Join Frank Rohmer for an in-depth discussion in this video Project preset, part of Photography Video Workflow: Final Cut Pro + Canon 5D Mark II.
There are off a lot of popular video formats in our industry today, and how…does Final Cut Pro know which format you want to use? Well, there are really…two ways to do this. When you create a new project, you can from scratch dial…everything in and it's a little bit of a time-consuming task or you can create…a preset that is located in the Easy Setup option.…As a matter of fact, if you navigate up to the word Final Cut Pro in the upper…left-hand corner, Mouse-Click and select Easy Setup, you'll see here if you…Click on anyone of these formats, let's just say NTSC, and you select the Use…button, you'll see that there is an off a lot of popular formats just in the…NTSC and/or if you select HD, there's a lot there too.…
Wouldn't it be nice if there was a Canon 5D Mark II Preset, so that when you…select it, you Click on that and your entire project is properly dialed in to…match the resolution, the frame rate, the codec, well that's what I am going to…do. I am going to teach how to make a preset that will eventually become a…
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.