Craig Alan
Forum Replies Created
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I ran some tests using both AJA and Black Magic software. All my media is on a 4TB internal raid on a Mac Pro. I have projects stored In Sparse Images. The results were that the sparse image read/write speeds were very close to the parent raid speeds. Sometimes faster. What would be considered good read/write speeds on a software raided media drive? Or more importantly good speeds for editing in FCP X?
And related but a different problem –
I need a way for students in a FCP X lab to NOT have access to each other’s media and projects. The only way I have come up with so far is storing the projects in sparse images and setting up a student user account with simple finder in OS X. In simple finder, sparse images are grayed out when you do an import search in FC. And completely invisible in the finder. I’m hoping there are no gotchas. This would be whole lot easier than setting up tons of user accounts and setting up permissions for every external folder.
If I mount a sparse image using the admin account then the sparse image shows up in FC. They could store all their files in that sparse image and then log out at the end of their session. Then I unmount the image and load the next one.
This will also make help transfer user projects to a different computer or to the trash or to a back-up. The media will be stored on an external raid. I have not tested this on external storage. The media drive I’m using is a software raided drives in a Mac Pro.
My first plan was to use password protected sparse images but copying media to an encrypted image takes way too long.
Do you see any problems with this plan and would it work equally well with a server?
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.
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Ninja – make sure it works with the editor of your choice. Audio and Video. And if so you should be able to record directly to it as well as using it as a transcoder. When you do transcode make sure all meta data on the tape is toggled off. Since you are recording a feed out (not internally) what you see is what you get. So for example the time and date could be recorded on the recording. And take notes cause you will loose the meta data. What you will gain is the footage in an editing codec. Prores 422 is good for FCP X/FCP 7
You might want to look into CAT DV if you will be archiving tons of footage.
Yes I teach HS in LA. We have a very nice studio that is professional but not well budgeted which can be difficult. I am currently setting up a a post lab. So I need to be a jack of all trades. We shoot all sorts of stuff from short form narratives, to documentaries, to abstract artistic, interviews, events, music vids, instructionals, talk shows, PSAs, commercials, etc. I was a professional writer in the industry for many years. I have also produced/directed theater and television and have done some acting.
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.
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Here’s another link but I couldn’t find many
https://www.dannyboyservices.com/special.html
On one set many years ago a guy used that name for it as he assembled it. I thought it was just him making fun of all the grip speak. Then I read it again in the lighting book and figured it was just the name grips used for a modified C-47. There doesn’t seem to be any consensus on where c-47 came from.
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.
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https://www.ebay.com/itm/261242632588
Thanks for link. Yeah its hollow. But I’m thinking maybe drill a hole and add a thumb screw might do it too.
[Todd Terry] “Ummm… C-47s?”
Yeah but reversed and spring held on with gaffer tape so you get a longer/tighter grip.
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.
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Yeah I agree. Just saying if I want the best sound possible I go with the Hypercardioid. If I have a smaller crew or a talent doing a live show/presentation I’ll use the cordless kits.
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.
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Thanks Todd,
Very clear pics.
The Matthews sewn corners gives me the idea how they mount. So I’ll try it with tape and maybe add a little glue.
Not a fan of the pop up ones. They always seem to catch some wind and want to fly away outdoors. But yeah they take up little space. I have these other ones with aluminum grips on two sides so you can hand hold them really well. Or mount them. I like the design except once the reflectors are on the frames its really hard to get them off. A real wrestling match. Also its white or silver and I though it was just me until you said the foamcore gives a nicer reflection. The shiney cloths just seem to have hot and cold spots and its hard to get a nice even soft fill.
I have one kit frame that came with these flags and green screen with velcro hems. Works good once its assembled with the cloth in place. But the frame doesn’t stay assembled by itself which is weird. The velcro around all four sides of the cloth holds it all together. So as a result its hard to assemble without getting your cloth dirty. I can gaffer tape the assembly together but its kind of not thought out real well. Or maybe I’m an idiot and there is a way to hold it without the pieces slipping apart just as one side gets velcro-ed. I can probably get a latch of some kind and use machine screws to attached them Or glue down some velcro on the other side.
Would the fairly thin empty metal frames that have the pins attached allow you to mount the vinyl with some B-52s?
Like what you did with the extra drilled holes in the speed ring. I think I’d be nervous doing that in front of our 1k fresnels. They get really hot.
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.
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how do you attach elastic to vinyl? Gaffer tape? Will this hold when stretched tight over the frame? I used to have a grommet kit – wonder if that would 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.
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I stand corrected you can organize in the finder. Good link here:
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.
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[Todd Terry] “put elastic loops on the corners”
what do you use for these and how to attach? Got a picture? I have some frames around that I could use and this is way cheaper than the commercial versions and bounces right back sounds great.
I agree on the foamcore for bounce. Got this large sheet of it and cut it to size as needed.
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.
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I follow to a degree. Not sure how moving an event folder to the root is any faster than opening a sparse image. Also you can’t have more than one FC event folder open on the root so what if you need more than one project open? Or is this what you mean – moving the event into the root’s FC event folder?
I am looking for a way that a student can’t open up other student projects or media or any file that is not theirs. Although most of the kids are great, it only takes one hater to destroy many student projects/work. The media will be stored on an external raid and I’ve had spotty luck with user permissions connected to external drives and folders within them. Plus it would be great if I don’t have to create many user accounts. A lot easier to quit FC, unmount the sparse image, mount the next one, than having to log an account off and log another one in, then open FC.
In simple finder, all the sparse images are grayed out. If I load one from my admin user account then it will show up in FCP X. If I don’t, they can’t open it. Seems like a solution. Not sure without experience if there are any gotchas. And maybe there is a better way. But the way you are suggesting would not protect projects and their related files from the wrong hands. In FC all you would have to do is Import media and you can browse the entire external media drive for any file you like except for sparse images which are grayed out. I think by default they belong to the account that created them because to even get one to work in the test student account I had to change permissions to allow access including all enclosed files.
You seem to have a really solid grasp of how FC interacts with the finder. When I organized folders in the finder on a project i was working on with my own computer, I found that I had to re-link everything in FC. This was similar though less complex than the original post. My project file was pointing to the old location. When I instead moved an event to a different drive within FC it worked fine. However I have saved the link to your suggestions to solve this on a finder level. My situation setting up a student lab is a horse of a different color.
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.