[Craig Alan]

I’m new to this too. But when I converted my first project, FC asked if I wanted to save the old version. Is it possible you are saving two versions (the new library and the old projects and events folders)?

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Check the playback preferences in FC.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

HDMI port
Use the HDMI port to connect a compatible HDMI display, TV, or projector. Mac Pro supports HDMI 1.4 to enable connections to UltraHD and 4K displays. The HDMI port supports the following resolutions.

1080p resolution at up to 60Hz
3840-by-2160 resolution at 30Hz
4096-by-2160 resolution at 24Hz

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

I believe Rick is talking about mounting a small LED light on the camera itself which run and gunners use just to get a catch in the subject’s eyes. Since it stays with the cam it is always pointed at the subject. Never used one but they do that one trick pretty well.

Understood about keying but I really only meant to get some themed texture to the wall behind you. I agree with your instinct to stay natural. So get a better b.g. than a studio white roll of paper. If you get a leko and a gobo

https://www.bhphotovideo.com/c/search?Ntt=leko&N=0&InitialSearch=yes&sts=ma&Top+Nav-Search=

https://www.bhphotovideo.com/c/search?Ntt=gobo+roscoe&N=0&InitialSearch=yes&sts=ma&Top+Nav-Search=

you can project a grid pattern or a gate pattern or a thousand other choices. Another option is to gets digital projector and project footage behind you which is becoming more common these days as an alternative to keying.

Also were those outside scenes really shot with https://pro.sony.com/bbsc/ssr/cat-broadcastcameras/cat-nxcam/product-NEXFS100UK ???

Unless the footage is horribly compressed I would expect way better quality. Again very effective footage but the images just don’t pop.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

If you blow the shot up, there is catch in both eyes though I agree the key seems a bit high – there is shadow over the subject’s right eye and he center of the hair above the forehead is dark compared to the back of the hair. My guess is it would be more flattering to move the key to the subject’s left side and a bit lower. And at this point even slight adjustments on the angle of the light will adjust the light on the subject.

PS Rick is a pro and can solve a lot of problems before he even begins fine tuning. It is also hard to light a subject if you are the subject. And you’re not creating a still or a painting. So any given freeze frame can be overly analyzed. How about uploading a small clip say 5-10 seconds worth. If your subject is moving even a little the catch can move, the shadow can move, and the audience’s attention can be on the movement and rhythm as much as the tone and color, not to mention the audio which is often more important in a talking head tutorial than the visual. One thing about shooting close to a wall is there is no sense of depth at all. It is a flat image. Except for the modeling you created with your light on the subject’s face.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Big improvement. I would have less background and more subject. Try cropping. The fact that you are close to the background without the right prime lens means your subject does not dominate the b.g. But a tighter shot would help and you might even try shooting at an angle to the wall which would create more space depending on the wall and the space you are in. You could try different lenses with that cam. You could rent what you need for a given shoot. Worth a shot.

You could also key the b.g. and replace it with the metal grid you a see in the other shots. I think that would look cool. A kind of mirror of the t-shirt. But these are all just my opinion. What you see is what you got. I certainly would not want to mess with the guy in the shot. To me getting your message across is the most important of all.

I am not a professional lighting designer as some of the guys here. But like you I have learned some things over time. One thing I really like doing and this might help you going forward – get a broadcast monitor and attach it to your camera. PLay with your image until you are happy with it. Turn the monitor so you can see it while you are adjusting the lights. You’ll be surprised how little adjustments change the look.

https://www.shopfsi.com/BM210-Field-Package-p/bm210.fieldpkg.htm

All FSI monitors are equipped with a DVI-I Input allowing you to monitor both DVI-A and DVI-D signals. Most HDMI signals CAN be viewed on an FSI monitor as the DVI interface can support many HDMI signals. Typical HDMI outputs from computers, DSLRS, and other professional HDMI sources can usually be viewed on an FSI monitor. With respect to compatibility you simply want to keep the following things in mind:
You will need an HDMI to DVI cable or and HDMI to DVI adapter to view HDMI signals on an FSI monitor. This is simply a connection type adapter and not a converter, the video signal will be unaltered from its native format.

FSI monitors are an excellent choice for monitoring DVI and HDMI signals, especially coming from cameras that only have this type of digital output, because FSI is one of the few brands of monitors that provides full Waveform / Vector Scope functionality across all inputs, even DVI.

If you get something really cool while experimenting but there is a portion of the image that gets messed up by it then you learn why the pros have c-stands and flags and diffusion panels and the like. These accessories are not as expensive as new lighting gear and they really help you fine tune your images.

https://www.bhphotovideo.com/c/search?Ntt=matthews+c%3Dstands&N=0&InitialSearch=yes&sts=ma&Top+Nav-Search=
https://www.bhphotovideo.com/c/search?atclk=Brand_Matthews&sts=ma&N=4291344043&Ntt=flags

Open up your shot in the color correction window of FC and play with the mid tones. Get your face to come alive a bit more without overexposing the b.g. Also consider moving to FCP 10.1. The color correction is pretty simple for beginners to fool around with. Keying is easy too.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks. I figure that while applecare lasts you stay with the config you bought aide from maybe a bigger SD HD and more ram. But when applecare expires – by then a trip to the repair shop could bring new life to the then aging Pro. No doubt OWC will have something sooner or later. Too bad all the parts must be specific to this machine. If it doesn’t sell well it would not be worth it to third parties to make product for it. Its a difficult choice. In the past there was a real performance hit to going with a consumer product. Hopefully Apple will offer updated graphic cards as they become more powerful or work with a third party on their development. I wonder if we will ever reach a place where a faster more powerful computer is not a key variable. Personally I would like to see archival quality storage become affordable, massive, and reliable. I’m using an early 2009 mac pro with plenty of ram and quadro 4000. The background tasks could be faster but generally I’m happy with FC. But I’m not editing professionally and my lab at school is yet to be up where I’m overwhelmed with projects – though I expect to be soon. I think my next step will be a SD HD for my system drive. I can always swap out my hard drives on this machine to make room for more media. But my son’s iMac is faster so it is aging.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

[Bret Williams] “Now, if you want separate instances, you have to reference a new parent compound.
“

And if that were your practice are there any performance hits? I ask because it would not be my practice to have it ripple through others. I also remember that having a compound within a compound was a particular problem … has that been fixed as well?

BYW I find your posts really helpful and right to the point. Thanks.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks. But yeah the slowing things down is one of the things I thought was a concern. But if it is solid now I’ll jump in. Great feature.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks Mark. You can have them not ripple through your other uses of the compound. And I was using that link as an example not cause I knew anything about it. I just thought it was a common problem. But I will jump in after installing the new OS and 10.1.

Mac Pro, macbook pro, Imacs (i7); Camcorders: Panasonic AG-HPX170/AG-HPX250P, Canon HV30/40, Sony Z7U, VX2000, PD170; FCP 6 certified; write professionally for a variety of media; teach video production in L.A.