Join Frank Rohmer for an in-depth discussion in this video Transitions and filters, part of Photography Video Workflow: Final Cut Pro + Canon 5D Mark II.
So let's talk about adding transitions and filters to our items down here in…the sequence. So at this point the workflow is that you've already placed all…your clips down in the sequence. You've put them in the order that they need to…be in and you've trimmed the in and the out points. We've talked about this in…the previous lessons in this series.…Once you get to this point, then you're ready to add transitions and filters.…There are practical transitions and filters, and there are just basically fun…transitions and filters. If you get a chance to go through all of them, I think…you'll quickly realize which ones are more practical than the fun ones, but…they're all usable and they really spice up your sequence.…
So let's talk about the practical transitions before we move on to the fun…transitions. We'll do the same thing for filters as well. But what I'd like you…to do is right at the very beginning of your sequence you should have a black…clip and your first video clip. We'd like to fade up from black here at the…
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.