[Ben Scott]

for large amounts of hd footage on a budget cant agree more HDV is the way to do this project, tapeless cant be backed up and will be more hassle than its worth

also might be an idea to work offlineRT if the plan is to really cut the footage down, plus I wouldnt want to see multicam editing with HDV native footage and Prores or dvcpro might get more expensive storage wise than can be afforded especially if tapeless and therefore needing good redundant storage

learn offlinert workflow and using media manager and all the tricks to not mess up with multicam sounds like best bet

good to know if people have HDV working natively with 4 angles simultaneous multicam, if so capture in that and then finish in prores

make sure you use time of day timecode and then use the multiclip sequence feature, this is designed workflow for what you are trying to do. this should be easy to setup in camera if cameras time of day are in synch to begin with and wouldnt need timecode feed to each camera therefore reduce cost probably.

my bit finished!

[Ben Scott]

it never posted my link

its at https://cowcast.creativecow.net/final_cut_pro/index.html

[Ben Scott]

maybe go have a look at my podcast on link below, 3 or 4 tutorials on how to animate in final cut pro or motion to create a bad TV effect

sometimes an effect is best built up carefully

[Ben Scott]

thought to say prores is made mainly for HD and firewire output you are seeing is SD downconvertion in FCP6

maybe this is useful to help with some of this stuff
https://cowcast.creativecow.net/podcast/final-cut-pro-open-format–213

wasnt aware prores downconverted in same way a HDV must be a recent upgrade cause I remember it only being HDV when fcp6 got first released

[Ben Scott]

what you are saying about lab makes complete sense, its just like each device (profiles) in a scanning process for stills and negative stocks (i am more familiar with this sort of setup)

I have been asked to explain some of this to others and need to know enough to point people in the right direction. I am not currently involved in a specific project myself

from what I am thinking it is difficult to work with any sort of digital intermediate without having a larger bit depth 4.4.4 image would this be correct? also frames based DPX style files are the norm for a lot of onlining?

think what I am trying to find out are many of the HD video formats (HDV, XDCAM EX, DVC PRO HD, RED raw camera files) any good for digital intermediate work, is it simply a case of calibrated monitors and lookup tables throughout production and post or does it get much more complex? if so how. and where is a good place to start researching?

also realise this is a massive subject and so I am trying to see some sort of workflow in final cut pro. I presume it is cinema tools based and offline online based.

[Ben Scott]

did you know about the way for subclipping from the clip markers, rename the markers, maybe even put the clip into its own bin, then with markers selected in browser go modify make subclip

if you need to get the markers to come across no easy way, but maybe reveal source file technique and make sure to do it on marker, then add new marker in the clip in the viewer, then if more markers or in/outs needed why not turn on ganging and move through clips in timeline and then back to viewer to mark up. once finished marking all the stuff you need just drag the clip you need back to the browser as a new instance of master clip. maybe this works, not tried

what I suggest to people is if they like capturing all their footage as long clips from tape then use subclip to cut down to the rushes needed. then drop all subclips in any order to timeline and media manage in the way you want, maybe even recapturing footage. make sure to delete all unused media and dont refer to master clips. this should make final cut and other apps in the suite work a lot better in long run and definitely less problems when editing a complex project. you could even capture with some extra handles as well. may just be very long winded but a bit like the logging stage and done before a proper rough cut.

from ben

[Ben Scott]

is it not good to ask to create master clips when copying pasting 2nd sequences across, then all the browser clips come across properly?

[Ben Scott]

basically you should be colour correcting with the colour corrector and looking at the scopes

try get your whites around 90% (blacks always render safe) and try getting colours within the squares for your vectorscope and watch out for saturated white and blacks. also control click to get saturation mode in the waveform scope to see a combination of luma and chroma, useful for final checking of broadcast safe

the broadcast safe is used as a last step and can be put on a nested version of the sequence with the most conservative settings to act like a legaliser

[Ben Scott]

try these keys

{ (is shift [)
trim back 5 or more frames

[
trim back 1 frame

} (is shift ])
trim forward 5 or more frames

]
trim forward 1 frames

u
changes from ripple to roll

v
selects the closest edit point (uses track auto select try selecting with option key for just that track)

arrow left
move playhead back 1 frame

shift arrow left
move playhead back 10 frames

arrow right
move playhead forward 1 frame

shift arrow right
move playhead forward 10 frames

\
play around edit

this is the way to use the trim edit functions without using the trim edit window

check this https://www.kenstone.net/fcp_homepage/basic_keys_to_speed.html

[Ben Scott]

there is a new feature called apply normalisation gain, this is misleading as it just raises peaks on clips to the same levels, nothing to do with equalising the clips properly

you could use this but remember if you send to soundtrack pro it wont come across as it is a filter and not a proper levels command

any proper sound work is best done in soundtrack pro, try sending out your keyframed levels audio from final cut pro and then use a limiter or compressor to match the dynamic range.

i find final cut pro very very limiting when it comes to sound mixing

lynda.com has some great tutorials on soundtrack pro and its filters as well by larry jordan