[Craig Alan]

I’m not so sure about 4 takes or shots. I think a lot of it is slight of hand.

You know the trick of pausing a shot, on say a two shot, having one person freeze and the other moves out of frame and then you cont. recording. It looks like the second person disappears.

Particularly with speed ramping it would be impossible to tell. Lots of scenes in which the camera pans across a wall or dollies down a hallway. Not hard to pause, then ready the next set of talent and then continue. The wall is not going to give itself away. Speed it up in post and there you go. There was no plot that required any given scene to have an exact action. Just action. Slow things down and things look more deliberate even when they are not. An outfielder drops a line drive. Slow it down and it looks like they caught the ball and threw it away. Speed things up and people look like super beings. Fight scenes are often sped up for that reason. Plus its easier to choreograph.

It all looked quite seamless and I do think some of that was very good editing.

Look at about 3:24 and tell me if you think that what follows is a jump cut or a speed change. Or both. hard to say.

Personally, if i wasn’t curious as to how it was all done, I’d loose interest after about a minute or so. Like a set up for something that never arrives. But really well done just 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]

I don’t disagree except that I am preparing to repaint the entire floor (3000 square feet) and figured I might as well use a shade of white/gray that lighting designers and colorists would find acceptable. If money was no object I’d get the roscoe primer and TV white but its more than double the cost of my getting the local paint shop to match a color. If the shade we have is fine (and its looks good enough to my eyes) it would save the cost of the primer which would only be needed over areas that are bare.

The more durable floor paints are quite reflective and not really good for the cameras. The matt finish is more prone to dirt and damage and therefore needs to be given a fresh coat. Going forward I’d like to maintain it with touch ups.

So I thought I’d ask.

On a side note,I knew the kino flos were a little on the warm side but the difference in these photos is more than I expected.

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]

Just in case you can’t solve this one technically-

You might consider a compromise of sorts depending on your intent/concept.

You could easily switch to b/w in any POV shot on the protagonist or from the protagonist or any variation of this like CUs of the protagonists or certain scenes etc.

Don’t know if it serves your needs but it would be really simple as opposed to really hard.

You could also dupe each clip, attach dupe as a connected clip to original and then crop/trim the section you want in B/W so that the combo above and below has his portion in B/W and the rest of the shot in color. This is not just him but the portion of the shot with him.

Or you could do this and have him dressed in b/w and just color correct the mid tones (skin tones) so that he appears colorless. That would leave most of the b.g. in color but he would appear b/w. You could have his hair dyed black or gray. You can also help this process with lighting and shooting him for a soft look with heavy contrast in the b.g.

This can be keyframed as well. The hard part will be perfect key framing within FC to follow his movement.

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]

Would love to see a list of custom shortcuts that could be made that would work well in FC and OS X without conflicting with the existing ones. Ones that editors find very useful.

My biggest need is custom layouts but I guess those aren’t available yet.

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]

How big was the drive itself and how much total stuff occupied it?

No drive on your system should be beyond 80% capacity. Less is better.

And when you start digging deeper into FCP X you might consider an external raid. A decent thunderbolt one can be had for $500.

And media drives should when you get around to it be wiped clean on occasion, reformatted even.

If the library itself was corrupted its possible the project file is fine.

If the last project file is corrupted then the latest auto back-up of it should be fine.

Please let me know what you try and results. No doubt I’ll be going through this in the coming year.

I’ve, on occasion, solved things like this on the finder level but it’s always nervous time.

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]

cool. it’s also been a long standing suggestion with pro apps to go to system preferences energy saver and uncheck put drives to sleep when possible.

It does have a down side obviously.

The app nap is similar. In that you are not using system resources when an app is not active. Anyway. Another thing to look for if we run into that kind of problem. When I get to the studio I’ll make sure that is turned off on all the FCP stations since we do export stuff and some of these take a long time.

Thanks for reporting back.

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]

https://www.larryjordan.biz/fcp-x-10-1-2-whats-new-in-media-management/

Once you pick a location to store Library Backups, don’t move the files manually. Library backups store relative path names to all media and cache files. Moving a backup manually can break those links.

another long shot: download “memory clean” app and see if that helps since we are talking about a fairly large project. How much room do you have over the 1TB on the drive that contains the project?

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]

Every time you create a new library you can choose locations for the different file types. But yeah they removed the ability to set your own default location. Even when you want to consolidate to an external location you need to choose that location first in the media location window – a two step process. So although you have a great deal of power now to organize locations within FC, they seem to encourage the library as the default.

However there is logic to this. Do you really want every project’s media stored in the same location? That would create one really big media folder or populate a disorganized drive. Also keep in mind

“Once you pick a location to store Library Backups, don’t move the files manually. Library backups store relative path names to all media and cache files. Moving a backup manually can break those links.” Larry Jordan 7-19-14.

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]

Just did a test. I selected a different library than the one holding the event and timeline, hid the browser, shift-F. The clip and range instantly appeared. It’s a simple project with one long clip in the event that is cut up. But still I have not seen the behavior you describe.

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]

Since you think it got snagged at MOVIE.fcpbundle. Why not copy the library just in case this will mess something up. Then take that file out of the copy. And see if FC will allow the copy library to open. Then you can just try to reimport the missing media.

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.