[Craig Alan]

what codec? I plan to set the aspect ratio before importing if possible. I don’t plan to zoom or crop in FC. In aperture the crop tool gives you the aspect ratio so I will pre crop it. I think I can also set a black crop to fill but haven’t tried it. Though it can be done in FC as well.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Did you just let the app store do its thing or did you do a clean install?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

any progress on this issue? debating the switch to sierra. had no issues on FC 10.3 w capitan. Should I upgrade the OS? Did you do a clean install or not?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

command-9 doesn’t give you progress in sierra? I’m debating updating to sierra. What’s your advice there?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Have you had this resolved? If so what was the answer? If not:

Have you tried using a FC backup and see if the previous saved timeline still has this problem? Obviously when it crashed something got changed or corrupted. Was the opacity changed or perhaps one layer is soloed or something along those lines. I assume you are exporting a frame from the timeline but not sure.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Hi Bill. I use finder folder organization because I feel it provides a layer of protection and end user control of their media. I’m not saying your way doesn’t work. But I would rather make my own card copy than use Apple’s. Apple’s may change. But I don’t think Panasonic card structure will for a very long time. And libraries can get corrupted and you would loose everything in them. If my library gets corrupted I make a new one and have my media, render, backups, and p2 card copies in different folders. The media is copied into the library. and the entire media drive is cloned.
I’ve never had FC get confused by my organizing folders in the finder and even fixing screw ups like having put the wrong media in the wrong project. I move it from one finder project folder to the correct one and import it into the library of the correct one. That said FCP version 3 is making the relinking of external folders kinda not worth my logic if by having all in the library there is no need to relink. Before this version I simply reimported the entire card copy folder and it would very quickly repopulate anything that had gone missing.

I have been dealing with some iMacs that crash. And things like sparse bundles and libraries which I do like the ergonomics of can become corrupted due to these intermittent crashes.
At the school lab I teach I do use sparse bundles cause they help protect and organize each production teams and directors work. I leave only one open at a time. Important ones I back up otherwise they are not the end of the world if some class exercises get lost. Though this has only happened a few times in as many years. Due to corrupted sparse bundles or libraries or media cards. very rare though.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Also is FC now changing the codec of P2 footage? Or is it just doing more analysis?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks. do you have any side by side comparisons or even just examples of the light you are getting with the new ones. Are the traditional name brands not as good as the ones you are suggesting or just more money? I know Mole and Arri both have LED replacement kits.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks for the details. Yes its been discussed before but just want to hear how well its evolving and i’ve read elsewhere that the different tech has different looks and that some lighting designers tried out LEDs but have switched back expect for non-studio shoots.

About a year ago I watched demos at Mole Richardson and Kino Flo of their LED lamps and they were expensive and definitely good lamps but not the same look as traditional versions.

But I will look into the cost of your suggestions. Hands on is the only way to really get an understanding.

Are you saying above that you still use your HMIs in a studio setting? And other traditional lamps as well but only in a studio set up. Do you still prefer them in a studio?

“…what I use in my studio), HMI’s but retooling the small tungsten kit and Kinos. ” Not quite following what you are doing with what here. Keeping the HMIs and putting in LED replacement lamps and ballasts in the tungsten and Kino kits??

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

I don’t find that LED fresnels have the same look as tungsten. The tungsten ones to my eyes have a hotter circle in the middle and a gradual softening outward. I’s think that the Fresnel lens should create that but the LEDs seem a more consistent intensity. But I’m inexperienced. The only LEDs I have are not fresnels. I have seen them demoed but maybe they were set on flood rather than spot? Regardless I just think they have a different smoother look to my eyes.

I’d love to get rid of all the stingers and the extra effort cord management takes but the price difference is a deal killer anyway. Plus battery maintenance replaces the cord management with its high cost as well. Even with kino flos I think its a different look. LEDs, the high end ones anyway, have a very consistent dial in color temp which can be pretty cool (in both senses). But I really like the warmth of traditional Kino Flos. I know the LEDs can dial warmer but again it seems to have a more consistent overall temp. If a light was a camera it would be like having a very high F stop.

I also like the hard shadows you can get with tungsten Fresnels and Lekos. Do the LED versions of these allow for hard lighting with crisp intense shadows?

I’d love to have a battery powered LED kit for location shoots. Maybe one 650 LED fresnel and one LED Kino Flo with two baby jr stands and maybe four bricks. Any recommendations. Maybe moles for the fresnels and Kino Flo brand? But that would get pretty pricey. But those two lights would be real work horses. Worth the investment but maybe the prices will keep going down as LEDs become industry standard.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.