[Craig Alan]

Some random thoughts. I don’t believe there is a right or wrong here. So I feel we should be able to contradict each other or ourselves without the polar opposite being wrong(ed). On the other hand, I don’t feel anyone should rule out an approach if they haven’t given it a shot.

The ironic objective of Non-linear editing is the production of a linear sequence, a time line.

The process does not start when you shoot. The process begins in preproduction and more specifically on the page.
The first editor is the writer. And I think it’s a good idea for the postproduction editor to return to this source before beginning to edit.

What was the subject of the video? What was the message? How are you going to interpret that message?

There are times you need to subtract (or not add) a great moment, a great sound byte, a great beat, a great shot, a great scene simply because it does not get you to point B. A very linear concept. And it always feels good, when I find a home on the time line for such a shot. In other words, creating a new context for it that complements the story. However, it depends on the type of project. Taking things out of their original context may be unethical or simply lack integrity. Are you interpreting or manipulating simply because it sounds or looks good?

If you feel constrained by FCP’s browser’s ability to display detailed notes on a small monitor you might want to command tab to a duplication of those notes/meta data in an app like Excel. Or you could have a custom window set up in FCP where you give the browser the full length of the screen and then toggle back to your regular window set up.

I really like being able to sort my notes by character or location or reference (sound bytes) or time (code). Not necessarily because that is the order they should be edited in, but because it’s the order my mind can recall them in. Powerful means to search helps as well. GET looks amazingly useful. As does CATDV.

In a complex edit, where your mind just has trouble seeing the whole story sequence play out, it might be a good idea to “write” your story using these notes, then go back to FC and let it play out.

There is a film school assignment that I think is a good exercise for learning to story tell. It is simply that you shoot a short form project editing in camera. You need, therefore, to plan your sequence before you shoot a single frame.

Another experience that is worthwhile for everyone involved in the production process is to take a turn being the talent (even if you have none).

Production should be a collaborative effort where the writer, director, and editor are all on the same page.

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz
; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

If you are willing to invest in the Ki Pro mini, why not try it out on the camera you already own? I checked, and it has HDMI out so you should be good to go. You can call AJA and ask them about compatibility and any other questions. They are very helpful and open to end-users. The camcorder is now just a camera. It provides the imaging chips and the optics. The ki pro becomes the (re)corder part. Be sure to order with lots of cards and a card reader for your Mac and whatever mounting plate and accessories you need. I like my Canon HV40s at the $650 price point. I don’t think any “consumer” camera is going to blow yours out of the water. I think if you light correctly, have a good stabilizing device (tripod), and record to a high quality format like ProRes, you’ll be pleased. The Ki Pro also records very good quality audio and acceptable sound is a lot harder to achieve than acceptable visuals. Instead of buying a new cam, you might want to invest in a good mixer and mikes.
This gives you a very good overview:
https://www.macvideo.tv/camera-technology/interviews/index.cfm?articleId=3250800

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz
; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

You will want to edit as Apple ProRes.

There are a number of ways to make the conversion but Toast should do it.

You do use a different media drive than your system drive?

If you want more speed make it a raid. You can get a 2 TB raid for $200-$300.

Almost all of the consumer level cams are AVHD or HDV. Both have their share of issues.

You could try this: https://www.bhphotovideo.com/c/search?Ntt=kipro+mini&N=0&InitialSearch=yes

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz
; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

https://www.kenstone.net/fcp_homepage/hdv_to_sd_dvd.html

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz
; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Hi Shane.

I would convert my HDV footage to Pro Res files by recording to the Ki Pro either component in or HDMI In. Then I would remove the storage module and transfer the Pro Res files to the Mac using firewire 800.

Then I would no longer need the firewire port to connect the camcorder or deck to capture, since I already have Pro Res files. In the DV days I would still want my deck connected to monitor; but now, apparently, that is not a consideration.

Do you see anything amiss with this workflow?

Obviously, it would be better to record directly to the Pro Res, bypassing the HDV compression, but I have one Ki Pro and 20 production teams.

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz
; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks Shane,

Been editing HDV/Prores for over a year now but never had an HD monitor till now. So never dealt with these issues.

I’m going to try the Ki pro workflow, converting the HDV tapes to Pro res files and try my raids on the 800 port, before I decide which box to use for monitoring.

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz
; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks for your time.

“With HDV and XDCAM and AVCHD…those are GOP formats…compression so complex that it cannot be played out via firewire unless you conform it for output”

I thought that was one of the advantages of capturing as prores?

“Yes, you are wrong. a SINGLE FW800 drive can do one stream of ProRes. Get a Raided pair and you can do two streams (two layers)….like a G-RAID or Caldigit VR. I do this all the time…with BUS POWERED FW drives on my laptop.”

I overstated somewhat. I have edited using firewire 800, but find better performance using the esata card. I’m using G-raid two-drive raids and OWC two-drive raids and am pleased with the performance. Faster renders than with 800 firewire. The other advantage I have using the esata is it leaves the firewire port free to connect my camcorder or deck. However I might start using the ki pro to convert the HDV tapes to prores files. So I can have both inputs free on the macbook pro.

“Yes, there is a FW400 plug, but the issue is getting the GOP signal to go down that firewire FROM the computer TO the KiPro. Thus far it cannot go down the firewire to even get to the KiPro…so how they are going to manage that…remains to be seen”

And I assume that is the problem going back out to the sony deck as well?

Thanks so much. This explains it in a way my mind can grasp or at least grasp at. I really do miss the simple DV days. Only one format I could afford and lots of folk using the same. Now it seems no matter what I do or spend there is something better around the corner with a new price tag and a new learning curve.

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz
; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks Andy. I’ll add it to this year’s budget. I was hoping to practice with color durng the xmass break. Oh well. Was going to buy a solution for my home rig but I’d rather put money towards a tower set up.

Why is it that I can get an HD image from the camcorder to a monitor, but the camcorder and/or deck can’t feed an HD monitor when connected to the mac?

My external raids have the option of going firewire 800, but I was under the impression they would not keep up with a prores project. Am I wrong? If so, I could consider the newer I/O units that use the express port.

I’m real happy with airport connection and don’t feel like a mod while my macbook is still under apple care.
Plus I’m already stressing the usb port capacity.

On a side note, I have a Ki Pro and was told by Aja that at some point they will add the ability to output to a monitor when connected to a Mac. Now would be a good time!

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz
; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thought so. Thank you.

And the MXO is the lowest cost box (that works well) for that purpose?

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz
; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP certified; write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

“Yup. DVI out to the box, then SDI to the Panasonic.”

No, I meant without the box. I’m guessing no?

OSX 10.5.8; MacBookPro4,1 Intel Core 2 Duo 2.5 GHz
; Camcorders: Sony Z7U, Canon HV30/40, Sony vx2000/PD170; FCP certified; write professionally for a variety of media; teach video production in L.A.