[Dean Sensui]

Media manager can be set to create a copy of your program as well as copy only the parts of the media that is actually used in the project. All of this can be designated to be moved to a specific folder of your choice, thus consolidating all the elements in a single, neat package.

The original media and your original project is left untouched.

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

[Dean Sensui]

Shrink the clips to 50% in the motion tab and arrange them on the timeline so that they’re aligned by their slate marks. If you don’t have slate marks the audio waveform can help get you lined up.

With “view wireframe” turned on, you can position the frames in the canvas so that you can see up to four cameras simultaneously.

You can either cut through all four tracks at once or seperate the audio from the video tracks and — using Control-V — cut just the video tracks. You’ll have to select (highlight) the video tracks to avoid cutting the audio tracks, too.

After doing all the cutting, delete the unwanted camera angles. An easy way to get all the clips back to full size: Select all the clips, and from “remove attributes” delete the motion attributes from all the clips.

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

[Dean Sensui]

Hi Brian…

I selected edits by clicking on a specific camera, rather than using the number keys. Made it easier as it’s a simple matter of pointing directly at the desired camera angle and clicking on cue.

As for using a single audio track, One way is to duplicate the desired audio tracks from one camera, then pasting it over the other camera’s audio tracks prior to creating the multiclip.

The other way is to replace the edited version’s audio with the audio from the desired camera.

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

[Dean Sensui]

You need to judge the output on a video monitor.

Looking at the FCP windows isn’t going to give you an accurate idea of the actual quality, neither in terms of sharpness, density nor color.

To get an accurate assessment of what you have, output via a broadcast monitor. Always.

Hope this helps.

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

[Dean Sensui]

Here’s a basic outline I wrote for one of the the guys who co-produces our show:

— Select clips for each camera angle.
— Find “slate” points and cut the clips there.
— Move clips to a bin.
— Highlight clips.
— Go to Modify dropdown menu and select Make Multiclip
— Select “Sync using in points”.
— Check “on” all clips.

Your multiclip will then be created and can be found in the bin.

Drag this multiclip into a sequence.

— In Viewer: Show Multiclip Overlays; Show Source Angle Effects should both be “on.”
— Go to View dropdown menu — Playhead sync — Open
— Go to View dropdown menu — Multiclip Active Tracks — Video + Audio
— Go to View dropdown menu — External Video — All frames (not sure if this is essential)

When you click on your sequence and hit the space bar, you should see all camera angles in the viewer playing simultaneously and the “program” or selected camera angle should be playing in the canvas as well.

To select a camera, just click on the angle in the viewer.

At the end your multiclip will be cut into their respective camera angles. You can go back and fine tune the cuts, too.

==========

The FCP manual could really use a simple outline like this. I had difficulty getting started as the section on multicam editing is poorly written and disorganized. Hopefully this will help others make sense of it.

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

[Dean Sensui]

[eggpro] “We just did a nationally broadcasted program and there we some spelling errors in it. So thats why I am asking.”

I had to laugh when I saw the title to this post.

Seriously, while a spell checker is handy to go over basic spelling, it really takes a careful read and some thinking to ensure proper usage.

Too often I see “loose” instead of “lose”, or “there” instead of “they’re”. I’ve even seen “it could of” instead of “it could have”.

Poor use of punctuation, failure to break seperate thoughts into paragraphs, and other casual approaches to written communication, have wormed their way into formal or public applications of writing that’s now starting to bite people in the butt.

I know these errors are coming from people for whom English is their native language. Perhaps in the rush to post ideas and information, many aren’t taking the time to check what they’ve written for accuracy and clarity. It’s been said before: E-mail travels faster than the speed of thought.

Regardless of what spell check software you use, always read carefully what you’ve keyed in. Take your time and be careful during the re-read. If it’s a major project (and avoiding embarrassment is important) get a good copy editor to go through all text items.

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

[Dean Sensui]

Do you have any other firewire device plugged into the G5 or daisy chained with the camera?

Is your setup correct? Try using Easy Setup and specify DV-NTSC. FCP will configure itself to use Firewire as the I/O device.

Have you tried a restart with nothing connected to the firewire ports, both front and back?

Dean Sensui — http://www.HawaiiGoesFishing.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

[Dean Sensui]

I’ve had a somewhat similar problem where my XL1s won’t white balance in shady conditions. It’s been that way ever since I bought it and repeated attempts by Canon’s Irvine service center to fix it were unsuccessful.

Also, Canon claims it’s OK when they repair it.

My older XL1 had no problem with this at all.

Another problem: color shifting when the gain setting is changed. Hadn’t had that happen with any other camera. And, again, my older Canon XL1 was OK with this, too.

So while there are certainly some cameras that are chronically problematic (lemons) getting them fixed can be equally problematic.

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

[Dean Sensui]

I’ve been using a Wacom tablet for the last several years and have long since stopped using anything else except a trackball.

The only thing I find troublesome with a tablet is double-clicking on an item in a sequence. If not done carefully the clip may get slightly shifted inadvertently. Sometimes for those tasks I’ll use a trackball.

But overall, for speed, convenience (and having to work with limited desk space), I really prefer the tablet.

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