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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 Harrington: Hi, my name's Rich Harrington. Robbie Carman: And I'm Robbie Carman. Rich Harrington: And this week, we're going to continue to explore the multi camera process by going over to Apple's editing tool, Final Cut Pro X, and synchronize the different angles, and walk you through the basics of multi-camera editing. Robbie Carman: Yeah, and we did this previously in our previous week over in Premiere Pro, and the idea is very similar here. We're using either some sort of sync point, a marker, an endpoint, or something like that. Or, we can have the application auto-synchronize the angles for us, and then the process is very similar of editing and switching between the different angles. Rich Harrington: Alright, so we've gone ahead and done a little bit of pre-work by getting the material organized on the hard drive.
This just makes it easier in Final Cut. You could have of course import more footage than you need, but I find that importing extra stuff in the Final Cut is usually not as desirable as taking the time to really log and transfer. So, I did this earlier in the log and transfer stage. I went through, I browsed, I found just the takes I needed. Robbie Carman: Yep. Rich Harrington: And I brought those in, so we've got all five angles of take 2. Robbie Carman: Mm-hm. Rich Harrington: And we've got the song. Robbie Carman: Yep. Rich Harrington: So I think we're just about ready to go ahead and add these into a sequence. When we come back, we'll start the syncing process.
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