[Jason Brown]

Great…thanks for the info on the workflow.

That’s almost the exact same process I did use, with the exception that I conformed to 29.97 AND transcoded to ProRes in one step in Compressor.

I recorded a 6 minute clip…with audio recorded to the Zoom H4n audio recorder…and I had NO sync issues. I had read that I’d have to slow audio down 99.9%, BUT at the beginning of my clip and at the END of my 6 minute clip…the audio was still in sync.

I don’t know why the sync didn’t drop out like I’ve read, but in my testing…I haven’t experienced audio sync issues with the conversion from 30 to 29.97.

Any thoughts?

[Jason Brown]

Fantastic…great note…I’ll look into it!

Thanks!

[Jason Brown]

No, never have.

Where do I find those lens adapters?

-Jason

[Jason Brown]

Thanks guys for all the input.

It seems that at this point…we are going to go with a 5D and P2 HPX model camera. We’ve decided to scrap the 2 camera option to go with a single 1 camera 5D. The P2 will be for backup shooting the same frame. I like the look with the 5D and I’ve never been able to have the capabilities with the lens options that I’ll have with a 5D and the lenses we’re taking.

The P2 will be our option if you guys are right and this becomes a cluster! I’ll post our results…it’s in a couple weeks.

Thanks again!

-Jason

[Jason Brown]

Thanks Jeremy…

I appreciate that…I’m just looking for thoughts. And I appreciate everyone’s feedback.

I did collapse multicam…but it’s still green. Using ProRes LT media in a ProRes LT sequence compressor…matching frame rate…dimensions, etc.

We’re shooting headshots (5) … maybe 15-30 minutes each…cut all 5 down to a 3-5 minute video. So the number of clips isn’t going to get out of hand for this shoot.

-Jason

[Jason Brown]

Audio we’re bringing – Boom pole (in tripod cases) – Shotgun mic – along with lectro wireless system (lav). Will be in a pelican case along with 2 5D bodies – lenses – batteries – should fit fine in a 1500 series case.

We’ve just run a test – 2x Samson H4n (one for redundancy) records wav at 48khz – 16bit.

Syncs up beautifully with a 5D source h264 flip @ 30 – converted to ProRes LT – 29.97 in compressor.

I think I figured out a solution on match framing 2 cameras – create a multicam clip based on an in point (set at the clapboard) – Then edit off camera one…edit in cam 2 where needed.

I think this is a great solution and its working so far based on my tests.

Thanks for the input…my biggest concern was match framing the cams…but it seems like Multicam is a great solution for that. (only issue – the Multicam clip is green above it in the SEQ which is set to match the settings of the source clip) If I drop the source clip into the timeline by itself…it’s grey and doesn’t need rendered.

-Jason

[Jason Brown]

Not just cheap – SMALL…we’re going to Morroco and I anticipate customs issues bringing cases and cases of camera equipment. Also, I’ve not experienced the capabilities to get the kind of cinematic DOF that I have with still lenses that can open to F1.8-F1.2 … the DOF is really nice for portrait stuff. The expense isn’t that much of a factor…

Thanks for your input though, I’ll let you know how it turns out.

-Jason

[Jason Brown]

Hey Raf,

I understand that…I didn’t mention the transcode to prores because it’s kind of a give…I wouldn’t try to edit the native h264 in the timeline…but I read someone else mention the conversion to prores AND the frame rate conform in the same step through compressor. Is that what everyone else is doing?

-Jason

[Jason Brown]

Shane…I share your concern, but I’ve shot some footage already with this…I love the look, and YES the 5D does have an audio input, albeit a mini plug…but you CAN record audio…(not balanced) but I’m wanting to record LTC in that audio track. Curious if any of you editors have run across this and used it successfully. I intend on doing extensive testing, as this is a rather large shoot…but I feel very comfortable about everything else other than the syncing of time code. There are SEVERAL people that I’ve talked to that are using this camera in conjunction with RED cameras and for very large shoots.

As I’m typing this…I’m wondering if I can make multicam clips like in the avid based on the slate clap…and just cut one main edit…then switch to the other cam like I can in AVID. Maybe that’s a better way to go.

-Jason

[Jason Brown]

To clarify Dave,

I don’t have footage at 720 60p. I’m trying to understand (as people are telling me) that 720p has a FRAME RATE of 59.94. If that is the case, I’m trying to figure out how you would work with it in AE. I’m just trying to wrap my head around it…I don’t have a specific issue.

-Jason