[Craig Alan]

Thanks! Now that I have a term I can google it. Tried images for new 10.3 update and got nothing. I assume this is a new feature?

Imacs (i7); Canon 5D Mark III/70D, Panasonic HPX250P, FCP X 10.3, teach video production in L.A.

[Craig Alan]

That would have made sense but a student needed to finish step one and she had just put her favorites on the time line and I was showing her how to trim when I got the unfamiliar. just trashed it when a search got me nowhere and time was running out.

Imacs (i7); Canon 5D Mark III/70D, Panasonic HPX250P, FCP X 10.3, teach video production in L.A.

[Craig Alan]

Bill,

I have exactly the same feelings about compound clips. I prefer to create independent compound clips so that I don’t accidentally effect other projects or uses within the project. Can’t you create an event in the EB and create a smart collection for compound clips so that they don’t make the EB a cluttered mess? I wish Apple would add the option to create a “nested clip” that functioned just like a compound but not showing in the EB as its own clip.

Imacs (i7); Canon 5D Mark III/70D, Panasonic HPX250P, FCP X 10.3, teach video production in L.A.

[Craig Alan]

Thanks Brian. The 633 was not mentioned in the sound devices video but if I can jam sync each camera to the 633 that should do the trick. When folks talk about drifting within 24 hours is that continues shooting or just the amount of time since the cameras were synced. I also remember reading at some point that jam syncing from one of the cameras would be better than using the mixer but my guess is the 633 as you say a better choice since they use good components and because its the audio I am trying to keep in sync. Thanks for your help. I’ll forget the tascam and get a short cable 5pin lemon bnc for jam syncing. The length needs to be short or just all that is needed?

Imacs (i7); Canon 5D Mark III/70D, Panasonic HPX250P, FCP X 10.3, teach video production in L.A.

[Craig Alan]

Thanks Brian, i need to get the proposal in yesterday so am under pressure. So what gear do I need to use the 633 to jam sync the cameras? Just interconnects? The two devices need to connected when your jamming and then can be disconnected? The 633 uses a 5 pin Lemo. So just get a 5 pin Lemo to SDI /BNC cable, a BNC barrel with two female BNCs and then a SDI cable to the cameras? and connect the two, one at a time? Then repeat as needed?

I was being told by the vendors that I needed a $1000 device for each piece being synced. Thus more expensive than the above plus needed to mount it to each camera.

Once I get the order I can learn too use it hopefully already owning the gear I need. The 633 does not have Genlock only timecode. Isn’t Genlock a more solid way to keep the cameras in sync with each other due to variations in the devices clocks? Now the 633 does not have this and therefore that might make the use of it meaningless? Or should I in addition genlock the two or three cameras so they remain firing at the same time? Or is it either or not both? I’ve been asking BHphoto, Samy’s, Trew Audio, and sound devices and here. What do I need, what do I need. Don’t even need to figure it out yet just get the order in.

Imacs (i7); Canon 5D Mark III/70D, Panasonic HPX250P, FCP X 10.3, teach video production in L.A.

[Craig Alan]

Well it was Trew Audio and all I wanted to do was sync the audio mixer and the two or three cameras. I asked a lot of people.
I was in a rush cause the application for funding is due and I’m going off the flu and side effects of the flu.

Imacs (i7); Canon 5D Mark III/70D, Panasonic HPX250P, FCP X 10.3, teach video production in L.A.

[Craig Alan]

Thanks Brian and Richard,
I will not be using a switcher, all the cameras would record from different angles. I will be shooting with 2 or 3 camcorders and recording audio using the sound devices 633 mixer/recorder.
I would record scratch audio on the camcorders and the mikes would be used with the mixer/recorder.
In post the media from the camcorders would be edited as a multicam with the audio from the mixer being the audio only track. (though its not called a track in FCP X).

I asked a local pro audio store what they recommended and they came up with this: Tascam CG-2000 – Video Sync/Master Clock Generator.

Would do you think?

Imacs (i7); Canon 5D Mark III/70D, Panasonic HPX250P, FCP X 10.3, teach video production in L.A.

[Craig Alan]

to sure why I didn’t see this before. That was not the behavior before 10.3. If a codec was native to FCP X ir would only rewrap it not transcode it even if you selected optimized. Its logic was its already optimized. Though its hard to tell since the Inspector would always mention the codec that was imported even in cases when it was transcoded. I always found that weird. Regardless, Its taking longer where as most other things are faster in 10.3.x.

Imacs (i7); Canon 5D Mark III/70D, Panasonic HPX250P, FCP X 10.3, teach video production in L.A.

[Craig Alan]

yeah i see that now. wouldn’t mind spending some on faster bandwidth. How fast do I need it? That doesn’t change the fact that at least CrashPlan PRO didn’t feel they could handle that much data – they didn’t ask how fast my internet was. Just said that they provide up to 5TB per user. Though they put me in pro small business class rather than Enterprise which I asked for. They base that on the number of employees. I’m the only one.Though their sign up is online so I could just pretend I’m 200 people and they would not know.
Would I be safe with just the small FC backup file and the original media card copies? I could build a drive with just those for each project and point the backup to that drive or drives. But even card copies will start to get large if I start shooting in 4k.

Imacs (i7); Canon 5D Mark III/70D, Panasonic HPX250P, FCP X 10.3, teach video production in L.A.

[Craig Alan]

Well the first company I contacted basically said they could not handle it. “Overall, I would say CrashPlan works best with archive 5TB or smaller.” Which is a fraction of what I need backed up.

I think I need to rethink this. For starters I think rather than backing up my entire media drive, I need to back up just imported media. And the FC backup file which is real small. Does that make sense? Will it do the trick if a project was lost in whatever way: Just the imported media and the the backup file? It would still be a lot of media but not nearly as big as the entire project folder. I guess I could try to see if a backup file would reproduce the project.

Imacs (i7); Canon 5D Mark III/70D, Panasonic HPX250P, FCP X 10.3, teach video production in L.A.