I have a broken xbox 360 headset. The mic works fine but I can’t hear out of the ear. That’s not the problem though. Problem is, because I can’t hear out of the headset I have to listen out of the TV speakers. It is very hard to hear what people are saying while there is gun fire and explosions.
I want to know if I can turn the actual game volume down while leaving the chat volume up so I can hear the speech clearly. Any ideas?
I am playing halo 3
It’s easy actually. I’m guessing your playing CoD:WaW or something but you have to goto in-game menu and it will be under settings..
I take wildelife (mainly ducks and birds in flight) in all seasons / conditions Light from a boat. The folowing equipment sufficient to produce a DVD that can be sold. stability? lighting? Sony HDR-SR11 60GB High Definition Hybrid Camcorder SPK-HCD Underwater Camcorder Sports Pack Circular Polarizer UV Filter 2GB Lexar Platinum II (40x) Memory Stick Pro Duo Sony VCL-HG0737C High 0.7x Wide Angle Conversion Lens degree cold Pearstone Shoe Adapter for Sony ECM-AIS MSD1 Stereo Gun Zoom Microphone – for Camcorders Sony HVL-HL1 3 Watt Video Light Sony NP-FH70 H Series Info-Lithium, 'Super Battery Stamina 'Pack (8.4V, 1800mAh)
When recording from a boat that is really poor teams – especially if you save migratory birds like ducks, geese and species minors. When migratory birds are in their migration patterns, which fly at altitudes higher than the HDR-SR11 can not block the sound, video – all in a rocking boat. You will need a professional camera with a long optical zoom and robust stabilization. Most of these settings have cost thousands of dollars, but there several awards affordable options available. The HDR-SR11 never be stable in the configuration of your proposal. The emphasis is difficult to manually adjust the camera long zoom consumption. In addition, a 3-watts does not provide enough light for this type of video. If you try to shoot this kind of activity in terms of low light where you need a light camera, forget it. It will provide the video quality you need for production. The light will help in this proposal – even those lighting professionals. Not to mention, the lights can scare the birds. A wide-angle lens also will not help. If the filming underwater, most of these accessories do not apply. It is also an environment in which only certain accessories are required as appropriate, lightweight and waterproof, but the light is 100 watts or more if the water division. If you wait for the birds to break the same migratory route and go down to levels below the ground or Roost, then the team that chose the job. The objective wide-angle lens will help you get a big box or a lake full of birds at one time, but you can do it for cultivation. You do not need light. Moreover, is preferable, if in a solid floor with a very good tripod ($ 100 or more). You may need quick laps on the tripod (like ducks flying 30-50 km / h), maintaining the stability of solid video. You can also limit the exchange of fire between sunrise and sunset (after sunrise and sunset). The thing larger than you want to do is climb on the Sony HVR-A1 or professional video camera. This camera costs at least $ 500 more, but you need the money because do not need more accessories than you have listed. It's a little video camera for professionals is very compact and can break down a form factor similar to the HDR-SR11. The HVR-A1 also one of the few professional video cameras including infrared Nightshot. It is a good if you want to do short-distance shooting dark or low light output sun on the day before – that the registration of a host that is to explain the situation. We use this device in a configuration similar to what you describe here, and capabilities and the print quality of our customers. Another professional cameras at low prices, you may want to look at are the Panasonic DVX100 (SD) and Sony HVR-Z1 – both chambers have been most documentaries, reality shows, and cable TV and other shows we've seen since the last decade. Also included here are Sony HDR-FX1 (HD), and the Sony VX2100 (SD) – formerly the most popular choice for television crews and news online. Your best bet is Series Canon GL1, GL2, XL1 and XL2 cameras that recorded the most videos you see on the discovery of the network of wildlife, including Animal Planet channel. Adjust settings for the election of a good camera from the list provided. You spend a little more, but worth every penny. You do not need a light, but probably need a high capacity battery and a professional tripod (both available on Amazon.com). It may not be able to pay the settings of these cameras waterproof, but you need waterproof adjustments during the filming of the birds fly? You might also need to get a bigger boat more stable, or better yet, the film of the earth. Usually costs less to shoot the land than water. The most important benefits for the configuration of the improvement, not only offer a better quality video, but also the material time and much less – just the camera, tripod and a bag of lenses and film. Check your phone to your local video artists. Visit to check the settings and get their advice. You may also lets you test your camera. Good luck
Could someone tell me whether there is a digital camera that takes great pictures and has a video recording feature with optical zoom? I am aware that the video recording on a digital camera is not as good as a camcorder. I just want a 2 in 1 so that I can take pictures and short video clips. I am torn between Canon SD780is, Canon SD880is, and I think some Panasonic DMC’s have the feature. Any additional ideas would be helpful.
I have the Panasonic Lumix DMC-TZ5 and you can zoom while recording and it takes great pictures. It records HD videos.
I would recommend it.
do u know a site that i can watch online toy story film or any other film?
Try www.vongo.com since they let you watch movies right from your computer. You they let you download and watch all the movies you want. You need a credit card to sign up though. Of course there are also illegal ways of obtaining movies, but I’d rather not say.
Portable media players are becoming more and more popular. With the widespread use of WiFi (wireless Internet access) penetrating our daily lives in cafes, schools, libraries, airports, and other public spots, more and more people are turning to portable gadgets.
Portable gadgets can be used for play or work. These gadgets may include portable media players, laptops, netbooks, or the UMPC (Ultra Mobile PC). The type of gadget that a consumer decides to buy depends very much on his or her own personal needs and wants. For example, if an individual wants to use a portable gadget for work, a laptop may be the best option. That’s because the laptop is able to house more powerful hardware, and more applications can be run from the system. However, the drawback is that most laptops are still bulky compared to other portable gadgets.
In contrast, modern entertainment gadgets that are portable are lighter, smaller, and come in more popular designs. The Archos 5 Internet media tablet is such an example.
The Archos media tablet has its own built-in CPU. However, as this gadget is meant mainly for entertainment purposes, the CPU is often left out of the limelight. Most consumers are mainly concerned about whether the graphics will run smoothly, and how many movies they can store on the media player.
You can use the Archos media player to watch TV content, stream movies over the Internet, or play your own movies. This device supports many media formats. Formats include MPEG, WMV, H.264, AVI, and DivX. There is no QWERTY keyboard available. All the commands are issued using touch screen. The only off screen operations are the power and the volume control.
This gadget comes in 3 versions – 60GB, 120GB, and 250GB. The smallest version weighs only .55 pounds, while the other two versions weigh .66 pounds. That means you can easily bring the device wherever you go without hassle. The amount of disk space required depends on how much content you wish to store in the gadget. Given the advanced compression technology available today, each high quality movie will usually require no more than 1GB of disk space.
There are many ways that an individual can store content in a media player. Content can be easily downloaded over the Internet. Or special software can be used to convert VCD or DVD movies into digital formats. The media player can also be connected to the television set for recording of programs.
If you grow tired of existing content, you can also connect to the Internet to perform some simple operations like web browsing or checking email. While connected to the Internet, you can download more content such as movies, Anime episodes, or simply stream content without downloading.
Obviously, a portable media player is a great traveling companion. You can use the gadget to provide you with some great entertainment while waiting for a flight, or while you are in the hotel. This useful gadget retails for less than $500. For all the functions that it performs, it’s definitely worth considering.
About the Author
For more information on the Archos 5 Internet Media Tablet and the HDPC Hybrid, please visit the Gadget Advisor web site.
Essentials AVCHD obtain, read, edit and convert AVCHD into Mac
AVCHD is a high definition (HD) digital video camera recorder recording 1080i and 720p signals MiniDVD disk, tape, MiniDV, hard drive, memory cards and digital camera. recordings MiniDVD AVCHD discs can be played Some Blu-ray, however, with AVCHD. M2TS and file extension. MTS can not read standard DVD players and most portable players. This tutorial shows you how to get high-definition AVCHD camcorder video on the Mac, how to play, edit and convert AVCHD video on the Mac, including the Snow Leopard.
Content Part I. Get HD Camcorder AVCHD files on Mac Part II. Play AVCHD video on Mac Part III. Edit AVCHD footage on Mac Part IV. Converting AVCHD video on Mac
Part I. Get file AVCHD High Definition Camcorder Mac To play video in AVCHD format on your Mac, you must leave your HD video camera or laptop Mac. It's easy with iMovie: 1. Connect camcorder to Mac with a cable (USB / WiFi). 2. Select the way how PC video camera or computer. 3. iMovie import window open automatically. 4. If DVD Player automatic open, just quit DVD Player first. 5. So now, you can review the video or select "Import All" (make sure your switch is set to "automatic"). 6. If you select "Manual", you can import videos in iMovie. 7. If you import from Tape based device (DV / HDV), tape automatic review of iMovie and import all. 8. iMovie automatically created after importing video picture.
iMovie will automatically detect when the camcorder FireWire connected. If you No camera connected message, make sure your device is on and properly connected to the computer using a FireWire cable and the camcorder is set to VCR, VTR, or Play.
Part II. Play AVCHD video on Mac VLC Player is a completely free software that should already have in your Mac is a lot of video formats and different audio, much more than QuickTime and DVD player. Simply launch the application, select File> Open a file, select the VIDEO_TS folder, and it's OK! Take some popcorn and watch the AVCHD video now.
Part III. Edit AVCHD footage on Mac AVCHD camcorders have been used since the middle of the first fully capable software for the 2006 sequences were available with the recent release of Sony Vegas 9 editing software for Windows. Ok, so the software can be used to edit AVCHD on a Mac, including Snow Leopard?
Whether your budget allows, make your iMovie video editing AVCHD, but there are two fundamental requirements. First, make sure that you have iMovie '09 Or later. Another limiting factor is material to use iMovie. You need a Mac with an Intel Core Duo or higher to edit AVCHD in iMovie '09. Mac Power PC G5 or more first does not work for editing AVCHD with iMovie HD.
Final Cut Pro is the first choice for anyone that editing Mac video. The Final Cut Pro 7 is the support the most current information available for the AVCHD format, with 6.0.1 is the first release of this marker with AVCHD support. Ensure you have Final Cut Pro 7 installed your best bet to ensure you have a great experience with AVCHD editing and FCP.
Adobe Premiere Pro CS4 is another option. Although it is now back to the Mac or Mac or Windows version compatible with the AVCHD format, there were quite a few rumors have indicated a reproduction perfect video-editing AVCHD and totally depends on your system's performance. Most laptops work well with AVCHD editing but not as a reproduction perfect in a high-end desktop.
So who is the best, iMovie, FCP, Adobe Premiere? Well, personally, I prefer Final Cut Pro to edit AVCHD in iMovie on a Mac It makes editing easier and allows us to highlight their creativity more!
Part IV. Convert AVCHD Video Mac AVCHD camcorders store video in HD and TS M2TS format, causing problems on the road – for example, if you find that YouTube ™ not support the format of AVCHD video file you want to download, and most portable players as well. 3 There are some programs available, but if you are looking for the easiest way to manage the work on the Mac (including the Snow Leopard), producing better quality iFunia HD Video Converter is a good choice. Here are the steps.
Step 1. Installation Source Download and run iFunia HD Video Converter for Mac, adding the AVCHD video by clicking "Add" or "drag and drop. Here you can also watch AVCHD video files and taking snapshots.
Step 2. Destination Installation After completing installation source video, you can now select an output profile from the dropdown menu, take iPhone for example MPEG-4. Remember not specify a directory on your computer to save the output files.
There are different sizes / flow / Options screen resolution in the configuration window. Different file formats result in different rates of video compression. Flow refers the number of bits processed per unit time, the higher the number, bit more elaborate and better quality. The resolution refers to the number of pixels processed by the display device.
Step 3. Start conversion Finally, click the Start button. The progress bar shows the status conversion task. The program asks if the conversion task is completed, and then click OK.
Rugratzzzzzzzzzzzzzzzzzz is right… and don’t forget the memory cards (or external hard drive), tripod, case, 1 or more rechargeable batteries, mics, lenses and all the other stuff you’ll want/need (unless you already have some of this stuff)… Plan on nearly doubling the camcorder $ for budgeting. And that assumes your editing platform does not need any upgrades.
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Mississauga’s Samsung Electronics Canada is offering to provide commercial bins for recycling of old electronics to any business that is replacing their old equipment — as long as it is being replaced with a Samsung product. Hitachi Hard Drive and DVD Camcorder
For those filmmakers who are now making first broadcast programme, this article briefly describes what happens in the online edit. Throughout this article, I will only refer to work done on a programme’s picture. Audio issues are usually addressed as part of an audio dub.
Assuming the offline editor has done a great job, the programme must still be packaged according to the broadcaster’s requirements and meet its technical standards. The online is best described as the final checking, tidying or polishing of a programme before a programme is mastered to its final format.
The amount of work involved can vary immensely. It may be no more than putting bars and tone and a clock at the front of a programme and then mastering to a tape for broadcast. Or it may involve recapturing an entire programme at High Definition and then building sophisticated effects or titles that could not have been made on Final Cut Pro or an Avid Xpress Pro system.
Broadcasters supply programme-makers with “technical requirements” documents. The online editor must understand these and make sure that the programme complies with them.
The following is a list of tasks commonly carried out in the online.
Put bars and tone and a countdown clock on the front of the tape. The broadcaster will have specified the type of bars, the level and frequency of tone and their durations: In Britain, the programme itself will typically start on a timecode of 10:00:00:00. If the programme has part breaks, bumpers will have to be created. Each subsequent part will typically start on a round timecode minute including the bumper. There will be black video in between the parts and a countdown clock for each separate part.
Titles and subtitles
The editor should check that text elements conform to the broadcaster’s house style and that all graphic elements are within title safe. In the UK, national television usually requires programmes to be 14:9 title safe. This is a more stringent title safe requirement than is indicated by the typical title safe grid in Avid and Final Cut Pro.
Conforming aspect ratios
In many programmes, especially archive-based documentaries, footage will have come from a variety of sources. The online editor must check all footage and should pan and scan any shots with aspect ratios different to the delivery specification.
Legalisation of picture and sound
Broadcast master tapes require that the programme’s video and audio levels do not drop below a certain minimum, or rise above a certain maximum. The picture can be run through a legaliser and the audio through a compressor in order to achieve this result. However, it is essential that the audio is first mixed to these levels to achieve the best clarity. It is preferable that shots are individually graded to avoid clipping or crushing of white and black details by the legaliser.
The online editor must often correct for mistakes in shooting. For instance some shots may contain objects that shouldn’t be there. The editor may be able to remove them by scaling the image up slightly, or by “cloning” out a part of the image. Shots that are not level can be rotated, shaky shots can be stabilised. Slightly blurred shots may be sharpened.
Field problems, speed effects, freeze frames
Field-based footage can sometimes display artefacts if field order has been reversed or if the offline editor has made speed changes to the footage. When this is the case the footage generally looks jittery rather than smooth. The online editor must be able to correct these problems, by applying a field shift effect, by deinterlacing, or by changing the method by which speed changes are calculated.
The online editor must be able to check and rebuild any visual effects that were made in a rough or provisional way. For instance, chromakey effects from the offline may be rebuilt using a superior keying plug-in. Masks may have to be drawn to cut transparent areas out of an image. The online machine may have sophisticated visual effects plug-ins that can be applied for added visual impact.
Often the grade is done separately to the rest of the online by a dedicated colourist on specialised grading equipment. However, online systems such as Avid Symphony and DS Nitris, amongst others, have good grading capabilities and the online editor will often do the grade. Final Cut’s three way color corrector and Xpress Pro’s Color Correction mode are all capable of performing basic grading perfectly adequately. It is however important to have a good quality, correctly aligned monitor to judge the picture. Both FCP and Avid now have internal video scopes that can help the editor make colour decisions quickly.
Credits are often the last thing that is finalised. Broadcasters have very precise specifications as to how they want credits to look and how long they should run.
Master to tape
The programme must be played out to the final delivery format; in the UK this is usually a digibeta tape. Specialised online systems are able to play out with precise deck control and if a mistake is spotted whilst recording to tape, then the shot can be seamlessly inserted without having to play out the whole programme again. Basic DV systems can only play out to miniDV or DVCam, tape formats not usually accepted for broadcast.
One of the most important documents that must be placed with the master tape is the record report. This document contains the technical information about the programme, along with the timecodes at which the programme and all its parts begin and end. Information to be included will be: Timecodes, aspect ratio, programme and part lengths, tape format, frame rate. Any non-solvable, or unusual features of the programme should be noted here. For instance, if some of the footage was shot with a faulty camera and cannot be corrected, it may still be allowed in the programme for its content. The notes will alert the broadcaster that the online editor saw the problem and that it was not an error introduced in the post production process.
When considering where and how to do the online, it may or may not be necessary to move the project off the offline editing work station. Low budget DV work is often finished on Avid Xpress Pro or Final Cut Pro, particularly if there are no particular problems with the footage and no special effects requirements. The online will probably be quicker on more specialised equipment but will more than likely be more expensive. However, it is important to employ an experienced online editor who knows and understands all the standards that are required.
For more demanding finishing, bespoke systems such as Avid DS Nitris or Autodesk Smoke might be considered. They are able to handle many layers of effects in real time and offer high quality compositing tools. Particularly for HD work or for graphics heavy programmes, a great deal of time can be saved in these systems and an experienced operator will bring added quality to the production.
About the Author
John McMullin is a London-based editor with hundreds of broadcast and cinema credits including “The Boy Whose Skin Fell Off” and “Taking Liberties”. He brings both artistic flair and technical expertise to his work on Avid, Final Cut Pro and DS Nitris systems. For more: Wired
Escape The Fate – Raw Interviews – Tipsy Tiger Pro.2005