Bill Davis
Forum Replies Created
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What Ty said.
That’s the classic pattern for a grounding issue.
Sennheiser is a large company with plenty of service capability if you want to investigate “factory service” and in addition, since they are part of a large working group with Neumann and others, nearly every truly professional shop that specializes in broadcast gear typically has a repair staff that is qualified to work on this type of gear.
If the rig is “mission critical” and you can’t do without it – you can also just order a replacement lav – send the broken one in – and when the repaired unit comes back, either sell it or keep it as a spare.
I keep four lavs for two AVX rigs just in case something goes wrong at a shoot. Spares can often save a shoot!
YMMV
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Darn, just saw this.
FanFilmFX.com is what you need.
It’s a totally cool light saber generator. There’s a free version and the paid version is only $4.
These are also hosted on FXFactory. So you can get them there with confidence.
Have fun!
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Brett Sherman] “Any software that generates a full volume square wave for long enough time will blow the speakers.”
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Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Bernard Newnham] “how do you manage to do serious editing on a laptop”
Does this help?
(Waiting for client notes and taking it easy today!)
Pretty sure in F – I have enough separate screens to look at!
Interface – Client/Program – iPad for script or browser as needed – iPhone for live client chat, lookup, web research, etc.There’s actually a serious point here. Like most, I spent a LONG time in an “office” setup back when the only way to get a smooth editing experience was via big hardware and shore power. Since my transition to FCP X – I’ve consistently found that I have had an incredibly smooth and reliable edit platform just relying on my MacBook Pro FCP X and the kit I can stow in a single briefcase.
Seriously, 4k proxy multi-cam is easy — and my deadlines are such that an occasional overnight render for a full rez HUGE project at the end of weeks of smooth editing just isn’t a problem for me.YMMV as they say.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Since my name was invoked, I am unfortunately unable to respond as I am currently out of town investigating Southern California’s Haute Cuisine offerings.
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Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Same story as always. Many editors will continue to view X mostly through the lens of their prior NLE operational expectations. Rather than attempting to clean away some of that mental pre-conditioning and accept it for what it is.
Focus on the air at the top and the FCP X glass will ALWAYS be half empty for a particular editor.
Focus on the liquid at the bottom – and it suddenly can appear satisfyingly full.
If you’re actually thirsty to get work done rapidly and efficiently – what’s already there will probably quench most editors. Not all, and certainly not those who can’t let go of functions they feel are mission critical to how they wish editing would always operate. But it will be satisfying for many, many, many working editors – and a joy to operate at the same time.
iJustine’s LumaForge unboxing video for her new Jellyfish just crossed my feed, and the thing that was most fun to watch is how honestly HAPPY she was while she was setting up her new server system. There was apparently real JOY added to her life during a day of server setup? That’s NUTS!
But if you remain obsessed with the air on top – it’s extremely probable that you’ll NEVER have enough juice in your glass to make you happy.
Just how prior expectations tend to color life and work in the real world.
My 2 cents.
But I’m positive others will disagree as they continue to focus on what they prefer from their prior workflow that is missing — rather than adapting well to what they now have, which is very present.
To each their own.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
As I noted above, I use them too.
But I’ve seen Libraries where an unschooled user has made a compound in one Project – Cut and pasted that Into another project, re-compounded that, with something else – then used THAT in another project – treating these reference clips like they were some kind of base clip.
Then they go back and “clean up” their drive tossing that old first order Prohect that contained the original link – and the entire house of cards collapses with everything going offline.
They are fine for experienced users with solid housekeeping habits.
But can be a problem for editors who just still think of everything in their storylines like they are old style clips in a capture scratch.
Just my experience.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Oliver Peters] “Also the FCPX workflow is really dependent on using compound clips. “
I actually don’t find this true at all.
Most of the editors that I know who use a lot of compound clips do so because they are accustomed to using “nests” in a prior NLE and see this as the FCP X equivalent. But I’m not sure it really is.
In X, Compound clips are a form of Reference Clip that really just abstracts another layer of metadata and references it to the original content.
I seldom use them, feeling that it’s smarter to keep my work as close to “flat” as possible and do as little “referencing” as I can.
Sometimes that’s not possible and I have projects as full of multiclips, sync clips, and compounds as the next guy. But I typically don’t use them any more than I reallly need to.
My feeling is that simplicity beats complexity whenever you can get away with it!
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Mark Suszko] “So I’m an old fart, we’ll stipulate to that. That said, I don’t like the idea of “just eyeballing it” on a particular monitor, no matter how good the monitor is, versus using known, stable standards and scopes. “
I don’t disagree with you at all because that’s exactly the same way I’ve been conditioned for decades of practice.
However, the FACT of the matter is that if most people are watching content on computers and pocket devices today – and IF those devices do a credible job of reflecting the colors that another computer has generated – the need for scopes and keeping “within the lines” on stuff like the broadcast NTSC 100ire limit might be less mission critical than it used to be.
These young producers are creating content nearly exclusively for a relatively newly viable non-broadcast market. The gold standard for them is clearly NOT AC Neilson ratings, but “likes” and subscribes — and so that’s where they concentrate. They know the new game. And it’s NOT the same as the old game.
That’s just how it is.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Yes, EVERYONE on the planet is holding it wrong.
(Happy to satisfy at least one New Years wish for someone on Jan 1!)That checkbox ticked, all I want for 2019 is a continuation of what happened for me over the past year.
I had my strongest year (and particularly fourth quarter) EVER – thanks in no small part to FCP X. In fact, it was so busy it messed up my end of year plans and I couldn’t even get to the Creative Summit for the first time!
The icing on the cake was about a week ago when the team I work most with got the news that we landed a nice new client after a 5 agency review. In the midst of an already hectic year-end production run an agency head I do work for called me and said “I’ve got a kinda crazy idea, could you work with me on it as a spec deal?)
Turned out to be pretty edgy (but cool) idea for a client in a VERY traditional industry not known for taking chances.
So Linda and I I sat with him and comped a set of two pitch spots in less than 4 hours start to finish.
At the pitch, the agency head was a little unsure of using the edgy idea, but near the end he decided to show ONE of those comps. When the client called with the news that they were awarding our team the work, the feedback was that their board of directors respected the guts it took to pitch something so unusual.. The feedback was that it made THAT presentation really stand out and so the board kept getting drawn back to it to talk about it again and again.
For me, the confidence and speed of FCP X is all about knowing that the tool gets out of my way now so there’s very modest cost in time and effort to trying out slightly crazy ideas and seeing if they work. I don’t have to tell anyone how brutal this competitive landscape can be.And I’m starting to feel that just playing it “safe” will increasingly be anything but.
Anyway, the old days of feeling so much “on the clock” time pressure is pretty much gone. And that’s worth a lot!
If that spirit keeps going in 2019 I’ll be a very happy guy!
Happy New Year indeed!
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.
