[Bob Cole]

Thank you Michael. That’s very helpful, actually.

You might want to check out Arnie’s Automator suggestion – it works beautifully for large collections of files.

BC

[Bob Cole]

I forgot to say this explicitly – Arnie, your detailed explanation of Automator was very helpful and worked perfectly. Thanks again.

BC

[Bob Cole]

Thanks Arnie!

A related question, that predates (but is very much part of) this situation:

At some point in the rosy-colored past, when I used Reconnect Media/Reconnect All Files in Relative Path, FCP elegantly restored connections to many media files at once.

For whatever reason, when I try that now (and for some months now) I only get the one file.

I am using every variety of the parameters that I can think of:
Matched Name and Reel Only – whether checkmarked or not.
Locate or Search – either technique for locating the file.

This is going to be a lot of work relinking all these files. Am I missing something?

Thanks again for your help.

Bob C

[Bob Cole]

No Blackmagic card. This project originated on a MacBook Pro.

[Bob Cole]

[Mark Suszko] “Ask this also on the live/stage forum, as those guys have a lot of projection savvy.”

Have done – thanks for making me aware of this other forum. You are right. They’re answering questions I would never have thought to ask.

[Bob Cole]

Thanks! That worked perfectly.

Bob C

[Bob Cole]

[Brandon Morris] “whats the lowest/highest f/stop I should stay at?”

It’s complicated, but if you want to be safe, and don’t feel like learning the actual limits for a given focal length, just set your aperture no wider than f/5.6. (don’t use f/3.5 except for wider angles)

I’m saying this based on a photo of the lens, so run a test.

[Bob Cole]

[Noah Kadner] “This only will happen if you’re wide open- i.e. at the maximum aperture of the lens.”

minor correction – it can also happen if you’re close to wide open, depending on how far you zoom in.

Question, as a non-DSLR user: on a video camera you can see the “t/stop” change as you zoom in while wide (or close to wide) open. Do DSLR cameras give you the same notification in the viewfinder?

[Bob Cole]

[Noah Kadner] “The ideal doc package is a DSLR for beauty shots and b-roll and a regular HD camera for the meat and potatoes- i.e. long interview takes.”

Interesting. I’m not even a newbie at DSLR, just evaluating it. I was considering DSLR for long interview takes, for the shallow DOF. Double-system audio is no big deal for a sit-down interview where the camera turns on and off rarely. Overheating: use two DSLRs in tag team (or, if the SD card is the part that overheats, can a DSLR record to an external device?). But audio drift? That one I can’t handle.

[Bob Cole]

I’m thinking of buying an EX3, but reading these reports gives me pause.

What about simply putting on another zoom lens? There is the Fujinon XS8X4AS-XB8 4-32mm, a 1/2″ lens which appears to be designed for the EX3a. I realize that is sort of a specialty wide-angle lens, but has anyone tried the zoom on it? Or any number of reliable 2/3″ lenses, although it might be difficult to find one that goes wide enough to fill the EX3’s 1/2″ target.