Join Frank Rohmer for an in-depth discussion in this video Project setup, part of Photography Video Workflow: Final Cut Pro + Canon 5D Mark II.
Okay, let's get started with creating and setting up a project, but before we…do that, I want to point out a couple of things. If you look in the upper…right-hand corner of my desktop, I have three drives. I have my system drive, I…have a separate drive and then I have an external FireWire drive.…I want to indicate to you that you do not want to use your system drive to…store audio and video files, especially, high-definition files that came from…your Canon 5D Mark II. Why? Because this system drive is busy running the…computer and it's also going to be running Final Cut Pro.…
I strongly suggest that you invest in an external FireWire drive. So then when…you store all of your media on here, the system drive can focus on running the…computer and Final Cut Pro.…So with that said, I would like you to Double-Click on a separate drive other…than your system drive and it's usually always the drive in the upper…right-hand corner that is your system drive. So Double-Click on that separate…drive. I am going to do that now, I am going to open it and then I am going to…
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.