FCE/radio mic/MA200

will final cut express do this, i mean the onboard mic in final cut express has two audio channels on the timeline, will the radio mic be displayed as 4 channels on the timline.
I want to wire the groom with a radio seinhiser 100 mic for the "i take you" bits, i want to use the onboard mic for the priest, can i use both together, will the radio mic pick up the priest as well or how do i go about it, why only one channel on radio mic, and two on onboard mic, do i have to switch the switch inside the whit door evwry time the priest , groom or bride speaks, or what,....as i am totally lost in this can of situation.
please help....
john.

John
If your camera has separate audio inputs for stereo 1 and stereo 2 you can. Although FCE will only capture stereo 1.
If not you can use a mic with a built-in mixer that allows another mic to be plugged into it. This gives you the two mics working and mixable using only stereo 1 on your camera. In this case the audio can be set to 16 bit giving better audio and integration to FCE.
You'll have to shop around for this type of mixing mic and combined with a radio mic your camera will end up looking like a bloated porcupine.
Al

Similar Messages

XL1S+RADIO MIC+FINAL CUT EXPRESS

I am having problems setting up my new radio mic(seinnhiser 100) with the xl1s, i bought a MA200 for the camera.
question: can i have the onboard mic and the radio mics running together,can i switch/mix the "onboard mic" and the "radio mic"..... as in a wedding set-up. priest/onboard mic...groom/radio mic, will final cut express show the radio mic as two channels on the timeline or one channel, or wht would be the best set-up.
john.

FCE will only capture the first two channels of audio. It will not capture four channels when using 32k. You should use 48k (16-bit). Whether the camera mic is still active depends on the adapter.

Radio mic.. onboard mic- sound out of sync

Hi all
I was filming a party, and was using a radio mic for all the interviews/messages.
At one point I was caught off guard, when suddenly a speech was made. I had no time to mic him up, so I used the onboard mic.
Now...
the part I filmed using the onboard mic is leaving the audio out of sync...
How do I go about fixing that, and also why did that happen?

hi Studio X
It was a wireless type mic recording straight to camera.
I didn't touch the settings between using wireless mic and on board mic (16 bit)
I managed to fix the sync by slicing and moving the audio once or twice on the timeline, but I'm still curious as to why it happened (for future reverences)
Niel

Revolabs Mic doesn´t work with Flesh Player

We use a dual Channel Revolabs Mic (via radio, with analog output). It works very well but if we use Adobe Flash Player(as part of Video Conferencing ver. 145 and .176) it does not.
With no speaking it is hissing a it is clanking when i am speaking.
If i adjust the amplifying within Flash Player, it is erratic.
I tried different PCs, inexpensive Mics worke at the same Input very well.

The rate is 44.1khz (default). It works with a 10$ Mic very well.
It´s not an echo, I used in ear speaker and made a test record.
I suppose there is an automatic level adjustment within the Flash Player settings. It seems to overwrite the handmade settings.
The Revolabs Radio Mic is a 2000$ device.
At first we tried two different Win 7 Pc.
The problem persists with Ubuntu 14.04.1 and Flash Player 11.2.

Eek! My cover is blown... Camcorder advice needed...

Please excuse the bizzarre Thread Title, but i think it sums up my situation perfectly. Basically, i've been using iMovie and iDVD to make some gorgeous home movies reently, and everyone's been doing the usual "Wow! How did you do that?" sort of thing. That's the joy of iLife I suppose- you get high-quality results from next to near no effort.
But now i've been asked to help shoot a 45 minute mini-film for a (prestigious) local drama group, who really liked all of my iMovie projects. Trouble is, i've only got a tiny little Panasonic 3CCD Camcorder, and...well, i think i'm expected to bring something that resembles more of a bazooka than this meagre little thing. They're after 'high-quality'- video, and i'm not sure if i can provide. Shooting iMovie home-movies is one thing, but this...
So I really need advice on getting the most out of my camera and getting my 'film' to look as good as expected. I've thought about the idea of buying a 'wide-conversion lens' but i've got no idea whether it'll give me nice widescreen shots or just fuzz up the quality. And as for lighting- any hints? All of my projects have been outdoors where they look great, but i'm meant to shoot indoors for this. In the dark.
I've also thought of upgrading to FCE, as i could do with some more 'pro'-like abilities, but I won't have forever to learn how to use it.
Basically I'm just an iMovie user who's been mistaken for Steven Speilberg and has just been given a $60m make-or-break contract. What am i to do?
(Please forgive the melodrama in this post, i'm just getting into character)
PJ
Oh, and just for the record, the camcroder serial number is NV-GS140

1. As mentioned before, DO go to see them rehearse, so that you know what they'll be doing, and note down specially interesting or tricky moments which might be difficult to shoot - e.g; two people at opposite ends of wherever they're performing; where should you put the camera to make sure they're both in shot? ..or would it be better to use two cameras ..one to capture each of them? ..etc.
2. You say you have several mics, but several mics at several positions will capture different audio, and it looks awful onscreen afterwards if the sound cuts at the same moment as every camera cut: the audio needs to be consistent even while the picture cuts from one shot to another. So think - and experiment - where would be the best place to put your main mic to get proper coverage of all the sound..? (..or attach a cheap radio mic to each person..) and then record that master audio from your main mic into one 'master' camera which you keep running all the time, or into a reliable audio recorder whose speed won't drift ..e.g; a mini-disc recorder. See 8 below.
3. As suggested by Karsten and Matt, get hold of a few other camcorders for close-ups, long shots, etc, and keep one 'master' camcorder running. But make sure that those other cameras can shoot OK in indoor light. Don't forget to set the White Balance correctly on all cameras, so that if you're shooting by indoor (electric) light you have the camera(s) set up to 'light-bulb' white-balance, NOT 'sun' or 'cloudy' setting, or everything will come out blue!
4. Your 3-chip Panny should be excellent for low light, and has a superb lens. But do get used to handling it, and setting it up, for low light indoors: shutter speed of a fiftieth or a twenty-fifth; maybe turn the gain up a couple of notches (if it has a Gain or AE Shift control); put it on a tripod, or other steadying device, and turn the SIS image stabilisation OFF (for a sharper picture) and use only the optical zoom (NOT the super-magnifying blurry digital zoom); plug an external mic into the mic socket, and put headphones in the headphone socket to be SURE of what the sound is like, and that you're not picking up motor noise from the camera.
5. If it's a play on a stage, you'll have limited freedom to put cameras just anywhere, so watch the rehearsals (see 1 above) to choose your camera placement. If it's being 'staged' specially for you to shoot as a movie, you can put cameras anywhere, and you can ask the actors to repeat scenes (..but don't get on their nerves!..) so that you can shoot the same scene from different positions, for close-ups, etc. Handheld looks dreadful when it's seen afterwards on a big screen, unless you have very steady hands, or unless the onscreen character is going through some emotional turbulence, so keep the camera very steady, on a tripod or (easier to carry around and manipulate) a monopod. If it's being 'staged' specially for you to shoot, ensure that the lighting is consistent ..so that if actor A has light on the right of their face, try to keep it that way: audiences will get confused if the lighting changes from one side of the face to the other (..has s/he crossed the room? ..turned to face the other way..? ..turned through 180 degrees?..)
6. Don't get over-ambitious. Don't try to be overly 'smart'. They'll be very pleased to see 'their' production on tape, or onscreen. They probably don't want to see an 'arty' version of what they've been doing, with twisted camera angles, excruciating close-ups, complex tracking shots (..no offence to "Rope"!..) ..As long as it's easy on the eye and everyone's visible, and everyone can be heard, and the picture doesn't wobble, they'll probably be perfectly happy! So don't get worried.
7. Don't go over the top with fancy effects, so that the effects detract from the story: it may be a brilliant shot to you, but they're more interested in the story being comprehensible, not the fact that you had to hang upside down by your ankle to get the shot, or that you had to merge three different transitions in iMovie to get that hazy ripple-dissolve. Don't 'show off' ..they won't like it or appreciate it.
8. The sound is even more important than the picture! If the picture's a little dim, it doesn't matter too much, as long as everyone can be heard (like listening to the radio) ..but if the sound's inaudible it'll be awful (like watching TV but with the sound turned off) and it just won't make sense. This can't be stressed too much: make sure your mic(s) pick up all the sound c-l-e-a-r-l-y and consistently ..and don't rely on the built-in mic on any camera.
9. Use a long-running, large-capacity battery - or get several normal batteries. Do NOT just rely on the one battery which came with the camera: it will NOT last long enough. Check and see if the camera loses its settings if you remove and swap the battery, as it might change back to automatic shutter speed when you swap batteries, and thus you may lose your low-light settings. DO splash out on a high-capacity battery or several extra ones which you keep fully charged! If you're keeping a 'master camera' running for a consistent 'overall shot', keep that camera plugged into the mains if possible (..and if running off the mains, use headphones to check that it's not recording any 'mains hum').
10. Be confident. If you appear to know what you're doing, they'll be happy to do what you ask. If you seem unsure, or vague, or don't know if your equipment's working, they'll get frustrated and they'll give poor performances ..then everyone will be upset! ..Be friendly, confident, but not bossy.
In the end, it's only a movie..!
11. Oh; you asked about a wide-angle lens; yes: get a wide-angle ..but try several in a shop before you choose one. Some may cut off the extreme corners of the picture, but that may not be noticeable in the viewfinder, as the viewfinder may NOT show the whole picture! [Shoot something, accurately, with the camera's normal lens at its widest angle, getting in shot, say, a room from exactly the door frame to a window frame, or having two other identifiable markers at the extreme edges of the shot. Import that clip into iMovie, and see if what's onscreen in iMovie is exactly what you shot ..or if iMovie shows more than your viewfinder showed! ..That way you'll know if you can rely on your finder to see to the edges of your shot. The very, extreme edges probably won't show on a normal TV, as the extreme margins are normally lost anyway, but you want to be sure that an add-on wide-angle will NOT crop the corners off your picture.]
Some designs of wide-angle do NOT let you zoom to the full extent (..the picture may go out of focus..) so always try before you buy. You want a .5x or x4.5 wide-angle for it to be worthwhile. Sony wide-angles are very expensive, and often don't give more than x.7 (about a third) extra width. Other makes, e.g; Hama, may give 50% extra width (.5x) but may give a slightly fuzzy view. Spend half a day at Tottenham Court Road and New Oxford Street in London - if you're anywhere near there - to try every wide-angle in every shop ..otherwise try every wide-angle in Jessops, Dixons and every other camera shop in town. Keene Electronics sell a huge variety of w/a lenses, but you can't try before you buy!
Some w/a lenses give a curved-edge 'semi-fisheye' effect, but a few do keep vertical lines vertical. You probably want as little as possible 'fisheye' effect, so that the audience can concentrate on the action, not on the peculiar curved look.. DO check that you can zoom (..i.e; choose your degree of closeness..) thro' your chosen w/a, otherwise you'll be limited as to where you can put the camera. Be careful that a w/a lens doesn't 'see' an external mic fixed on top of the camera!
Er, tha-tha-that's all, folks!

JVC Hard Drive Camcorder and DVDs

I have a G4, and i am interested in purchasing a JVC Hard Drive Camcorder. I will be recording church services overseas, each being about 2 hours a night, six nights in a row. My main concern is getting the content from the camcorder to the computer. I believe it has USB connections, not FireWire. I do not need to make a movie in iMovie, because I have Final Cut Express, and any editing or movie making would be done in this program. Final Cut, says that it can use MPEG-2 format, but I want to be able to burn the content to a DVD, clean the hard drive, and record each service with the hard drive blank.
I have never used iDVD, or iMovie, because of Final Cut. So, the question is, do I need to take the G4, take a PC laptop that can burn DVDs, or just buy the DVD burning station for 200 bucks, that serves the DVD burning purpose? I am getting this camcorder, but I need to know what I will have to do to get it to a DVD, and then to Final Cut.
I also am aware that my sound quality may not be very good, because the JVC has no line inputs, so I would match up the video to an audio recording of the services if needed.
Please help and let me know what my options are, as well as the hurdles I will have to overcome.

IMO, this type of camera is not a wise choice. FCE will work with pretty much any DV camera and not the JVC hard drive stuff or DVD based cameras. That being said you could fudge it into FCE indirectly. Search this forum for solutions, there is plenty of discussion already here.
I would strongly advise having a camera with external audio input and couple it with a quality mic or even input the audio to the camera directly from the inhouse sound mixer. Another solution to sound is a quality radio mic and transmitter.
Syncing up the sound from a separate source can be quit tricky if at all with success.
Al

4 channel audio capture

Does final cut express cpautre 4 channel audio as i have to a use radio mic and the onboard mic, how does it appear on the timline .
john
camera..xl1s

No, you cannot capture four channels. That was the question you asked. You can capture two channels. If you have one mic going into each of the two channels that make up the first pair you can capture them. Many cameras allow you to use 32k audio and record four channels, two stereo pairs. FCE will not capture the second stereo pair.

Questions on sending audio tracks from a short film into Audition for mastering

Ok so basically I have a 4 minute film in which i need to master the audio. I have a few quesions as to how to best go about this.
1: Some of the clips came with 2 tracks off the camera yet they are both labeled channel 1 on the beginning of the clip on the timeline. Their properties are listed as follows:
Type: Windows WAVE audio file
File Size: 16.0 MB
Source Audio Format: 48000 Hz - 24 bit - Stereo
Project Audio Format: 48000 Hz - 32 bit floating point - Stereo
Total Duration: 00:00:58:09344
Why are there 2 tracks?
2: Some other audio tracks are just labeled on the timeline as L and R. Both these and the other ones labeled Ch 1 are synced with Pluraleyes from an H4N Zoom recorder so i have no clue why they are labeled different. These one have properties labeled as such:
Type: MPEG Movie
File Size: 69.5 MB
Image Size: 1920 x 1080
Frame Rate: 23.976
Source Audio Format: 48000 Hz - 16 bit - Stereo
Project Audio Format: 48000 Hz - 32 bit floating point - Stereo
Total Duration: 00:00:14:20
Pixel Aspect Ratio: 1.0 (1.0)
Yes those are audio files on the timeline.
3: What is the general scoops with these multi track audio files? Do I need both tracks?
4: What would be the best workflow to export all the audio clips into Audition and get them back in the timeline? I heard about importing then in Premiere clicking Undo so you don't have the audio track clips as "Audio Extracted" and you retain the originals, but then just replace them with the Audition audio.
Working with sound is not yet a strong point of mine, i am just a video editor but need to get a grasp on properly handling this.

Cameras although they can record stereo audio often only use a small mono gun mic mounted on the camera. The audio menus on the camera give you the option to record either the mono mic to both tracks (ie. Ch1 input to the camrea is fed to both) or as stereo tracks from a stereo mic or as split tracks with onboard mic via Ch1 to track 1 and, say, a radio mic fed via Ch2 to track 2.
Your first files sound as if they came from the first of those options from an onboard mono mic. You don't necessarily need both trakc as they are identical mono tracks in this case.
The second set of tracks were recorded as a stereo pair on the Zoom, hence L and R. They could be stereo or more likely again are double mono tracks where you will only need one of them.
However, depending on the project, it may be more convenient to keep both tracks if any stereo music or effects are going to be mixed in on the multitrack. The final edited video will probably have two tracks on it anyway even if all the audio content is mono.

Help/Advice needed on setting up home office network please

Hi
I hope someone can help me with some technical difficulties i am having with a home / office network.
Computer equipment i have is:
2 desktop PCs on same floor different rooms.
2 laptop PCs to be used wired in office and/or Wifi if possible any room
2 Apple mac Laptops to be used wired in office and/or Wifi in any room.
1 HP Laser printer with network enabled
1 TB HDD network enabled
1 Linksys WiFi extender unit
Connection equipment:
I have an NTL Cable modem
Linksys WR54G ver 2 router ( with the option of going to aLinksys WRT300N ver 2 router)
A Netgear Dual speed hub DS116
What i would like to do is have one office holding 1 desktop pc, 1 HP Printer and the other office holding the 2nd desktop PC with USB printer attached. I would like to be able to go Wifi around the house for all PC & Mac Laptops with the option of connecting them by wire in the office if required.
Idealy i would like to be able to share files, folders and printers between all units as well as all having internet access through the router's firewall.
I also use Zone Alarm Pro.
At the moment i have in one office the WR54G attached to the cable modem with one Desktop PC wired in to one of the 4 ports. in a 2nd port i have a cable going to the 2nd office into the DS116.
Connected to the DS116 is the 2nd Desktop PC, the HP Laser printer and the 1TB HDD.
The Wifi extender is in another room.
For some reason every now and then the whole system goes wobbly and seems to loose settings at which point internet access is denied and ihave to go back to 1 pc into the cable modem and starting rebuilding the network.
Can anyone give me an idiots guide to settin this kind of system up with specificsettings on each item if possible.
I would say i would also like to use 1 desktop PC for gaming now and then which at the moment sems very hit and miss with speed etc.
Any help warmly welcomed
Best Rgds
Kev

ryclark wrote:
Following on from Steve's advice I would probably not bring the unwanted channels all the way down on the faders, either in a live mix or if mixing subsequently in Audition, as it may change the background acoustic too much. Leaving a bit of the background mics faded up a bit helps to pull the whole recording together and also means you have a better chance of getting all the faders back up in time for when they are needed without missing anything.
I didn't actually touch on this at all - perhaps I should have. There's definitely more than one way to undertake this sort of operation, and it rather depends on exactly what equipment you have available. So far, we know you've got potentially 16 channels available, but have no idea how you were planning to cover the different aspects of it. For instance, I would always consider it worth it to have a pair of ambience mics up all the time - which would get around this particular problem anyway....
The other thing you really have to pay quite a bit of attention to before you start is making damn sure (the previous day) that everything is in good order, and it all works when connected together. And if, for instance, you're going to rely on radio mic feeds from clergy, that you can tap into these without difficulty, etc. Make sure your mic stands are not falling apart, and that you've got all the right mic stand adaptors - amazing how many times people have screwed that one up!
What this generally means is that even if you're familiar with the location, you still need to do a reccé just to make sure that everything in the venue is as you think. And if you can grab a dedicated assistant for the event, go for it. This can make carting stuff about a lot easier, and provide additional security for your equipment. And sometimes other benefits too, like tea...

Global changes on an audio track or between in and out

I've come over from Avid and on Avid I could set an in an out point on an audio track and then changes the values of volume and pan which would then be changed between the in and out points. I'm editing an interview and the radio mic channel has flipped over to one side and I want it in the middle and cannot get it to stay there. I know that I can "write" in the audio mixer and just hold it there for hours, but I'm assuming there is a simpler way. I know about paste attributes but it's not clear what I'm copying and where I'm pasting those attributes. It would be far simpler if I could just select the audio track, set it the way I want it and tell it not to change for the duration. Any ideas?
Thanks

At the lower left of the timeline, there's a button that looks sort of like an upside down V. Click it- the clip overlays. You'll see red lines appear on your audio tracks. Grab the pen tool. Using it, you can click on the red rubber band lines to place key frames where you want. in your case, click once where you want your audio to begin fading out, then click again where you want the fade to end. On this last point, drag the keyframe all the way down, vertically.
As mentioned earlier, you can do this in the viewer as well - using the pen tool.

Audio Won't Merge to Correct Source Tracks

Hi Guys,
I'm working on a feature at the moment. The audio is recorded separately on a Cantar.
Sound guy usually records up to 8 tracks. Keeping booms and character's radio mics on the same tracks for each scene.
When I come to sync the clips in FCP 7.0, the merged clips create audio source tracks in sequential order, ie A1, A2, A3 etc, regardless of which tracks he actually recorded on.
EG, if he records A1, A2, A7, A8, when I merge the tracks to the video file, I get V1, A1, A2, A3, A4.
Is it because sound dept is giving me monophonic files?
He was delivering polyphonic before, but it would actually record "nothing" to all eight tracks. So if I was to make an edit from one of the polyphonic merged clips, it would edit in V1 + A1-A8. That was a bit of a pain. Either way, it is making tracklaying a bit of trouble.
Any ideas if I can change the source tracks to the correct tracks?
Many thanks!

I could do a MP3 to WAV conversion, but that defeats the
purpose of storing my (growing) music library in MP3 for space conservation.
I understand the space problem. Only do this for files that you are using as Assets, Imported into PrPro, if they give you a problem.
Seems I'm finding I have to do a lot of 'work arounds' with CS4.
Well, it does seem that you are not alone on this one. However, my problem came with PrPro 2.0. In my case, it only happened once, but did affect about a dozen Audio files in several Sequences. Did not realize the magnitude of my issue, and only observed it after a busy day of trying to Keyframe some Effects and doing multiple Renders to check things out. One moment all Audio in that section was playing well - next moment (after one more Render) dead. Others, who replied to my thread indicated that it had happened to them too, in similar circumstances. Trouble was, none of us could duplicate it and some had this happen on their first Render, while I'd probably done a dozen that morning. Have never had it happen again, and finished that Project with hundreds more Renders, just like I'd done, with not one problem. I certainly can not call it a Bug, as there was no way for anyone to reproduce it. Still, whatever allows it to happen, under the right (or wrong) circumstances seems to be around two generations later. Hey, phases of the Moon?
Good luck, and let's hope that neither of us sees this behavior again,
Hunt

Newbie - use camera for video and external microphone?

Hi,
This is a totally newbie question, but I'm a total newbie to the video part of the mac universe.
I want to use a camcorder to "stream" live video into iMovie (which will record it to the hard drive), and use an EXTERNAL microphone, plugged into the microphone port of the computer, as the audio source (I want to use a good mic).
Will iMovie support doing this? Is it automatic that the external mic overrides the mic on the camcorder?
Thanks,
Dmitri
P.S. this is part of a bigger question, which is, how to get the best possible audio using a standard (cheap) camcorder. I haven't bought a camcorder yet, and am open to getting one that can take a good mic through a line-in. Any suggestions? - Thanks, D

I wrote a reply to your earlier post ..but either the system went offline, or some other glitch occurred, and the post didn't appear. So I'll try to answer your earlier message and the one just above.
Congratulations on getting the camera, by the way!
"..play video through camera" option in the preferences, which MUTES the sound in iMovie.." ..Yes, this has been standard in iMovie from the earliest versions. There may be a slight delay between the audio you hear straight from the camera and the audio coming out of your Mac. To stop the annoyance of hearing the audio separately and slightly out-of-sync (..you'll find that the video on the Mac lags very slightly, too, during import..) you can turn OFF the Mac's audio with that preference.
"..I assume this goes away if I unplug the firewire cable.." ..er..? You mean that the preference switches back when you unplug? I can't remember: try it. But don't unplug the FW cable in the middle of an import!
What I was previously trying to post was:
"..instructional/promotional videos to display online.." ..You don't say if you'll be walking around to do these demos, or if you're demonstrating computer software. If walking around you might want to use a "gun" mic to point at you, or a tie-clip mic, so that it's always clipped to your clothes ..but that will trail a cable to the camcorder unless you use a radio mic. [..And you've now bought a tie-clip mic; well done..]
If you're doing demos of computer software, then you probably wouldn't need a camcorder at all, but just a "screen-recorder" application like 'Snapz Pro' or 'iShowU'. In that case, you'd just want a simple mic to stand on your desk, to record your speech as you work your computer, and for adding extra narration afterwards.
I still don't understand why you want to capture directly to iMovie. If you're using a camcorder, surely you'd want to capture to tape, in case you need to do three or four "takes" of the same material ..and then you only need to import, and fill up your hard disc with, the best of those takes.
And if you're recording a computer screen, then you wouldn't capture with iMovie at all, but with one of those other programs, above..

How to separate audio channels?

Hi guys, I'm a new Premiere user coming from Avid and I have some confusion working with audio right now.
I filmed some interviews with a radio mic on channel one and channel two was recording from the onboard mic. In Premiere I want to bin the second channel and pan the first channel across left and right. The problem is I haven't got a clue how to do so! This was a doddle in Avid and I'm sure it's easy in Premiere.
Could someone give me a hand here?
cheers
Rich

"Took me all of 30 seconds to find the answer to your original question there. It even has it's own heading"
I did search. I promise! Just out of interest what did you search for? I clearly couldn't see the wood for the trees
Edit; Just so you know I wasn't being a complete muppet, I did watch the Adobe video "Mapping audio channels in Premiere Pro" which gave the impression there was no way of fixing the audio once it was on the timeline. It didn't mention the fill left/right effect.

Separating camera tracks

I'm sure this has been answered somewhere, but I can't find it.
On location I recorded 2 tracks onto tape, one from the radio mic, the other from a boom mic. In Final Cut Pro they appear as Track 1 and Track 2, but when I send the edit to Soundtrack, Tracks 1 and 2 have become identical stereo tracks. Or, to put it more succinctly, in the Multitrack Editor they appear separately, but in the File Editor each track appears as a stereo track. I want to equalize them and apply noise reduction individually.
What's the trick here?

How did that work out for you in practice?

Canon XL1s DV Camera – Utilising 4 channels of recorded audio in PE8

Hi,
I have created a number of interviews using the Canon XL1s and have chosen on the camera to record 4 channels of audio (2x stereo). The first audio pair utilizes a stereo microphone mounted on top of the camera. The second audio pair is connected via the cameras auxiliary XLR connectors to 2x radio mics. If I play the recording back on the camera I can hear all four channels. When I upload via fire-wire into PE8 I can only hear (and see) the first pair of channels and cannot find the second ones anywhere… Is this a limitation of PE8, or have I missed something…
All suggestions gratefully received..

Neville,
You are correct, in that PrE cannot Capture the second stereo-pair, i.e. channels 3 & 4. This is a limitation in both PrE and PrPro too.
For SD material, most folk recommend SceneAlyzer as a Capture program. For HD, HDVSplit is the recommended Capture program. Many feel that these are the Capture modules, that SHOULD have been incorporated in both Adobe NLE's.
The 4 Audio channels are the problem. IIRC, there is also a Canon Capture program, usually shipped with the camera (some Sony's also have 4-channel Audio), and it will bring in the Video and all 4 channels. Not sure of the name, but I do recall mention being made of it.
For some background on the XL1's 4-channel Audio, you might want to search the PrPro forum, as this has been discussed in several threads in the past. You will find a lot more detail, than my feeble memory allows me to share with you.
Good luck,
Hunt

FCE/radio mic/MA200

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