[Michael Angelo]

Really feel like it has something to do with the fact that the keywords for the multicam clips in question have different durations…

Hopefully I’m just missing something basic as I am working with 2 years of footage and once I’m done with building the basic multicam clips, there will be lots of keywording with different durations.

Appreciate the input from all of you and in particular anyone that has feature experience with multicam clips.

MA

“A life without cause is a life without effect.” -Dildano

[Michael Angelo]

Hi Bret thanks for response,

I have the multicam clip “NY130606_MULTI_04_ACCC copy” selected in the picture I attached to thread. The multicam clip has two keywords as can be seen in the event window and when I choose either of the keyword collections:

NY130606_EDIT_SELECTS
NY130606_MULTI_SRC_04

The keyword editor is only showing the one keyword:

NY130606_MULTI_SRC_04

And I’m trying to delete the other keyword:

NY130606_EDIT_SELECTS

From what I understand the only way I can delete a keyword is in the keyword editor. I find this a bit maddening as I can select it in the event window.

Does that make sense or am I taking crazy pills?

merci

MA

“A life without cause is a life without effect.” -Dildano

[Michael Angelo]

That what I figured after much head bangin…

thanks for taking the time to reach back

cheers

MA

“A life without cause is a life without effect.” -Dildano

[Michael Angelo]

Thanks James, been adding plenty of clips manually per “Final Thoughts” in the article you shared.

In this case I need to combine multicam clips each with multiple angles which I could do easily if you could cut and paste multiple angles at once. Been working around this when combining multicam clips with only two angles using this method tho not ideal:

I simply combined two angles from the source multicam clip into one angle then copy pasted them to the other other multicam clip on a single angle then expanded manually.

Now I’ve got an instance with 3 or more angles that are synced using auto sync in a multicam clip and trying to move to the larger master multicam clip. I could combine into two single angles ie angle A would be from angle 1 and 3 angle B from angle 2 and 3 then copy paste angle A and B over to master multicam and manually expand. Seems like a lot of work compared to what I am used to simply selecting a range of layers and clips and copy pasting. Must be a limitation of the multicam clip world.

I will continue to chew on this one.

Love the article, thank you and thanks for the responses!

MA

“A life without cause is a life without effect.” -Dildano

[Michael Angelo]

Aha that makes sense…

So to make my quad windows simply edit the same multicam clip 4x to a timeline, make them synced over each other, then simply switch angles in each, then transform, got it thanks…

How about the combining of multicam clips? I’ve got all these wild cameras syncing some with audio, some visually and often need to add new sets of synced clips to a larger multicam clip I’m building.

I’m sure you are very busy so no rush, many thanks for the pic!!

MA

“A life without cause is a life without effect.” -Dildano

[Michael Angelo]

Hey James,

Thanks for reaching back.

Trying to figure away to “stack” the clips all onto one angle not having any success. Do you mean make a compound clip with in multicam clip in fcpx? Essentially you are saying I can have multiple layers on one angle with in multicam in fcpx? If so that would do the trick just haven’t been able to get it to work. Connect to Primary Storyline is greyed out in Multicam Clip… hmmm…

Please excuse my ignorance, I’ve never used multicam before in fcp 7 and just started using it in fcpx. Always just selected a range of clips and layers from normal timeline in fcp 7 then simply copy and pasted.

Appreciate your patience and help.

MA

“A life without cause is a life without effect.” -Dildano

[Michael Angelo]

Thanks so much…

Will do some testing regarding proxy

maybe have to quit after deleting before it dumps proxies…

Cheers

MA

“A life without cause is a life without effect.” -Dildano

[Michael Angelo]

Hey Michael Garber,

Aha ReMaster, now I see that’s what you need to use to export ProRes out of Cineform, thanks for catching that!

Meanwhile exported using Remaster with both Filter to 420 to 422 on and off, either way the first frame of clip was thrown away and the transcode looks pretty awful, very strange, I’m still demo-ing the software but still…

Hard to evaluate how much GoPro footage we have, guessing under a Terabyte of original raw footage tho may grow to a Terabyte in the end.

So far 5DtoRGB seems to be the big winner regarding quality of transcode…

Thanks for the shout

MA

“A life without cause is a life without effect.” -Dildano

[Michael Angelo]

Thanks for feedback William and Oliver.

William I am not familiar with Episode, will explore that one…

Oliver I agree, LT is prolly not good enough for projection. I totally get the “quicktime under the hood”, it’s what you would expect and hope but difference matting and close inspection seems to reveal a variety of variations, ah computers. I reposted uncompressed TIFs from the original frame grabs given your comment about evaluating JPEGs in case it’s a useful for discussion. They are larger files but a relatively fast download, make sure to download by right clicking to get full rez TIF and not JPEGs:

https://www.dropbox.com/sh/qr6qkswuy4ix6ks/Jcu-fwanpO

Oliver I do agree color correction can deal with much of the variance from the original when it comes to phase but I’d expect some loss in the details of the blacks given the change in gamma as it seems to crush the blacks a bit in a lot of the transcodes.

What was really interesting was testing Cineform and 5DtoRGB this weekend, here are some results so far:

1) Using Cineform Studio Premium app to convert GoPro MP4, 5D mark iii plus Canon 7D to quicktimes with the cineform codec look almost exactly like the originals. I was unable to use Cinefrom to create ProRes. Cineform website says that with “Apple Pro Tools” installed it can export ProRes, spent hours trying figure that one out hit a wall, going to contact them directly.

3) Meanwhile onto 5DtoRGB. In my opinion the transcodes using 5DtoRGB over all look superior. FCPX is a close second as both apps seem to have drawbacks in how they reproduce color but surprisingly looks like there is some type of chroma edge artifact that FCPX and FCP7 E01 plugin introduces. I’ve uploaded a difference matte between FCPX and 5dtoRGB transcode along with the other reference images pinpointing the issue:

GOPR0073fcpx422_vs_5D2RGB422_diffmatte.tif

4) Upon deeper inspection I found this chroma edge artifact in all of my FCPX and Canon E01 FCP7 transcodes for my 5D and 7D footage, ay carumba! It’s interesting to note that 5DtoRGB website seems to boast a superior transcode in the RED channel (seems to be true) but the GREEN and BLUE channels in the FCPX and Canon E01 FCP7 transcodes look a little better. In the end I still like the 5DtoRGB one better especially with the chroma edging artifact. introduced by FCPX and FCP7 E01 plugin.

Good times to be sure. Gonna trudge ahead using 5DtoRGB for GoPro transcodes and editing with proxies for now, I can always replace the ProRes later after continuing research. I’m also considering re-transcoding all my 5D and 7D ProRes with 5DtoRGB to ProRes at a later date.

Appreciate everyone taking a peak and taking the time to offer feedback.

Cheers

MA

“A life without cause is a life without effect.” -Dildano

[Michael Angelo]

Hey Oliver

Did you compare these transcode test images

https://www.dropbox.com/sh/qr6qkswuy4ix6ks/Jcu-fwanpO

“A life without cause is a life without effect.” -Dildano