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

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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

Sequence and Capture presets for 16x9 minidv

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checking capture presets for sd mini dv shot in sd 16x9 (US).
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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.
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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.
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I try to duplicate in "audio/video settings" preferences the "capture presets" and FCP will not let me. they are locked. I can change all the other presets like sequence.
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Duplicate the preset (make a copy) then it is editable.
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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.
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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.
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hello everyone
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what preset should i use to capture this footage, since each camera is different
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http://forums.adobe.com/message/4392211#4392211
Please add your voice to the chorus requesting this feature, and any (or all) of the other useful features on my list. Adobe listens. Strength in numbers. Here's the feature request link:
https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform
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Changing capture presets for audio

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