get an answer that helps you in the end anyway.
    the other model is to foster a strong user support culture. some people react in the wrong way to this idea.. they just think it's a big brush off from the manufacturer, saying we don't care, go sort it out yourselves.. but this isn't true. apple has a classification for pro resellers called 'apple solutions expert - audio'. what this means is that these dealers are recognised as audio specialists and they can receive extra support and training from apple for this. but more importantly than this.. most of them are music stores, or pro gear dealerships that are also mac and logic dealers. they already employ people that have worked or do work in the music industry, and are constantly on top of all of this stuff. apple encourages these dealers to run workshops, and to provide expert sales advice in the very niche area that logic is in, which they can do far better than some generic apple store ever could. but most importantly, they are encouraged to offer their own expert after-sales support and whatever other value-adding expertise they can, to get sales. because margins in computer gear are so tight nowadays, discounting is not really a viable option for these dealers to guarantee getting musicians to buy computers and logic setups from them. the only companies that can entice people with a lower price a big online wholesalers or big chain stores. so the best idea for these niche expert stores to get sales is to offer you their own experts to help with configuration, ongoing support and to generally make it a better idea that you bought your system from them rather than from some anonymous online store. I can see the wisdom of this.. it puts the support back out there on the ground where it's needed, and also where it can work best. apple could never hope to offer the same level of expertise in helping a film composer work through some issues with a specific interface or some highly specific issue they have with getting a task done. no big software manufacturer could do this anywhere near as well as people out there that have worked in studios or currently do work in studios. so in my opinion it's a far better model to foster this kind of support culture, along with training courses, books and training video support. also user forums like this one are possibly one of the most valuable ports of call anyone could ask for. apple couldn't replicate this with their own staff, even if they tried. and even if they made a system where some of the people close to logic development were able to answer emails, it would still be nowhere near as useful, as rapid or as capable of being up to speed with logic use out in the real world with 3rd pary gear, as any of these other methods are.
    the only thing I think they could do better would be to publish a list of known bugs which are officially recognised. this would help everyone and put an end to a lot of wasted time and speculation on if something is a bug totally to do with logic, or if it's a specific issue raised by a particular configuration.
    but really, in my view, a 3rd party support and training culture through a combination of specialist dealers, consultants that literally run a business setting up computers for pro-users and helping them keep it all working, online user-to-user forums and published materials really are the way forward.

    In all honesty this is currently the 3rd "logicboard" (motherboard)
    in my powerbook due to a design flaw regarding the 2nd memory slot....
    Yep. Mine failed five weeks after I bought it. However, I bought it for work and couldn't afford being without it for four weeks while they fixed it, so I had to live with it. My serial number did not entitle me to a replacement either, post Applecare.
    My firewire ports have burnt out from a third-party defective device (no hot-plugging involved)
    My screen is blotchy (my PW serial number did not entitle me to a replacement).
    My battery serial number did not entitle me to a replacement, and is not that good these days.
    My guaranteed Powerbook-compatible RAM is actually not, causing RAM related problems, most notably these days meaning that as soon as I switch to battery power, the laptop crashes, so I can only use mains power. The company I bought it from stopped taking my calls and wouldn't replace it after they replaced it once, so I'm stuck with it. And of course, only one ram slot is working, so I can't even use my original stick in the first slot, which would shift the dodgy stuff away from the lower system area.
    My power supply failed at the weak spot and caught fire. I managed to break apart the power supply and recable it so I didn't have to buy a new power supply, although the connection at the laptop end is loose (all the more fun that as soon as power is lost, the laptop crashes - see above). The power supply is held together with gaffa tape. Silver gaffer tape though, so it's still kind of 'Appley"...
    My internal hard drive is dying - four or five times now it clicks and won't power up, causing the laptop to die.
    One foot has fallen off (but glued back on).
    The lid is warped.
    The hinge is loosish.
    The S-Video adaptor cable is intermittent.
    But aside from all that, I have looked after it well, and I love it to death. Just as well, because it doesn't look like it will be that long...
    But it still "just works". Apart from the battery power obviously. And the ram slot. And the ram. And the screen. And the hard drive. And the firewire ports. And the feet.
    But everything apart from the main board, the screen, the case, the hard drive and the power supply works fine. So thats... er..
    Hmm.

  • (workflow question) - What is the best way to handle audio in a large Premiere project?

    Hey all,
    This might probably be suitable for any version of Premiere, but just in case, I use CS4 (Master Collection)
    I am wrestling in my brain about the best way to handle audio in my project to cut down on the time I am working on it.
    This project I just finished was a 10 minute video for a customer shot on miniDV (HVX-200) cut down from 3 hours of tape.
    I edited my whole project down to what looked good, and then I decided I needed to clean up all the Audio using Soundbooth, So I had to go in clip by clip, using the Edit in SoundBooth --> Render and Replace method on every clip. I couldn't find a way to batch edit any audio in Soundbooth.
    For every clip, I performed similar actions---
    1) both tracks of audio were recorded with 2 different microphones (2 mono tracks), so I needed only audio from 1 track - I used SB to cut and paste the good track over the other track.
    2) amplified the audio
    3) cleaned up the background noise with the noise filter
    I am sure there has to be a better workflow option than what I just did (going clip by clip), Can someone give me some advice on how best to handle audio in a situation like this?
    Should I have just rendered out new audio for the whole tape I was using, and then edit from that?
    Should I have rendered out the audio after I edited the clips into one long track and performed the actions I needed on it? or something entirely different? It was a very slow, tedious process.
    Thanks,
    Aza

    Hi, Aza.
    Given that my background is audio and I'm just coming into the brave new world of visual bits and bytes, I would second Hunt's recommendation regarding exporting the entire video's audio as one wav file, working on it, and then reimporting. I do this as one of the last stages, when I know I have the editing done, with an ear towards consistency from beginning to end.
    One of the benefits of this approach is that you can manage all audio in the same context. For example, if you want to normalize, compress or limit your audio, doing it a clip at a time will make it difficult for you to match levels consistently or find a compression setting that works smoothly across the board. It's likely that there will instead be subtle or obvious differences between each clip you worked on.
    When all your audio is in one file you can, for instance, look at the entire wave form, see that limiting to -6 db would trim off most of the unnecessary peaks, triim it down, and then normalize it all. You may still have to do some tweaking here and there, but it gets you much farther down the road, much more easily.Same goes for reverb, EQ or other effects where you want the same feel throughout the entire video.
    Hope this helps,
    Chris

  • Best way to organise multiple large clips and hundreds of subclips

    Situation
    I have the task of producing a suite of short 2 minute videos comprising highlights of several hours of footage in multiple large files.
    I want to extract and manage the highlights in a non-destructive way and organise them according to subject matter.
    I would then use these in several projects to create the highlights videos required.
    I am using Adobe CC, so it's CS6.
    My approach so far is to:
    1. Import all the footage into a single project as individual large clips
    2. Scrub through each clip, set in/outs and extract to subclip, store in subject matter bin
    My questions:
    1.  if I go back to the original footage and edit it, it doesn't seem to flow through to the subclips. How do I make the subclips inherit the attributes of their parent? (e.g. could be sound, colour, etc)
    2. how do I access these highlights bins from another project?
    3. is this the best way to handle my situation?
    Thanks for your input.
    Ric

    I suppose applying the effects to the source clip and rendering out a new source file is one way of doing it.  Just be very careful that you don't compress the output.  And, of course, it will double the amount of hard drive space.  I'd still make all the sub-clips first and use the "paste attributes" command.  I think you can even lasso a whole bunch of clips and paste attributes to all of them at once (they have to be in the timeline, though - not the project panel).
    It shouldn't take an awful lot of hard drive space to duplicate projects.  Just duplicate the "prproj" file, not the whole projects folder (and certainly not the source material).
    Here's a screen shot of my set-up for a complicated, 5-camera shoot of a play:
    The original project (syncing all the cameras up) is 1 MB, each successive archive gets a little bigger but the current project is only 3.8 MB.  I would imagine if you are deleting bins and sequences for the mini-projects, the prproj file would actually get smaller than the original master.
    Okay.. so here's the mantra about non-tape based video... First you back up the card (including the complete folder structure) onto an archive drive.  Next you copy this folder onto an external or RAID or other "real" archive drive.  Then (and only then) do you start editing the material!
    Ideally, you need at least three, physically separate harddrives (not partitions) in an editing station (this is true Windows or Mac).  One drive for the operating system and applications only (no media or projects or anything!).  One for working projects (each project in its own folder) where everything except the source video is stored.  And finally one for the source video.  On my system my OS drive is Tardis ('cuz I'm a geek!).  I have a Projects drive for projects (duh!) a Scratch drive for working video files and an Archive for "finished" projects waiting delivery and back-back-ups of my SD cards.

  • What is the best way to record a project to an external recorded via firewire. Also, who makes a recorder that works with a mac?

    What is the best way to record a project from the timeline to an external recorder via firewire? Also, who makes a recorder that works with a mac and recordes in realtime? This is possible right?

    While theoretically possible, sometimes the camera people disable recording back to tape from the computer due to DRM (digital rights managment) issues. They will allow tape to tape transfers however.
    Test your process first is all I can advise.
    x

  • Best way to make a Constant Power Load

    What would be the best way to make a load that always draws the same amount of power whatever the voltage on it. For exemple, an load would draw 100 mA at 24 VDC, 150 mA at 18 VDC and 200 mA at 12 VDC. All I found is to use Nonlinear Dependant source.
    Any easier way to do this? Thanks.

    Sorry about the file mix up, I was anxious to get it posted for you that I failed to realize you were using a different version.
    As far as the last "amplifier" in your Leaky Feeder design, I actually hooked it up to the 24VDC supply on the left and this was a direct connect before the first resistor.  I realize this is not what would be ideal for your application as probably you have only a certain place in the Leaker Feeder to tap off from. I would suppose this would be going into a different entry way off the main entry at an intersection so I do not know how my adjusting the placing of this would effect the results because it seems to me by doing this I have bypassed a bunch resistance in the Feeder cable itself (if that is what the resistors represent) and also bypassed a number of amplification stages in the process as well.
    I will post a picture of my circuit for you to examine and try in Version 9.  This is the only thing I could come up with to where the power draw was the same no matter what the voltage input was. The only thing I can see as a drawback is that with this circuit the current remains constant but the voltage fluctuates. If I use a 24V regualtor and drop the input voltage to 12V the current remains at approx 118ma but the voltage drops to 12V when I plug it into your circuit.. I will let you try it and see what you may be able to do with it.
    Message Edited by lacy on 04-28-2008 05:47 PM
    Kittmaster's Component Database
    http://ni.kittmaster.com
    Have a Nice Day
    Attachments:
    Possible Constant Power Load.JPG ‏285 KB

  • Best way to preserve movies

    My iMovie files are taking up a lot of space on my computer. But I want to continue to make copies of them in the future. Can I save them in some kind of iDVD format to preserve quality, but consolidate space? If I export them to .DV format will they lose any quality? (I know .DV still takes up a lot of room)...
    Thanks!

    Hi s
    Can I save them in some kind of iDVD format to preserve quality, but consolidate space? <</div>
    No. Not if You want to cont. editing and keep full quality.
    Best way (my opinion and strategy)
    1. I keep ALL my original miniDV tapes .
    2. When edited a movie I Export back to Camera and new tapes (some project
    needs more than one tape)
    3. If very important and may be of economical value. I buy an extra hard disk
    FireWire + Mac OS Extended formatted. (NOT DOS/UNIX/FAT32/Mac OS Exchange)
    Copy the full project to this and disconnect it for storing on bookshelf till
    it will be of further interest.
    4. One might copy to a set of DVD-disks but they easily exceeds 10 or even
    more and will be a fragil way of storing a multi-part files on.
    5. More modern way of storing on server or .Mac accounts is out of rang
    for me.
    Yours Bengt W

  • Best way to protect domain.

    I am looking to expand my protection from daily tape based backups to storing data in the cloud to speed up any disaster recovery process.
    I am planning on backing up 3 of my most important machines using site recovery. This would bring my DC, SQL server and Exchange back online pretty much straight away.
    For the rest of my servers etc and data I want to be able to back them up in azure vault. Then restore them from a DPM server I have in Azure.
    I have created a server in azure with DPM and linked it to my azure vault, however I cant see any data being uploaded to the vault by my on premises DPM server - I'm guessing this is by design and there is no way around that?
    Once my 3 main servers are back online. I want to be able to restore vhdx's straight from the vault and mount them in Azure - again I am unsure if this is possible?
    From what I can gather, I would have to kind of have to restore the DPM database from my on premises server, over the DPM database from my azure server? Which should be easy enough as my on premises server sql server which holds the DPM database should
    be back online in site recovery. This way it should be able to see the data in the vault?
    Sorry if I haven't explained very well and thanks in advance for any help getting my head around the best way to do this.

    Buy a sleeve or case to put it in while it is not in use. Speck makes good products.
    Don't use snap-on cases or "skins" as these impede the heat dissipation necessary to keep your MacBook cool. They also tend to trap grit and dirt that will scratch the case anyway, except you won't know until you remove the case.

  • What is the best way to implement Spiceworks and get started?

    Yes this is the most basic question of all, how do you use it?I did search for some articles but there are tutorials that are 6 years old, or maybe a year or two old. I want to make sure I'm up to date on best practice.I've got a network of 8 PCs and 6 laptops or so as well as phones and tablets (if SW cares).I've got this community user which I created long ago when I first tried to test SW.My question is, what is the best way to get SW going? I mean, do I create a new user that is specific to the company? Is the community user different from the SW admin user? I want to separate my community user (which is me personally) from any local business/network implementation of SW.Do I need a server to run this or is something run on each workstation? Does each computer need something done to it so SW can work right?Basically I just need to...
    This topic first appeared in the Spiceworks Community

    In Settings tap on Reset at the bottom then tap on Erase all Content and Settings. This returns it to the condition of being "new."

  • Best way to cut clips out of a long long capture

    Hi all,
    I shoot underwater footage. I don't usually stop/record/stop during a dive and most of the time my camera is always shooting. As a result when I capture, I get a long clip which really has multiple scenes (descent, swim around, wreck penetration, different rooms, zoom levels, light, ...). It seems that a good way for me to cut those long shots in smaller clips would be to use markers which would basically be:
    <in>-subclip1-<out><in>-subclip2-<out><in>-subclip3-<out>
    Whether I use extended markers or not, it seems though that the subclips I get do not have enough handles to use transitions properly. What's the best way for me to do this and still have good handles ? Create the markers knowing that the in point won't be the beginning of the sequence so work a margin in ?
    Thanks in advance !

    Don't subclip right on your cut point. I never do this anyway. I will capture full tapes, then use markers to mark a change of scene or topic, label that marker, then make subclips. I use those subclips as clips...load them into the Viewer, look for the spot I want, mark IN, mark OUT...cut into the sequence.
    So treat your subclips as regular clips and you will be fine. Don't mark too close to the start point. Subclips in FCP do not act like the ones in Avid, where you can go beyond the edges...
    Shane

Maybe you are looking for