[Misha Aranyshev]

[Broggi Khaikin] “Что вы думаете?”

Tough call. I used PluralEyes on music videos where shots are few but several minutes long and you end up with a dozen of angles multiclip. I have no idea how PluralEyes will handle a hundred of two-angle takes. Every feature I cut I sank manually on a clap.

I also needed EDL’s and KeyKode pull/cut lists on them for scanning or negative cut. You don’t need either so timecode doesn’t matter. If you’re comfortable with MPEGStreamclip use it. It has batch transcode (Command-B) and you can tell it to run several threads simultaneously. It will be fast. If you can set up a virtual Qmaster Cluster for Compressor it can be as fast too. Either will be faster than Log and Transfer.

I wouldn’t waste time weeding out delayed rolls and bad takes before editing. Doing it on the timeline is much faster than in L&T. What I’d do is rename every take from MVI-bla-bla-bla to the Scene/Take and spend as much time on it as it takes. It’ll pay back later during edit.

Удачи

[Misha Aranyshev]

Да пока не за что.

It is very common to use parts of different takes of the same shot because the beginning and ending of a take might be good but there might be something wrong in the middle. Don’t shoot yourself in the foot – sync everything. Going back to preparing footage in the middle of editing is distracting. Prepare everything then edit.

Don’t spend too much time watching them one by one. Sync, drop every shot for a particular scene to the timeline and watch everything in context.

Don’t create a separate sequence for each scene. It will slow down FCP and it will slow down you. Create one sequence for takes and another for your edit. Drop every shot for the first scene to the “Takes” sequence, watch and cut to the “Edit” sequence. People won’t watch your film scene by scene. You shouldn’t either.

Don’t try to polish your first scene to perfection. As long as it starts to make sense what’s going on in it go to the next scene. Clear everything from the “Takes” sequence and drop all shots and takes for the second scene there. Cut to the “Edit” sequence.

That will get you to the rough cut of your film much sooner. Watch it and see if the story makes sense. You might realize that the order of scenes should be rearranged or some scenes could be completely deleted. Do it. Don’t try to do fine cut until the story makes sense in a rough cut.

Resist the temptation to save every minor variation of your edit in a separate sequence. Save only the ones you showed to a client or to a focus group of some sort. It will be your reference of what other people like. You need it. Anything you like you’ll be able to recreate because it is what you like. You don’t need any reference for that — it is in your head.

Good luck.

[Misha Aranyshev]

“So, transcode then sync audio to chosen takes”

I don’t get it. Too cheap to hire an editor and too lazy to sync all takes yourself?

[Misha Aranyshev]

Call your assistant and tell him to rename every merged clip according to the slate in the Browser. The names in the cut would change accordingly unless you made them independent.

[Misha Aranyshev]

I prefer I and shift-I because O is inclusive. Use it all the time to roll-trim when I need to trim more than a couple of frames.

[Misha Aranyshev]

Gang Viewer and Canvas, stride down the timeline past the dissolve and the split, then replace.

[Misha Aranyshev]

Bothered me for years. There is no way to see the last frame of outgoing clip when trimming like this. Have you tried JKL trimming?

[Misha Aranyshev]

I have no idea what HDCAM SR 4:4:4 telecine transfer will save you comparing with a proper film scan. Depends on the market.

Go through your source footage and locate the start of each camera roll. There should be a punch hole some frames into the roll. Write down the timecode of the punched frame, write it down. The number of camroll is usually on the slate and often inked on the film itself. Write it down too.

If your footage was captured by scene/take or camroll into FCP go through the clips and change number for REEL to the camroll number. Generate an EDL for each reel. Sent the EDL’s and the punch hole list to the lab for scanning.

If whole tapes were captured break them into camrolls, batch export, reimport, change REEL and reassemble the edit with new set of clips by eye-matching.

[Misha Aranyshev]

That director is full of BS. 1920×1080 frame looks good printed at 6.4″x3.6″. It may look ok at 9.6″x5.4″. Anything bigger will look like crap.

[Misha Aranyshev]

Get similar problem with Russian keyboard layout.