Capturing preset for 32K 12 bit

This should be obvious. It is simple in FCE. Have footage recorded in NTSC 32K 12 bit .. where is the Easy Setup? Where is the Capture setting in A/V Settings? Or in the capture screen? I don't see it.

Both of you should open up the easy capture preset for DV/NTSC (or PAL) 48khz. Copy it. Change the audio to 32khz/16bit. Save it with a name that makes sense to you. You now have a preset for DV with 32khz audio.
fwiw - 32khz/16bit works fine with 32/12 material. The extra bit depth causes no issues. It is the sampling rate discrepancy that is the problem.
x

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Sequence and Capture presets for 16x9 minidv

FCP 6.0.6
checking capture presets for sd mini dv shot in sd 16x9 (US).
what are proper sequence and capture settings?
in sequence setting - should frame size box remain ntsc dv (3:2) and then just check 16x9 anamorphic box?
in capture settings - frame size should it be ntsc dv (3:2) and then check 16x9 anamorphic box?
thanks in advance

Go to the menu Final Cut Pro > Easy Set Up and from the drop down menu choose USE: DV-NTSC Anamorphic.
Click Setup.
That will make all the correct settings at once.
MtD

Capture preset for dcvprohd1080 24p??????

I just shot a bunch of footage with an hvx200. The recording format was 1080i/24p. I am used to filming 720p with this camera and the presets in fcp are fine. There is not a capture preset for 1080/24p in fcp. There is only a 1080/24pa preset, which cant be right because its a totally differnt recording format. does anyone know the right way to capture dvcprohd 1080i/24p?

hvxuser wrote:
I found that most interesting.... but again I ask why do you need to go to all the hassle and it IS hassle of RE-encoding from MXF to QT? I'm editing the MXF files straight.
There is no "reencode", it is a simple transfer and addition of a QT wrapper so that FCP can read the files. Nothing is re-encoded, no metadata is lost, as Ben says. Hassle? What UTTER nonsense! if you rename the clip, FCP knows what links to what, and when you import you can RENAME and ORGANIZE your clips...a KEY thing to an efficient workflow.
Are you telling me you EDIT THE MASTERS? You don't back up your footage at all? So, if your hard drive fails (and they often do), then all your footage is gone. Even if you edit the MXF files directly with Raylight, you ought to back up the masters by copying them to another disk, or LTO, or whatever. Just common sense. I keep my original MXF files on an archive disk and import the files into FCP where I can rename and organize how I please.
In all my time of using the HVX (about 16 months) I've never known FCP to save the Metadata.... even if it hides it somewhere obscure its still a waste as FCP can't intiragate it.... i.e. I did a search this morning for all 720 50p footage shot in Tibet on P2 card serial number XXXXXX.... its an absolute breeze with P2cms. How can you do that with FCP? you can't you have to rummage through potentially 100's of clips.
What metadata are you referring to? All you need are the clip names and timecode information really, and FCP retains that. Even if you rename a clip from 0003FG5 to "man crosses street," FCP knows that MAN CROSSES STREET is tied to 0003FG5. If the drive fails or media is lost, and you reimport, it goes right to the clip.
I don't in anyway doubt your qualification in this field BUT I find it odd that your advocating such a convoluted workflow!
Convoluted? Are you STILL saying that you edit your MASTER CLIPS and don't back them up? And if you do back them up (as you should), doesn't THAT double the size of your footage?
First I program the metadata into the HVX via the SD card. I shoot what I need. I then hook up to my MBP to the HVX and fire up P2cms. I then injest the card(s). Lastly I fill in any outstanding required metadata.
When I come to edit the footage.... I have the powerful P2cms database on hand to find any footage that I need within my collection of 1000's of clips. That then gets dropped into the required sequence. No fuss no hassle!
Sorry to say it but after spending about a year with it all I can say is that Apple's workflow *****
Depends on what you are doing, what you are editing, and what workflow you need. Your workflow works for you, but doesn't necessarily work for everyone. Just like the Importing workflow doesn't work for everyone. A lot of people like and use Raylight and edit the masters right away. ENG crews, people who need fast turnaround. It works. But so does importing and renaming and all that. There isn't ONE way to do things, because there are many many different production types...each requiring a different approach.
Work the way you work...do what you do. Don't knock something because it isn't the way you do it. As the saying goes, "there is more than one way to skin a cat." As long as the cat ends up skinned, what does it matter how you did it?
Eeew.
Shane

Capture Presets for AJA Io

I just upgraded to FC Studio and now my old familiar capture presets seem to be missing. I can't find the RS 422 in the device control or the Uncompressed 10 bit setting that I used for capturing beta. Where did they go?

drivers

Changing capture presets for audio

I just upgraded everything (os,fcs,qt) and am trying to capture some video from my Canon zr70 miniDV camera. I keep receiving the message "The audio sample rate of one or more of your captured media files does not match the sample rate on your source tape....Make sure the audio sample rate of your capture preset matches the sample rate of your tape."
I don't know what this means or how to do it.
Looked on previous posts and found this advice: "You need to duplicate your capture preset and change the audio settings to 12 bit" (12 bit is what my camera claims to be using).
I need step-by-step instructions. Can someone please help me? And dumb it down...
Thank you,
Katherine

Open the audio/video settings in FCP's FCP menu.
Then click on the Capture Presets tab.
Duplicate the DV NTSC 48khz capture setting, and a dialog box will open to change this new copy. Change the audio capture to 32 Khz 16 bit in the lower right area of this window. Change the name of the preset to what makes sense, and use that as the capture preset.
Jerry

Capture preset for a multishoot with 3 diferent cameras

hello everyone
i just shot a three camera shoot with a panasonic dvx100b, Canon Gl1 and a Sony HVR-A1U 1080i
the footage from the dvx100b looks bad not clean also , i shot it on a tripod from the back of a room , there was lighting on the stage but the footage is not crisp or clean, im not sure if its because of the lighting situation and white balance or
maybee its because i used a wrong capture setting?
what preset should i use to capture this footage, since each camera is different, i need to capture diferently and then what sequence settings- now that Final Cut 6 can handle mix format.
thanks
Danny

what preset should i use to capture this footage, since each camera is different
Capture at the same settings as what you recorded. The DVX100B and the Canon GL1 both only record in DV (NTSC or PAL) so choose the appropriate capture preset in FCP. One note, use "Firewire Basic" as the Device Control setting IF you capture from a Canon camcorder.
The HVR-A1U can record in either HDV or DV. Use the capture preset that matches that ... but if you recorded in HDV with the camera, you can choose to down-convert to DV in-camera during the capture process.
-DH

How to make a Capture Preset for DV-PAL 32KHz?

I have just noticed that in my FCP 7.0.3 there is no Easy Setup for DV-PAL 32KHz or anywhere in Audio/Video Settings where one can be created.
I realise that no pro would use 32KHz but occasionally it may be necessary to capture old or amateur-shot footage.
So how would one be created, or am I just not seeing the obvious (as usual)?

This is the window I get . . . . . no sign of audio.
Also, with the sequence preset, although 32KHz can be set, there is only the choice of 8-bit, 16-bit and 32-bit.
No sign of 12-bit.
So which one should be used?

Capture preset for uncompressed HD Varicam

I'm using the Panasonic DVC PRO HD 1200A deck for capturing the footage through SDI in FCP.
When capturing HD footage at 720p 25fps i get uncompressed 1280x720 files, but when capturing at 720p 60 fps the only way to get variable frame rates is changing the compression to DVC PRO HD 720p60 which is a compressed format at a 960x720 frame size. This way i have to resize(stretch) the final footage for the final output which softens the image a bit.
My question is, is there a way to capture variable frame rates in uncompressed 1270x720 frame size?
Emilios

The Varicam shoots in the DVCPRO HD format, 960x720 (anamorphic)...so capturing as DVCPRO HD means that you are capturing in the native codec. If you captured via firewire using the DVCPRO HD 720p60 codec, that would be a direct file transfer...zero quality loss. If you capture it via HD SDI as DVCPRO HD it is pretty much the same thing.
If you capture as uncompressed 8-bit 1280x720...then you are recompressing the footage.
Shane

Recommend a capture card for uncompressed 8-bit over SDI?

I've got a number of digibeta tapes that need to end up as 720x486 Apple 8-bit 4:2:2 uncompressed quicktimes. Is it possible to find a card that can capture natively to this format? It seems like the blackmagic and Aja cards use their own flavor of 8-bit uncompressed. I want to be able to use/view these files on any system that has quicktime, without having to install any additional codecs. Am I right in thinking that Apple's own version of 8-bit uncompressed is included with any quicktime install? Any way to capture right to this format, rather than capture to another uncompressed flavor and export?
-f

Sure, there's several in fact. AJA, and Decklink make the units you need. My favorite would be the AJA LHi card if you have no need for 2k conversions.
www.aja.com
Jerry

Different Capture Presets for Multicam editing

I shot a live music event with 3 cameras over a period of 5 weeks. Four of those weeks, all the material was captured as 4:3.
However, one night a friend with a more professional camera attended, and I borrowed his to use as one of the 3 cameras. This camera shot 16:9 (we opted not to shoot 24p on it so that it would match the other cameras), and now I'm wondering how I should import my footage if 2 of the cameras were 4:3 and this one was 16:9. Since the rest of the project was shot 4:3, I think it should remain that size.
Do i change the preset when I capture the widescreen footage?
Mac OS X (10.4.8)

What kind of camera was it? Was it HDV? If it was,
capture using the downconvert feature, and (at least
the Sony's offer) crop the sides off.
If it wasn't, well, you're not going to be too happy
with the quality. Capture it as widescreen, then
blow it up in your 4x3 sequence to fill the frame.
You can either stretch it vertically or both ways,
which will lose resolution.
Need to think about these things a little more before
you shoot. I hate when people say "We'll fix it in
post." I'm more of a "fix it in pre" kind of guy.
I actually wasn't anticipating having this camera there that night, but when it showed up, I decided using it would be better than just having 2 cameras.
I don't think it was HDV, we used miniDV tapes. So I think I will have to do what you recommended, capture it widescreen and then make it 4:3. I'm hoping that since this camera was much higher quality than the other cameras I was using that this will compensate for having to adjust the image after the capture.
Mac OS X (10.4.8)

Need help with capture settings for Beta SP

I'm trying to capture footage shot on Beta SP, capturing from a BetaCamSP UVW-1600 deck. I'm trying to capture at full quality, and currently have my capture preset set at 10-bit uncompressed. I'm not sure what the exact settings should be within the preset.
When I have it set to this preset, the footage shifts when there is camera movement, and when there are flashes from a snapshot camera in the footage, that frame becomes unusable.
This footage is for TV and I don't know how to get full quality and fix this image field shifting problem. Any help would be greatly appreciated.

How are you capturing this? With what capture card?
BetaSP is technically 8-bit uncompressed. All you are doing capturing 10-bit is increasing your file size.
8-bit uncompressed 29.97...whatever setting that is with your capture card.
Shane

Log and capture problems for HDV using FCP 5.0.1

I cant seem to get a picture in my log and capture browser when using HDV. The screen says my camera is connected, I see timecode correctly rolling in sync with my cameras timecode, I can use the controls, but no picture on the screen?
When I hit capture now, the capture screen pops up and gives a message "waiting for data from device".
we shot at 720p at 25fps, there is no capture preset for this in my version of FCP. Could this be the problem? Please help!!

Thanks for responding.
It's a mac osx 10.4.11 and a 2 ghz intel core duo. I'm using easy set up in final cut pro, but there is no option for hd fire wire basic (which apple support told me to look for). The only hd options are 1080i50, i60 and 720 p30. The other hd options are for the apple intermediate codec. When I use the easy set up for hd 1080i60, then go to log and capture, it doesn't give me the preview window to set in's out, batch capture etc. It only lets me capture straight from the camera and I have to manually stop it and start it which is a major pain. Plus the clips need to be rendered once I put them in a timeline. I've shot and edited on mini dv with final cut for nearly 7 years, but now that i've tried to upgrade and shoot hd mini dv, all of these problems have arrived in capturing. I'm starting to think my version of final cut pro (5.0.1) just doesn't work with hd, unless it's very time consuming. Any ideas?

Capturing OfflineRT for 24p Advanced?

Hey guys,
I've been searching the forum for an answer, but I haven't been able to find anything too clear. I've decided to edit a feature I'm current working on with OfflineRT due to the 100's of hours already shot/still to be shot for the project. Director wants access to everything. But since it's low budget, we definitely don't have the space to have any of it on-line. Can somebody recommend what settings are necessary to capture and edit 24pa anamorphic footage (we want to output to film eventually) using OfflineRT on FCP5?
Thanks!!

No, it's not working for me. And I'm certain it is user error. For one thing, in order to capture with the pulldown being removed, do you absolutely have to use the source camera? Because we have it attached to a regular DV deck and it's absolutely refusing to check that part of the preset. Second, the capture preset for OfflineRT NTSC 24p (23.98) is GENERIC CAPTURE TEMPLATE.... with no real sign of anything for 24p. It's really frustrating that this isn't as simple as it could be. At this point, I don't really care about it being anamorphic... but I'd like to get the darn thing actually capturing at 24fps (23.98... or something!) Ugh!

Horrible audio capturing 2nd stereo channel 12 bit 32,000 kHz

Hello,
I have DV tapes with 2 stereo channels 12 bit 32,000 kHz. I added a Capture Preset Editor with 16 bit 32,000 kHz 2nd 2 channels.
I captured only the sound of the second 2 channels.
The sound is horrible. At some places there is no sound, at other places noise.
How can I capture this audio with the same quality as when I play the DV tapes on my TV ?
Thanks,
Hubert

Use a preset that is 12bit.
Or make one, if one doesn't exist.
CaptM

Anamorphic setting not working on Capture Preset

I duplicated the DV NTSC 48 kHz Advanced 2:3:3:2 Pulldown to create a specific Capture Preset for doing the same but adding Anamorphic. The capture seems to go okay and I have the footage, but not in Anamorphic format. I can check the Anamorphic setting for each clip, but can't figure out why FCP isn't applying it in the first place. Anyone know how to fix this?
G5 DP 2.0 GHz Mac OS X (10.4.3)

Karen ,
Do you have a router and modem? I had the same problem and unplugged both and replugged them to reset and it fixed a similar issue I had. Let me know if it works for you. Good luck Linda

Capturing preset for 32K 12 bit

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