[Billy Morocco]

Jeremiah,

As I am new to the camera, and haven’t watched videos in years, I’ll take you up on your offer. Around 3:50 there are some slo-mo / speed adjusted shots. Are these also completely in-camera? – the result of takes with higher shutter speeds?

Thanks for the detail on the in-camera work. After a couple more viewings I start to see how the multiple takes interact. I start to feel better about how I’ll be able to plot out this video.

One thing I start to realize, when thinking about shooting a “live” video (I mean just the band, and not a narrative with the song as background): I think it is important to restrict yourself to a few effects. I like how you used blurs, and image adjustments during the instrumental bridge. It sort-of kept the parts of the song more distinct.
I’m making a note of that. Thankfully, I will be working on a sort-of country song, so I won’t have that pace to keep up with.

thanks a lot, again.

BM

[Billy Morocco]

Jeremy,

Thanks for following up. That job didn’t pan out, so it was one night of cramming on AVC, and I consider it well worth it.
I am going to work on editing some RED footage this weekend, so I’m glad to be able to use offlining in a sentence and feel more confident about it.
Perhaps this is a more common problem to those on this forum: On three (low-end) shoots, now, I’ve been the only person interested in what happens once you remove the battery from the camera.

Anyway, I’m indebted to this forum.

To clarify my last question: I was concerned that FCP would not “find” the CONTENTS folder unless I had properly made an EASY SETUP. The RED _ FCP Whitepaper, for example, suggests making a RED Easy Setup ahead of time. So I was asking what Easy Set-up I would use if I know I am going to import a not-directly-native-supported codec.

thanks again,

Bill

[Billy Morocco]

Jeremiah,

Very nice. I like the way you integrated fast cutting and more expansive, detailed shots. I wonder if I could ask a question, since I have just been asked to work on a video for a friend’s group.
For the fast moving shots; I especially mean the fast, short zooms in and out… Is any of this frenetic movement done in camera? If I were to have to recreate your moves, I’d do them in FCP. But I’m wondering if maybe there are some standard camera moves that go with such production.

Thanks. And thanks especially for the description of the set.

Bill M

[Billy Morocco]

Jeremy,

Thanks for this, and for your article, which saved a lot of prelim. questions. I’m guessing they’ll want the Raw MXF files, as I think this is B-roll, or pick-ups for a larger project.

I am completely new to the ProRes workflows. but I have some RED footage, and a couple AVC-Intra files that I intend to practice with this weekend.

It is possible to edit ProRes on a fast enough laptop, but if you want to transcode, I’d suggest doing it on a MacPro.

This confuses me a bit. You mean that the Transcoding would be faster on a MacPro. But once it is transcoded, – doesn’t the Pro Res allow for editing on a laptop? I don’t think I will be editing. This is just to clarify. Embarrassing query: Is this an example of offlining, or is it simply transcoding?

Also, what Easy Set-up would I use? I have the codec, and can watch the footage, MOS, in Quicktime, but the sample AVC INtra files are not showing in L&T (Wait, they’re there. Just took a while). But I left my Easy Set-up FORMAT to “ALL FORMATS”.

Well, thanks again. I am trying to get my head around this process. I can’t wait to be as helpful as you all to someone newer than myself.

Bill

[Billy Morocco]

Noah,

Yeah, I left that out. The majority of the footage plays perfectly in the Sequence I set-up with 720p30.

That is what we eventually set both cameras to. The problem is I am guessing on what the “incorrect” camera was set as. Didn’t think to write this down at the time.

I don’t want to give a description that is impossible, but I believe that the Camera we had to change was set as Film Cam and 24-frame rate.

The bottom line is: I realized the mistake, and like to think I would check that before shooting anything, myself. I don’t have my camera nearby, right now.

[…EDITED POST….]: I just did some more searching with “default” as the key word. And I think I have the explanation: Both cameras were set up in Recording format at 720p30. But the “bad” on was ALSO set to 24 frames in SCene File (and, I believe set to Film Cam).

This explains both the MOS shots and the sped up action.

Can I rectify this by fitting these clips to a separate timeline? This doesn’t seem to work, because in FCP ALL the clips read as 29.97. So maybe I have to re-import from MXF files?

Thanks in advance.

[Billy Morocco]

Just thought I should show I’m doing some due diligence.

Regarding the delay before seeing any files in Log & Transfer: I DID have FX Factory installed when I first touched P2 footage. But I got rid of it.

I can no longer find any remnants of it on my system.

Again, beside that delay, the files work fine in FCP; I can capture into bins with no problem.

Bill

[Billy Morocco]

This is my lucky (or is it unlucky? day).

I just worked on a P2 shoot that as not my own (meaning a little more pressure). And I just responded to the top post in the forum regarding the import application.

Your post brings me to the question I was just settling in to search about.

It seems that, when I am on location, and I load a card onto EXT. HD. When I go into FCP to show the director the shots – the Log & Transfer pulls up the clips very fast.

Now, hours later, I start up FCP at home to confirm my transfer to other drives. And IT SEEMED I was unable to see ANY clips in Log & Transfer.

I say SEEMED, because it also seems that they just take longer (5-10 minutes) to load.

I already faced a few problems on this shoot (two cameras, and one was shooting 24, the other 30!). And I had to change out my RAM.

But I cannot figure out why Log & Transfer seems almost immediate once; then takes so long, later on.

I am wondering if having a card plugged in (via Duel Adapter) somehow “helps” FCP?

I know this sounds ridiculous. But I am searching here for what could be wrong. I keep wavering between thinking everything is fine (when the clips show up), and thinking I’ve erased valuable footage (when nothing seems to show up in L&T).

looking for answers, trying to be helpful along the way.

Bill M

[Billy Morocco]

Jim,

I’m rather new to this forum (just catching up on HD), but I just spent two days as a “loader” on a shoot. I don’t know what system you are using, but I went in with P2CMS, I am Definitely walking away with P2ShotPut Pro, and not looking back.

It is so much more intuitive than what P2CMS is doing. And yes, I have been able to copy to other redundant drives via Finder so far with no problems.

One word of advice: I initially had Kernel Panics with both programs. This often means RAM problem. And though the 4GB I have installed has worked well in other touchy RAM situations… This time it was the issue. I dropped down to the “basic” 2 GB. and everything is fine.

I still have a lot of questions. But thought I’d give my 2 cents on the import question.

Best,

Bill

[Billy Morocco]

Thanks again, Christopher.
You are correct. My poring over these forums over the weekend was due to my not having access to the manual. But I opened the other Firestore today, and got the manual. I am still indebted to you all for your help.

Best,

Billy M

[Billy Morocco]

Noah,
Thanks for the post. I had a chance to do some test shots today (boss didn’t give me the HVX battery, so needed daylight). And I think that that 720pN will be where I’ll stay for a while.

i also got a chance to read all through last year on this thread. Helpful, but my head still starts swimming with all the different formats. My nervousness might be due to the fact that I’ve always known more about this stuff than those around me (thanks to many a support forum). And now, in the HD, world, I’m playing catch-up.

Perhaps this is the best framing of where my worries are (please don’t feel obligated to respond. Now that I have a starting point, I can start working in FCP more):

With my prosumer SD. I could do this:
1. Shoot footage.
2. Import. Edit. Export as QT.
3. Compressor for Web/ DVDSP for DVD.
Done.

the term “downconvert” is totally new. As are terms like “remove pulldown.” But I guess I wouldn’t need to do these things as long as all my footage is the same. I’d like to see the simplest version of steps for HD work. It doesn’t seem like I have to do anything special just going from 720p24n into FCP.

You know, I almost wish that I was still on FCP 5 (maybe), because then it would be much more obvious when one is mixing frame-rates and resolutions. All the formats I shot today went together with relative ease. All I could really distinguish is the “stickiness” of NON-Native 24 (which I think is due to a pull-down issue).

But again, I’m not on anyone’s clock. So thanks for your response, and for making me feel welcomed. I’m sure I’ll be able to frame better questions once I am knee deep in FCP or DVDSP.

Best,

Bill