[Larry Watts]

FCPX 10.9.1

I’m wondering if it locking up or disabling the mouse and keyboard because the magic mouse appears to turn off.
I had a problem with my 2008 mac pro where upgrading to mavericks permanently disabled the mouse and keyboard. I had to go back to lion.

It’s puzzling. I read of numerous accounts of mavericks creating problems with keyboards and mouse function.

[Larry Watts]

The LED head has holes for a soft box rods, but I’d never seen them part from a ring kit.
The matthews flag was cheaper and more versatile than a soft box anyway.

The rods and silk Terry shared would work. Where are those for sale?

THX

Larry

[Larry Watts]

I’d like the arm holding the diffusion flag to be below the light.

[Larry Watts]

Eric,
Just got my ninja 2 for the C100. Your video will be a great help!

I couldn’t quite see how you mounted the ninja though.

Ideally, I think I want to mount it over the rear of the audio/handle bracket, but there is only the threaded hole. I can’t find a male threaded stud with tightening wheel on both ends with a ball hinge in the middle to adjust for angle.

What have you found and where?

Thanks

Larry

[Larry Watts]

Thanks Richard!
I love the content of that show!

I have looked on the Rode site and BH and other places trying to get a sense of the size of the end of the rode lav. In the pictures it looks like it might have a windscreen on it.

What size is it?
Is the tip bigger than the COS 11?
Is it round?

Will it be easier to hide than a tram or an Oscar?

I have to hide the mics well AND be careful about wind noise.

Thanks

Larry

[Larry Watts]

When I asked the question I knew that it was “impossible” to answer!

No sword fighting, fight scenes, wrestling etc. I’m trying to avoid scenarios that will make the audio extremely challenging.

What there could be is two actors waking down a street talking. Sitting at an outdoor cafe. Inside a bookstore. In a park. In the bleachers of a school out of session. Not in a big city like New York, but in a smaller town. Avoiding loud ambient situations.

To answer the ambiguous budget you noted is that I’d rather spend money up front and one time rather than have it be a recurring budget item.

I’ll give you an example. I was working for a ministry where they were going to Israel to shoot documentaries. They boomed everything and it sounded good, but limited where they could shoot. It meant a larger crew and the use of a boom mic always drew crowds. It also limited wider shots.

So, I solved some of the problems by buying a nice lectrosonics system with nice mics, a sound devices mixer and field recorder. It freed up the host and things moved faster as well.

The final product will be satellite TV channels (not major networks), DVD, downloadable media and internet delivery.

So your comment that you don’t feel booming versus lavs is a compromise situation is encouraging. (And I know from reading on the cow there are different opinions.)

THanks!

other cautions, anyone?

[Larry Watts]

I don’t want to discourage you, but the cost of speakers are just part of the equation. I speak from experience that I have edited video using very nice near field speakers only to listen to the edit in another room and hear sound that I never noticed in my edit room. (Often a hard walled conference room and TV will reveal high end frequencies more. (Sometimes a camera operator talking to the director)

The reason is that room acoustics also play a significant role. The second variable is the type of speaker the end user is listening with.

Now your situation is unique in that the audio you get is probably quite constant in that it is a sermon so some of what I’m sharing is for others reading this post.

The ideal edit environment in my opinion has flat EQ near field speakers, a set of medium sized speakers for music, television stereo speakers, headphones and finally a small mono speaker. By switching from speaker to speaker it will help you mix better. For instance, a voice with music bed will sound different with those different speakers. So sometimes you will mix to the worst possible scenario, the small mono speaker.

I know this is overkill for your current situation, but may help you with other projects.

Larry

[Larry Watts]

What I should have said is, “Does final Cut pro x contain it’s own music library” – I see none in mine,
and if I don’t want to install soundtrack pro, is there a way to just install the music?
(Since STP doesn’t round trip to FCP X then I want to use another editor.)
Thanks

[Larry Watts]

I had the Native Instruments synth and really liked it at my former employers place. thanks

[Larry Watts]

Thanks everyone!
My work brings me back to AE after quite a few years. I started with AE when it was COSA AE! I’ve always loved it. I’m doing Lynda training on it.

The virtual set has 6 plexiglas monitors on it. The monitors turn on as needed, and when the are on only the QT movie displays slightly inside the curved edge radius. The monitors will be viewed from multiple angles, but as walter said, the set never moves.

In photoshop there is a distort transform and a perspective transform. So far I don’e see an exact counterpart in AE, but with so many in the list, I could have easily missed it.

For now I’m happy with the camera and set both being stationary, but eventually I will be moving the camera, requiring a match move technique.

So for now, in AE:
1. What tool name do I grab to do the same as the photoshop distort tool which allows me to rotate the QT to match the place in 3D space I need to place it?
2. With this new information, which tool (by name) will most efficiently allow me to create a radius (or mask) for the QT Movie?

Thanks again

Larry