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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
Rich: Alright Rob, the footage is in. Let's, get a little bit more organized here. Rob: Mm-hm. Rich: To really see what's going on and what you've done is, we've got the media, we got the song, we've imported just what we need. Rob: Yup. Rich: I want to bring up sort of the metadata view here and assign camera names ahead of time just so we know which angle's which. Rob: Yeah, and this is a way, one of the ways that you can let Final Cut Pro 10 do some of the work for you, and you just use a keyboard shortcut there Cmd+4 to open up the inspector, went over to the info panel, and then changed from your basic view.
Rich: Yep, I see no angles, though. There you go, general view. Rob: General view. And there you can put in things like reel number, scene, take, and all that kind of stuff. Rich: Alright, so this is take two and camera angle one for that one. And why don't we go ahead and call this, Take 2 and Angle 2. Rob: Yep. Rich: And then we'll just number the rest. Take 2, Angle 3. Take 2, Angle 4. Rob: Mm-hm. Rich: And here's my last one, Take 2, Angle 5.
Rob: Alright. Rich: And then we had the audio track. Rob: Yep. Rich: This was the click track, I don't know. Well let's see if we can actually assign that as angle 0. I don't think it matters, but we'll see how it handles it. Rob: Okay. Rich: Alright so now, we just need to select those clips. And I need to basically Cmd+click to make them all active. Rob: Mm-hm. Rich: And I have everything chosen that I need. And under File, New, you can choose to make a new multi-camera clip, or access that with a right click. Rob: Yep, absolutely. Rich: Now, when we choose this, the dot dot dot, or, in technical terms, the ellipse, it means there's some choices.
Of course, those choices are hidden by default. Rob: Right, and so what this is going to come up and say is okay, what do you want to call this new multicam clip? Well, let's just call it Jason Massey music video. Rich: Okay. Rob: And so there we can do things like use the audio for synchronization, which is what we want to do in this case, just like we did in a previous one. Rich: Yeah. Rob: When we used Premiere Pro and the audio synchronization. We're telling it, hey, Final Cut, do this synchronization for me so I don't really have to get into markers and end points and all that kind of stuff. And by default it's figuring out, hey look I've looked at this video and I know that this video is 1080 P at 2398 but we can click, Use Custom Settings there and we can change a whole bunch of things.
We can change the starting timecode of the clip. Rich: Yeah. Rob: We can change the Video Properties, the Audio Properties. But what's really important here is the Angle Assembly, Angle Clip Ordering, and Angle Synchronization. So we went ahead and we put in those, that metadata for the camera angle. Rich: Yeah. Rob: Well, why not take advantage of that? So we can actually say, hey, you know what, when you're assembling these angles, use the camera angle. Rich: Yep. Rob: Now for ordering, we have a couple of choices, Content Created, Automatic. I usually just leave this on Automatic. It usually works fine. And Audio Synchronization, again, Automatic is a, is a good choice here, but you could do things such as the start of the first clip, a marker on an angle, if you had that hard marker point.
Rich: Yeah. Rob: And so on and so forth. Rich: Now, we'll leave the Audio for Synchronization option, because that's ideal in this case. Rob: Mm-hm. Rich: And we can leave everything else pretty much the same, but if you wanted to change the clip, you could assign a different codec. Now the video properties are going to be driven off of the clip. It's looking for what's in common. That's good here, because all the angles were shot the same way. Rob: Mm-hm. Rich: But if we needed to, if we knew that some of these were mixed resolutions, or we wanted to do an up-convert or a down-convert, you can make some changes here. Rob: Yeah, if you had, you know, whatever, five cameras of red, you know, red epic cameras, and you said, oh, five cameras at 5K, that's pretty beefy.
You can switch this down to say 1080p or something similar. Rich: Alright, so everything else seems fine. And then under the Render properties, this is where you can actually assign the codec when it runs out. Now, 422 is fine, but for a lot of folks, if you're working off of a laptop, they might drop down to the light version. Rob: Yeah, pro res LT is, is just fine, visually. It's a little bit more lossy than some of the other pro res codecs, but it's definitely going to save some bandwidth and, you know, to be honest with you, I've worked on plenty of shows for broadcast that use LT just fine with no problems in overall quality. Rich: If you wanted the highest quality version, you can go to the HQ.
I would say that for a music video shot on DSLRs Pro Res 4 by 4 would be like throwing a bazooka at a barn fly. Rob: Yeah, you're not going to get anything better than that. You know 422 or HQ is probably the highest I'd go. Rich: Alright, so that's fine. We'll drop that down just temporarily to the normal 422 version. Rob: Yup. Rich: Read it from top to bottom. Everything seems fine and we click OK. It begins the analysis process. Its very fast and if we scroll down there there's the first clip. Now it put it into a bin called no data. We might want to change that, right? But that's fine.
There's the clip. It has the multi-camera icon on it indicating. Rob: So Rich just go ahead and double click on that multi-camera clip. Rich: Yep. Rob: And as you can see now, we have a sequence that opens up with all of the synchronized angles. And if you scroll up there, you can see that we have each angle and each angle is labeled. And there's our angle 0 with our music at the beginning. Rich: Yep. Rob: And you can see how it lines up with the audio in the visual portions of the clip. Everything's been synchronized. Rich: Yeah, and that works out really well there. We can go, it did put zero, angle zero, for the music, which I actually kind of like.
Rob: Yep. Rich: You put that on top. Rob: Yep. Rich: So I could see the audio track and there's angles one, two, three, four, and five. Rob: And you can see how they're all sort of separate lengths. So, what we're going to do when we come back is go ahead and edit this multi-camera footage.
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