Join Frank Rohmer for an in-depth discussion in this video Assembling clips, part of Photography Video Workflow: Final Cut Pro + Canon 5D Mark II.
So once you are done photographing and videotaping with your Canon 5D Mark II,…what would be your next step? Well, if it was to edit the high definition…footage, wouldn't you want to bring it in to Final Cut Pro, and begin the…assemble process of putting down the clips here in the sequence to build your…movie? That would be the next step and that's what this lesson is all about.…We need to start you on the proper path that begins that building process. So…here is what I would like you to do. I would like you to create a new Final Cut…Pro project that utilizes the Canon 5D Mark II Preset Technique, that I showed…you in a different lesson, and that will guarantee that Final Cut Pro is…properly setup for those high definition video files that came from your Canon 5D Mark II.…
Now once you have done that, once you have set up your project, I would like…you to Click on the Browser to activate it, and let's import all the stuff we…are going to use. In fact, we are going to not only bring in high definition…
Photography Video Workflow: Final Cut Pro + Canon 5D Mark II was created and produced by Frank Rohmer. We are honored to host his material in the lynda.com library.
- Preparing system hardware for editing HD footage
- Creating a Canon 5D Mark II project preset for HD video
- Transferring and importing Canon HD video files into Final Cut Pro
- Editing with three-point edits, drag and drop, and automated techniques
- Understanding transitions and filters for HD video
- Converting non-drop frame to drop frame for broadcasting
- Finishing a project out to DVD, Windows Media, Flash, or QuickTime
Skill Level Intermediate
Q: In the sequence in the "Auto sequence setup" chapter, the QuickTime video setting is set to H.264, after the instructor prompts us to import the movie into ProRes422 or similar. Therefore, my movie will be 422 and my QuickTime video compressor sequence setting is H.264. Shouldn’t the sequence be set to the same codec as the movie that has been imported?
A: The general rule is that you should edit your footage in the same codec that it was shot in unless you are shooting with a codec like H.264 (Canon, HDSLR cameras). Outside of the HDSLR circle, professional videographers will select a video camera that they believe has the best codec to shoot in. Once that selection has been made they'll typically leave the codec alone while editing.
In the case of Canon HDSLRs, the codec is very challenging to work with, hence the reason for transcoding to ProRes 422. Because H.264 is extremely tough for all editing systems, Canon recommends transcoding their H.264 native codec to ProRes 422. You don't have to do this. Final Cut Pro will edit either way.
Even if the sequence settings are different then the codec used, Final Cut Pro will allow you to go either way. You always have a choice. That's one of many reasons to use Final Cut Pro.