[C. Kauffman]

Sorry, I was unclear in my previous post.

For the sake of experimentation I tried flattening the multicam sequence to see if the TC from A cam is preserved when exported if it is the only angle used and found that it is not.

I went back and applied TC to all A cam clips and that works fine. For the sake of this project I’ll keep the A cam burn-in for reference and generate new seq. timecode to work off of from here on out. Although I like the crop trick as a fallback option.

With regards to best multicam workflow practices, when all cameras and audio are jammed, I’m assuming you would apply TC effect to all clips as a burn-in for reference, synch with timecode and then create your multicam seq?

As an aside, how do you deal with small amounts of TC drift? I read an interesting post on a Sony forum about the importance of keeping a consistently connected genlock cable between all cameras and audio to avoid small amounts of drift even when TC is hard wired for the duration of the shoot.

Thanks for all the insight!

[C. Kauffman]

Thanks for the suggestion.

Strangely enough, when I selected A cam for every cut and then flattened the seq. and applied Transparent Video with TC effect, I got the same random TC that’s unrelated to anything. I guess TC is removed from the individual video files once they become multicam?

Curious to hear how you guys handle multicam with matching TC from all cameras and audio since PP seems to think original TC is unnecessary. Do you go through and manually set the TC for each multicam clip?

[C. Kauffman]

Exactly.

In a perfect world all 3 cameras would have had the same timecode, but since only the A cam and sound mixer were jammed I opted to burn in that timecode on the A cam footage for transcription.

Now that I have a multicam rough cut based off of the client’s paper edit, I need to burn in A cam or the WAV file’s timecode for client approval.

When I applied the Transparent Video and followed Adobe’s instructions for TC I get the same random repeating timecode that’s not based off of any of the video or audio or even the sequence.

Any suggestions?

[C. Kauffman]

Thanks Alex, it’s actually many different takes and my cut uses takes out of order.

Any way to source timecode from one of the video tracks in the multicam sequence or the WAV audio?

[C. Kauffman]

I need to compress an HD Prores 4444 master file to Prores 422 for a festival screening, they also ask for an h.264 as back up.

Which software would you recommend for the best quality compressions? Compressor3.5, Adobe Media Encoder, MPEG Streamclip, guess I could also run it through Davinci Resolve?

I’ve used them all and never noticed a difference although I hear Adobe isn’t as clean.

Thanks

Sony EX1
Canon 5d mark 2
FCP 6.06

[C. Kauffman]

Exactly, sooo much money saved buying endless workarounds.
A lot of my clients want to shoot on the 5D, which is fine, as for my own doc I stick with the EX1 whihc is just a work horse and looks great. people always ask if the footage from it is the 5D and seem annoyed when the answer’s no.
I use the Zoom with the EX to get extra audio tracks when needed. SO far Plural eyes has done well enough synching this stuff although it has trouble with the 5D from time to time because of the crappy on board mic picking up so much ambient.
I suppose I could always shoot the LCD display on the Zoom for “time code reference” a la the good old days of film and a proper smart slate

Sony EX1
Canon 5d mark 2
FCP 6.06

[C. Kauffman]

Thanks Jeremy, yeah I like to keep footage, raw and transcoded, in one master file based on the project, and then duplicate that on at least 2 drives.
Don’t know what CRC stands for but basically it double scans the incoming data from the card to the hardrive and detects/repairs any data corruption. I’ll check out Shotput
Also in shooting in a run and gun doc situation with two cameras, I suppose I could set the TC generator on my EX1 to use time of day and as long as the Canon and EX clocks are (relatively) in synch that would at least provide a rough reference for synching in case PluralEyes is having trouble with a clip.
It would be awesome if there were a way to set the Zoom H4N to use time of day….

Sony EX1
Canon 5d mark 2
FCP 6.06

[C. Kauffman]

Shane and co.
Just started playing around with the E1 plug in, for the last year I’ve just done MPEGStreamclip with my 5D footage. Let me see if I got this right:
On set: Drag and drop the card directory; DCIM and MISC folders, into a new folder on your desktop. This is your archival master. Card can be re-formatted and shot on again.
In FCP, bring the file created on set into E1, Log and Transfer to whatever codec, ie ProRes, add log notes etc TC will be created from date/time stamp in the THM file and match the reel # back to on set file/master file name.
The ProRes or whatever files will live in the Capture Scratch folder, but can be moved into another location, just need to reconnect media in FCP?
That file you initially created on set is your Master.
Bueno?
Also, I have tons of shot footage imported through Bridge CS4 so the THM files came in with the video files. Can I just dump these into DCIM>100EOS5D to use in E1?
Also, anyway to do a data check on incoming files from CF cards similar to the the CRC function in XDCAM software?
Thanks guys

Sony EX1
Canon 5d mark 2
FCP 6.06

[C. Kauffman]

Just started playing around with the E1 plug in, for the last year I’ve just done MPEGStreamclip with my 5D footage. Let me see if I got this right:
On set: Drag and drop the card director DCIM and MISC folders into a new folder on your desktop. This is your archival master. Card can be re-formatted and shot on again.
In FCP, bring the file created on set into E1, Log and Transfer to whatever codec, ie ProRes, add log notes etc TC will be created from date/time stamp in the THM file
The ProRes or whatever files will live in the Capture Scratch folder, but can be moved into another location, just need to reconnect media in FCP?
That file you initially created on set is your Master.
Bueno?
Also, I have tons of shot footage imported through Bridge CS4 so the THM files came in with the video files. Can I just dump these into DCIM>100EOS5D to use in E1?
In my XDCAM software there’s a CRC option when importing the raw footage from the cards to hardrive that double checks the data for corruption. Anyone found a way to emulate this?
Thanks!

Sony EX1
Canon 5d mark 2
FCP 6.06

[C. Kauffman]

I’m using Plural eyes to synch audio recorded from my EX1 with audio recorded with my Zoom H4n. Pluraleyes did a great job of matching the 2 different audio sources, especially since it was doc situation and the Zoom was hidden on the opposite side of the room.
How do I attach the synched up audio from the EX and Zoom in FCP? Merge is greyed out when I select the 4 audio tracks

Sony EX1
Canon 5d mark 2
FCP 6.06