Join Frank Rohmer for an in-depth discussion in this video Creating basic titles, part of Photography Video Workflow: Final Cut Pro + Canon 5D Mark II.
Click right there the play head snaps to the end and this is critical that you…leave the play head parked over the visual item that you want the title to be…placed on to because I am going to show you two ways to get that title down to…the sequence, and the other item that you need to make sure is this v1 Source…button is linked to the v1 Destination layer which is this layer here. So you…need to make sure that those items are there.…Okay, so now for the good stuff, navigate over to the Viewer which is this…window here, go to the bottom right hand side you will notice the letter A…button, Mouse-Click and select Text at the bottom, then scroll over to the…right and go down to the second Text option and let that go. And the word…Sample Text or the words Sample Text will appear in the Viewer. Now the rest is…pretty straightforward, Mouse-Click and drag over to the Super Impose option…over here in the Canvas Overlay menu option and then let it go.…
Now, when you do that, boom! Final Cut Pro places this title perfectly over…
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.