-
Organizing Footage for Clients
Say you shot a bunch of different scenes, 3 camera shoot, multiple takes. Actors mic’d and their audio routed to different cameras and possibly an additional source. The cameras are all running on independent timecode. Before getting into editing, how would you provide the clients the video to review and how would you organize your footage in FCP to make for the most time efficient editing process, keeping in mind that they may want to change angles on the spot to view different versions of the same scene.
-
5 Replies
-
Jason,
If the client understands the multicamera approach, and that could be a big IF, give them a dub with time code that also has a lable on the footage, camera A, B, C.
If they don’t get it, then I would tell them that a rough cut was the next logical step, and if the found anything wrong with that, then you could spin through the reels for options.
-
[JasonGarfield] “Before getting into editing, how would you provide the clients the video to review and how would you organize your footage in FCP to make for the most time efficient editing process”
Sitcoms or other multicam shoots often create a “line cut” or a switched cut on set that is recorded in a quad split (or six way split). This way you can see all cameras AND the the choice made on set. If that isn’t an option for you, you can still do this after the fact. Using the multicam feature of FCP 5 and above, you can sync everything by “in point” even if the code doesn’t match. You can then create a quad split four way picture in picture, and out put this onto a tape or DVD for your client. It sounds like a lot of work, but you’d be doing most of this anyway before you start editing.
The alternative is just dub off all the angles an hand ’em a pile of tape. Are you getting paid by the hour? I hope so… sounds like you’re in for a long one.
Good luck.
Mark
-
If you can’t genlock the cameras or shoot a t/c slate one trick is to have someone flash off a photographer’s still camera flash preferably in the background where all cameras can see what it illuminates or if you are shooting 360′ you could flash it on the floor or ceiling so as not to blind the talent. You may want to allow a bit more time between “roll camera” and “action” so people’s eyes adjust. Do this just as “you roll camera” before each take. The flash duration is usually about 1000th/sec and will washout one field or frame with bright light. It is far easier to sync these bright frames.
-
Thanks. Already did it. It was a long one. Yes, paid by the hour, and yes handed them a bunch of copies on DVD with timecode. As I was posting this question the quad split came to mind. Haven’t quite figured out how to get the multi angle feature to work yet in FCP, but I will definitely use that option next time. Thanks again.
Jason
-
Good idea, thanks!
Reply to this Discussion! Login or Sign Up