Looking for two “anti-zoom/pan” filters for FCP….

[Bret Williams]

Nah. That’d be Andy’s grammar. If all caps is yelling on the net, then is all lower case whispering? 🙂

[Kevin Monahan]

[Walter Biscardi] “Welcome to Editing 101. Editing is a tedious job and you spend more time with the tedious stuff that you do with the creative. I spend 3/4 of my time logging and digitizing and 1/4 actually editing and compositing. That’s the nature of the business.”

’nuff said. Welcome to jungle. Who ever said editing was all fun and games?

Kevin Monahan
Take My FCP Master’s Seminar!
fcpworld.com

[Dean Sensui]

[mooblie] “We shoot deliberately like this, to maximise usable footage through minimising time lost when zooming/panning (which never makes the final cut).”

You might want to reconsider the way you’re shooting.

Since you’re doing a two-camera shoot, insist that both cameras are always getting good video. That means avoiding any sudden, unwanted movements or adjustments. This would allow you to make acceptable cuts at any time.

If you still want the freedom to make such drastic movements, then have a central director monitor both to make sure that there’s always one good shot online while the other camera jumps to specific action.

Or, use three cameras. One is fixed on a wide shot while the other two pursue close ups and other isolated action. This way there’s always something to cut to in order to cover up unwanted camera movement.

We use these techniques when shooting our cooking demos. The audio track is essential to the demo and that’s something that needs to remain in place. To keep that intact, we make certain there’s always good video to which we can cut. That means making sure each camera has to operate as though its video is being used “live”.

Dean Sensui — http://www.HawaiiGoesFishing.com

[Gary Hughes]

Sounds to me like you’d be a good candidate to use the multiclip feature now available in FCP5. You can basically edit in real-time while watching through, then go back and trim edits to tweak as needed. I’ve never used it, but I saw it at NAB and it was impressive.

Thanks,
Gary

[Martin Mayer]

[Dean Sensui] “You might want to reconsider the way you’re shooting.

Since you’re doing a two-camera shoot, insist that both cameras are always getting good video. That means avoiding any sudden, unwanted movements or adjustments. This would allow you to make acceptable cuts at any time.

If you still want the freedom to make such drastic movements, then have a central director monitor both to make sure that there’s always one good shot online while the other camera jumps to specific action.

Or, use three cameras. One is fixed on a wide shot while the other two pursue close ups and other isolated action. This way there’s always something to cut to in order to cover up unwanted camera movement.”

Thanks, Dean – some sensible alternatives.

The first we do use occasionally – both cameras shoot as if on a one-camera-shoot.

The second and third have considerable merit, but still need the hoped-for (and obviously not available) zip/crash filter.

Thanks again, Dean, and everyone.