best camcorder for fcp x image
Tom
I own a Zoom H4n and I heard that you have to change the bitrate of the audio to be synced with the video depending on the fps of the video. I'm kind of advanced beginner in audio. Or can you please tell me how to render audio in FCPX? Thanks
Answer
Hi Tom, and welcome to Yahoo!Answers:
If you're in a hurry, the short answer is to choose 16-bit/48kHz sample rate. Period.
I don't know what your source was for what you "heard", but it's not necessarily true. If you are shooting consumer camcorder footage, you are probably using "unlocked audio", and your external recorder settings don't really matter. For a consumer/amateur project, the only real reason to change audio bitrate is to save space, or if other digital audio gear in your "workflow" can't handle, for example, anything higher than 16-bit/44.1kHz sample rate. (The Zoom H4N can record up to 24-bit data and sample rates up to 96kHz.) Apple's FCP can handle up to 24-bit audio, so don't panic if you start recording without checking the Zoom's settings.
Where you might have heard about video FPS having to anything to do with audio sample-rate, is with pro-level "locked audio" and DV-format camcorders. In Europe/UK and other PAL-format countries, the 25fps/50fps frame rate will divide evenly into either 32kHz or 48kHz sample rate; but for USA/NTSC 30fps/60fps frame rate video (actually 59.94), the number of samples-per-frame only divides evenly at 48kHz sample rate. This is why 16-bit @48kHz is a video/DVD production standard, as opposed to 16-bit/44.1kHz "CD quality" settings. (96kHz sample rate is evenly divisible for locked audio, but being newer technology, the faster rate isn't used as widely, and isn't a "broadcast standard".) The same applies to film recording or "film look" video recording: 24fps divides into 48kHz sample rate evenly.
Sophisticated digital audio setups use what's called a Word Clock (a/k/a "sample clock") that can be sync'd with a master Time Code Generator or other digital audio gear (playback decks, MIDI controllers, etc.), but the Zoom H4N doesn't have a Word Clock input or output.
But the Zoom =does= allow Broadcast Wave Format (BWF) recording for accepting cue-marks & time-stamps, but professional standards suggest you only use 16-bit @48kHz sample-rate for BWF files. You can record BWF @ 16-bit/44.1kHz, but some post-production houses won't accept it, mostly due to that "not evenly divisible" factor discussed above. See the EBU/UER "BWF user guide": http://www.ebu.ch/fr/technical/publications/userguides/bwf_user_guide.php
If you are trying to sync Zoom audio to some exotic slow-motion footage shot at extreme frame-rate, that's another topic entirely.
And as far as trying to teach a beginner how to edit double-system sound in Final Cut Pro X, a simple Q&A forum like this isn't adequate, if you haven't even attempted following any of the tutorials included with Final Cut, or the dozens that are online. In previous Final Cut Pro versions, we had to use Final Cut's "AutoSyncCompensator" or "Sync Adjust" feature. (It's more automatic now. But if you are working with PAL footage and intercutting 24fps film transfers, read up on FCP's "Conform 25 to 24" tool selection & workflow.)
The technical reason for worrying about clock-sync & an odd-number of audio samples in a given video frame isn't so much about sync-drift during a long take (e.g., "lip-flap" visual errors), but rather from concerns about edit-point glitches or "pops" in the sound during a cut or transition from left-over or not-enough digital "cycles" in the reconstructed waveform.
hope this helps,
--Dennis C.
Â
Hi Tom, and welcome to Yahoo!Answers:
If you're in a hurry, the short answer is to choose 16-bit/48kHz sample rate. Period.
I don't know what your source was for what you "heard", but it's not necessarily true. If you are shooting consumer camcorder footage, you are probably using "unlocked audio", and your external recorder settings don't really matter. For a consumer/amateur project, the only real reason to change audio bitrate is to save space, or if other digital audio gear in your "workflow" can't handle, for example, anything higher than 16-bit/44.1kHz sample rate. (The Zoom H4N can record up to 24-bit data and sample rates up to 96kHz.) Apple's FCP can handle up to 24-bit audio, so don't panic if you start recording without checking the Zoom's settings.
Where you might have heard about video FPS having to anything to do with audio sample-rate, is with pro-level "locked audio" and DV-format camcorders. In Europe/UK and other PAL-format countries, the 25fps/50fps frame rate will divide evenly into either 32kHz or 48kHz sample rate; but for USA/NTSC 30fps/60fps frame rate video (actually 59.94), the number of samples-per-frame only divides evenly at 48kHz sample rate. This is why 16-bit @48kHz is a video/DVD production standard, as opposed to 16-bit/44.1kHz "CD quality" settings. (96kHz sample rate is evenly divisible for locked audio, but being newer technology, the faster rate isn't used as widely, and isn't a "broadcast standard".) The same applies to film recording or "film look" video recording: 24fps divides into 48kHz sample rate evenly.
Sophisticated digital audio setups use what's called a Word Clock (a/k/a "sample clock") that can be sync'd with a master Time Code Generator or other digital audio gear (playback decks, MIDI controllers, etc.), but the Zoom H4N doesn't have a Word Clock input or output.
But the Zoom =does= allow Broadcast Wave Format (BWF) recording for accepting cue-marks & time-stamps, but professional standards suggest you only use 16-bit @48kHz sample-rate for BWF files. You can record BWF @ 16-bit/44.1kHz, but some post-production houses won't accept it, mostly due to that "not evenly divisible" factor discussed above. See the EBU/UER "BWF user guide": http://www.ebu.ch/fr/technical/publications/userguides/bwf_user_guide.php
If you are trying to sync Zoom audio to some exotic slow-motion footage shot at extreme frame-rate, that's another topic entirely.
And as far as trying to teach a beginner how to edit double-system sound in Final Cut Pro X, a simple Q&A forum like this isn't adequate, if you haven't even attempted following any of the tutorials included with Final Cut, or the dozens that are online. In previous Final Cut Pro versions, we had to use Final Cut's "AutoSyncCompensator" or "Sync Adjust" feature. (It's more automatic now. But if you are working with PAL footage and intercutting 24fps film transfers, read up on FCP's "Conform 25 to 24" tool selection & workflow.)
The technical reason for worrying about clock-sync & an odd-number of audio samples in a given video frame isn't so much about sync-drift during a long take (e.g., "lip-flap" visual errors), but rather from concerns about edit-point glitches or "pops" in the sound during a cut or transition from left-over or not-enough digital "cycles" in the reconstructed waveform.
hope this helps,
--Dennis C.
Â
Is the panasonic HCV700k video format compatible with mac os X?
Cristian
Hi, i wanted to purchase my camera, but i wanted to know if my mac is going to recognize the format from this camera. Would i need a cable to connect from the cam to the computer, or would SD cards work? PS: I use final cut pro
Answer
We don't know which Mac, version OSX or version FCP. Assuming all are relatively new, connect the HCV700's USB port to the computer's USB port. Put the camcorder into Play/PC mode. Launch FCP. Under File, select "Log and Transfer"...
If you decide to copy the files from the camera to the Mac, the files will need to be converted (transcoded) before FCP can deal with them. Use a transcoder like MPEG Streamclip from www. squared5.com to convert them to something more useful like MOV or MP4 with h.264 video inside.
We don't know which Mac, version OSX or version FCP. Assuming all are relatively new, connect the HCV700's USB port to the computer's USB port. Put the camcorder into Play/PC mode. Launch FCP. Under File, select "Log and Transfer"...
If you decide to copy the files from the camera to the Mac, the files will need to be converted (transcoded) before FCP can deal with them. Use a transcoder like MPEG Streamclip from www. squared5.com to convert them to something more useful like MOV or MP4 with h.264 video inside.
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