[Craig Alan]

The ‘simple border’ is really simple and would do the trick. I just tried it and there was no learning curve as long as you have used any effect before. It also helps the image pop a bit more. Some color correction might help as well.

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 much prefer keyboard short cuts when I can remember them, which tend to be things I do a lot, get annoyed and learn the sucker. One general trend on the FCP X software design that I find un-mac like is how elements of the program work differently than others. But they do seem to be improving on this at each update. For example, the secondary storyline has become more like the primary over time.

A clip modified or a range selected on the timeline should be able to be copied to the browser (event), not need to be turned into compound clip, which takes on a whole new set of rules.

I do think a simple keyboard command for an overwrite paste is a no brainer. command-v inserts, option v connects, so what is overwrite? All the mod keys with D seem to do other things.

That said you do have to use your mouse to place your playhead or skimmer where you will be putting the overwrite clip. which also gives you a target for the overwrite. set your IO or range> copy> move playhead to your target which also shows you in the viewer the frame where the overwrite begins> option-V >P>a quick flick down with mouse to overwrite.

I’m kinda surprised to hear that you would consider using FCP X’s trackless design. Aside from one missing keyboard command what’s your must have list?

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 think this would work.

Forgive me if this has been covered.

Select range or clip in the timeline.

copy then paste as a connected clip or any where it is convenient.

position tool drag the copied clip where you want to overwrite.

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’ll have to check when I get back to work on Monday. But so far this all matches what I have been using. Does it matter if I set below to slow?

also should I choose universal from the preset list

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 do I change below to a Handbreak “preset” without changes. After opening program I am not changing anything except the slider that determines the speed of the encode.

Do I use the toggle presets button?

Also if the problem is the audio (even though it worked with a portion of the project) what change should I make in the audio tab.

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]

Well I tried a short range of the project and it plays fine before and after handbrake. I tried the entire timeline on a super fast setting in handbrake and it still doesn’t play. The only setting that’s not the default is to transcode “slow”.

If it had some weird audio codec that was not compatible with QT why would the master file play and the short clip of the timeline with the same settings play?

But that said the original file in FC does read in the inspector as “linear pcm.”

What would you suggest I try in handbreak for an audio codec?

I’ve used handbreak to compress other projects that were shot with the same P2 camera with no problems.

Is it possible QT has a size limit for mp-4 files?

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]

3) We also have another camera (CANON EOS DSLR) on the timeline and due to the nature of the project, we were unable to make sure the cameras were on the same settings.

Highlight a clip and choose the video tab in the inspector and you’ll see everything you need about the codec and other settings.

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]

you need to import the footage as pro res 422 which Apple calls
‘optimized’ in FCP X. attach your cam to the mac and open fcp x and import as optimized.

when you’re done editing you can share it as a master file and use the app handbrake (free) to compress it if you need to.

or you could buy a video recorder and connect the hv40 to it via hdmi and capture footage in a much better codec.

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]

Wow. Thanks Erick.
What distance are these from the wall? They are dimable, right?
Does the LED throw as far as the tungsten?
I couldn’t tell from the mole descriptions when they mentioned wattage whether they meant equivalent to tungsten fresnel or actually wattage.
Also since historically LEDs seemed to have less control, I imagine what you are showing was the result of new lens design. So retrofit might be a bad idea? I noticed that Mole has come out with space lights LED, fresnel lights LED etc. These new lights are expensive but no doubt start to pay for themselves in lower electric bills and cooler temps (which in LA is again an energy saver). Plus way more comfortable for talent and safer to handle. Plus halogens are expensive and have lower life spans than LEDs. When you say comparable with a source four, do you mean a Leko/spot? On full flood I expect a softer look from a fresnel. The LED here looks extremely sharp. One of things I like about fresnels is how many looks you can create with it. On the other hand, mole for example brags that you can control color temp regardless of how much or little you dim the LED. And one fixture can go studio or day light temp or anywhere in-between. That’s pretty cool.

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]

When you say as controllable as a tungsten Fresnel – you really don’t get any more spill when you use a flag or the barn doors?

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.