[Craig Alan]

Oliver, does resolve handle other elements of Fcp x like compounds or clips created in their own timeline other than the problem with the embedded audio?

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 John, does the manufacture’s slightly different model number change anything?

LG: MFR: 34UM95-P

Frys: Model #34UM95

Have you tried the 4-screen splitter feature?

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]

Is this the one?

https://www.lg.com/us/monitors/lg-34UM95-P-ultrawide-monitor

If not, can you give me a link? I tried google and at Frys.com and came up blank for
’34” LG UHD monitor’.

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]

[Mark Suszko] “Is the floor ever going to be in your shots”

Yes, we get lots of shots with the floor in view. I inherited this design 3 years ago. My first reaction was the same as yours. I’ve learned to enjoy it except it needs maintenance.

There are shoots in which we will place the talent near the CYC wall so that the LED’s that are usually just used to wash the CYC b.g. are reflected onto the floor and talent. It’s an interesting way to light and provides both a mood, a color scheme and backlighting. We also have a source 4 leko with gobos aimed at the floor which allows us to create patterns and the flat white is a good canvas for this. Most of the time I tell students to get far enough away from the CYC so that’s he LED’s spill does not disrupt their lighting.

No question a white floor adds to the light level of the room, but totally controlled by the lights, the room can get completely dark if we turn them off other than the exit signs which on occasion I tape over. It is a flat finish and not particularly reflective. Whether the floor is white or not you can put down rugs or whatever to change the look. I tried to get funding for roscoe studio tiles which would be easier to maintain but after initial approval it turns out we will be building a new studio in two years and they do not want to invest anymore in this one. Thus giving up on this I have started repainting the one I have. I should be able to get some paint for the job if I stay with the same color. If I want a different paint I need a different funding source.

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]

that takes us full circle. do you think the pics of the paint color are close enough?

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]

[Dennis Size] “My rough guess is that the LED’s are daylight balanced, or “close to daylight” “

Thank you Dennis. That would be my guess too which is why I switched to auto white balance rather than studio temp. These LEDs were first used to wash the outside of buildings. I’ll try to find the specs on them. They have been great on the cyc wall. Lots of fun mixing colors and adding gobo patterns and playing with the bounce off the cyc for certain shots. Maybe you need to reset auto again on the 5D when conditions change. I’ll check the manual. And even better get the update Rick mentioned.

We have not had problems with color in our shoots with either camcorders or the Canon 5D.

However, a light meter sounds like a good idea. I found an old one in storage left with some nikon colored filters for a lens size I don’t have that needs a particular battery. Not sure if it works but is real old school and I think high quality, fitted leather case, trigger, wheels for settings. Would not mind getting it up and running. I just think it would prove educational to see what the actual temp is of shots.

No one is chiming in about the paint being a poor color so I’m going to get started repainting tomorrow. I have some left over from when the cyc wall was painted and the school said if I need paint that matches what is there already and is getting old there is budget for that.

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 Rick. I’ll look into the update.

I think something is set wrong in the camera.
We always manually white balance our video cams and the Canon has been set for studio temp and the color has always been fine. I switched it to auto white balance for this post, which the manual actually recommends, since I wasn’t sure if the LED’s white bulbs are studio temp or not. The kino’s do seem a bit warmer than our fresnels but nothing like this. The Canon is capable of adding custom white balance adjustments that maybe got toyed with. (not the same as the manual white balance). I’ll check it out when I get back to the studio. We have not had a color issue with either camera. The LEDs are mostly used only as a wash for the CYC wall including green screen except sometimes we play with using the spill off the CYC on a talent as an effect. With the kinos we either adjust the warm tone in post or sometimes keep it. This is the first I’ve seen on this intense red cast. We never use the white bulbs of the led banks all the way up but just as a way to lighten other colors or a white b.g. I was in a rush and just wanted advice on the paint job.

I look forward to a good way to manually white balance the 5D (particularly outdoors where the light temp is never the same).

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]

The whiter image used the LED banks on the cyc wall exclusively. The warmer image used the Kino Flos exclusively. But maybe the auto white balance was not adjusting.

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’m curious now. I’ll try to download it and see if i have frame by frame control forward and back. If that was done in 4 shots continuous with reflections showing activity during the pans across concrete and so forth I’d be pretty impressed. Again I’d be more impressed if it was a shot that was part of a narrative of some sort. Imagine this as a chase scene or a desperate boy looking for the girl he just fell in love with.

How do you think the camera was mounted? Dolly, crane, steady cam…?

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 Bill,

Yes the 5D is a weird manual adjustment which is why I do not use it often. Taking a picture and then referring to it in correcting the setting.

However, something’s off here. I will check everything when I get back to the studio.

I was tired from cleaning the floor so maybe I missed something. We occasionally use gels in front of the kino flo but usually just use C-47s or B-52s on the outside. I do have a gel frame though. But I really think I would have seen this.

I could try new bulbs and make sure they are studio temp 3200. The LEDs might be almost any temp so I’ll check the documentation. Maybe the cam was not adjusting from the LED whites to the kino flo auto. I often put the 5d on tungsten setting in the studio for white balance. There I see a slight red/pink from the kino Flos which can easily be adjusted in FC. And it can be a very flattering warmth.

All that said, I assume that the only thing important here is the color of the paint vs a Roscoe tile and they look pretty close in both sets of pictures. Plus I learned yesterday, that if I am just touching up paint that is already in the school, the school has a budget for that. Something new or custom would require special budgeting.

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.