[Craig Alan]

We do not have our media on central server. Each computer will be connected to its own raid. Each Imac/raid will have multiple users throughout the week. I need each student to only have access to his/her work and no one else’s. I do not want to mange over 200 passwords and accounts. I want to control what media they have access to in an easy flexible way. I’m not saying a properly networked system wouldn’t work better, but I have no experience setting it up.

I did do experiments with the current plan and with 10.7 and FCP X 10.0x I did not find any problems working with the app or any way for the simple finder account to access the unmounted sparse images. It was also a neat container for each project, easy to clone, easy to move, easy to delete.

Again I’m sure a properly networked system would be better. So I am not arguing my way is better. It is just a way I know how to solve the problem of protecting each student’s work.

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 tried password protecting sparse images but it took forever to have the protection apply and file sizes have become too large for that. BUT with a simple finder account students cannot mount an unmounted drive. So as the admin I can control what they have access to. And because of this I only need one other account than mine. A student account with a simple finder.

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 need to have students have no access to other student’s work. This is not an issue of organization.

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]

https://www.bhphotovideo.com/c/search?Ntt=sennheiser+g3&N=0&InitialSearch=yes&sts=ma&Top+Nav-Search=

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 Jon,

My need for the sparse images are these:

I can mount or unmount them keeping the FCP X interface less cluttered. And more importantly, I am preparing to set this up in a program with many students and many projects sharing a limited number of Macs. I’ve learned that in a simple-finder-account the option to mount sparse images is grayed out. Thus as admin, I can mount and unmount a student’s (or project’s) entire virtual drive without other students being able to do the same.

I think, though have not tested enough, that permissions for external drives and folders in general, has gotten less buggy in recent versions of OS X. So it might be possible to do this by setting permissions on individual master folders for each account. However with sparse images I have no need to create multiple accounts and log them in and out. I can have just two accounts: admin and student and manage student access to their work and only their work by mounting and un-mounting sparse images. This does require quitting FCP first. The ‘bundle’ sparse image approach allows this virtual drive to only occupy as much space as it actually uses. I have also run into corrupted accounts in the recent past. If all work is saved to sparse images on the media drive then recreating the student account does not require too much effort.

FWIW, I first heard of the sparse image approach being used by post shops that did not want their clients to see their other client’s work load in FCP X. My understanding is also that if too much media is loaded in FC that is slows things down. I don’t know if this is true or not.

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’ve been using sparse bundles for each new film. Using the finder, I start by copying each card into labeled folders. These folders are in the same sparse bundle that contains the event and project folders for that film. Then I have imported those clips using FC’s import. I’lll check to see if I am now ending up with three copies of the clips. If so I’ll use your method. Like you, when I’m done, I’ll clone this sparse image to another drive and depending on how important will have a back up of the archives. I’ll delete the sparse image on the media drive when I know I’ve finished with the film.

The advantage for me is that the sparse bundle contains all media connected to that particular film – original media and edited media. I can copy and move the entire contents easier. But I see the advantage of having the origin media on a different physical drive. The media drive would be less full. If the media drive goes down, you still have original files.

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]

Just to be clear:

[Jon Cairns] “drag that folder into the event from the Finder.
“

Is this finder folder of camera card folders drag > finder’s folder of the Event or
finder folder of camera card folders drag > the event window in FC?

Also what is your practice to back up original content? I used to save my original tapes labeled with project name, date, A or B cam. Could always reimport using FC legacy’s project file if the media drive died or got corrupted. With cards that get reformatted in the camera what do you do to back up original media?

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]

https://www.bhphotovideo.com/c/product/967366-REG/zoom_h6_handy_audio_recorder.html

https://www.bhphotovideo.com/c/product/513775-REG/Countryman_B3P5FF05B_B3_Omnidirectional_Lavalier_Microphone.html

together comes a bit over$1000. These guys can probably recommend a cheaper lav that works good.

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]

Mixpre-d has a lot more features than mentioned. You can change the output levels to mike level/line level or AES digital. You can use a return cable from the camera’s headphone out and switch between the mixer and camera for monitoring while your headphones are plugged into the mix pre-d with quality headphone amp. It’s LED meters are very good. It has a quality limiter both input and output, much better than the camera. It provides phantom power. It will also interface with a computer for voice overs via usb. It has high pass filters. Each of the two channels can be L-C-R. It can be controlled away from cam by an audio tech as mentioned. It uses double A batteries which last a long time and are easy to load and unload. The build quality is top notch. It has tone out for calibration. Etc. Whole different class of product. You get what you pay for. Do your really want to use the camera’s meters and limiter?

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 Todd,

I have students asking about equipment on the cheap all the time.

What did you use to cut off the top of the bolt and drill the hole in the fixture to accomadate it?

Did you file the end of the bolt so it would’t have a sharp edge?

I assume the strip aluminum was needed to support the cheap metal of the shop light?

I was concerned about buzz because my shop lights in the garage buzz light crazy even though I asked for quiet ballast at the time. But that was many years ago and they are still working.

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.