Mitch Jacobson
Forum Replies Created
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Hi, PJ- I have a set of multicamera clips available as part of the DVD included with my book: Mastering Multicamera Techniques.
https://www.amazon.com/Mastering-MultiCamera-Techniques-Preproduction-Deliverables/dp/0240811763
The book may also be helpful for your curriculum.
The clips include over 20 camera angles in 720p Of Paul McCartney performing “Band on the Run”. There are excersises for grouping shows, combining multiple shows and laying back final mixes. The mixes are also included on the DVD.
There is also another set of clips included that feature Elton John in concert.
All clips are free and clear to use for educational purposes but cannot be shared or posted on line.
Check it out on Amazon and let me know if you have any questions.
I hope this helps!
Mitch Jacobson
Mitch Jacobson
director/editor & author
New York City -
Update: to #5 above: Don’t “lasso / drag/drop” the clips…copy and paste to a bin instead. I have found that lasso-ing has intermitant problems.
Mitch Jacobson
Producer/Editor: Avid & FCP
New York City -
3b sounds like a good option. BTW, wouldn’t your colorist grade the r3d files anyway? So what does it matter what format you cut in? Why not transcode to what ever works for you and reconnect that media to his clips with his metadata?
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Good to know. Thanks, Shane.
Mitch Jacobson
Producer/Editor: Avid & FCP
New York City -
Does anyone know a way to convert ProRes proxy to anything else without having FCP7/FCS3??? QT 10 will read the files and allow FCP6.x to transcode them but, what if you did not have Snow Leopard or FCS3? Then what? Can Avid read ProRes Proxy with new AMA? What about Premiere or Vegas. Ouch!
Mitch Jacobson
Producer/Editor: Avid & FCP
New York City -
Video out – FCP 7.01 Bug???
( https://www.lafcpug.org/phorum/read.php?1,242934,243404)
Load up your Final Cut Studio Install disk,
or if you’ve made a disk image (good idea) access that.Inside that, notice that the “Instal Final Cut Studio” package is actually an Alias,
so right-click on that and “Show Original”You’ll be taken to a folder called “Installer” inside of which is another folder called “Packages”
Inside the Packages folder locate the VideoOutSupport.pkg,
right-click on it, and “Show Package Contents”Inside the Contents folder, locate the Archive.paz.gz file.
Drag it to the desktop, and double click on it to un-zip it.This will create a folder called “Library”
Open it, go to the QuickTime folder inside it,
and there you will find the file “DesktopVideoout.component”Put this file in Macintosh HD > Library >QuickTime,
replacing the similarly named file there.Digital Cinema Desktop Preview should now work.
EOM
Mitch Jacobson
Producer/Editor: Avid & FCP
New York City -
Instead of marking ins and outs, I make a syncmap and add edits where the groups will be. Then I make a ThrashGroup.
Once you have a sync map In Final Cut Pro, with your clips layered vertically, you can add edits where groups are possible and copy and paste the clips right out of the timeline and throw them into a bin for “automatic in-point grouping”.
What’s the time savings behind this? Because the new clips have automarked in-points, you wouldn’t need to insert a common Alt timecode to group to (like Tim’s Bulletproof MultiGroup), nor do you have to go through the steps of matchframing and marking ins and out for each clip.
Making a ThrashGroup:
1. Create a sequence sync map with angles stacked on tracks vertically.
2. If dual-system audio: match to timecode as a base.
3. If timecode doesn’t match up, sync by hand or use sequence liner or PluralEyes. Use markers or an audio cue or what ever…just get everything in sync on your timeline.
4. In timeline, add edits cutting across all the synced tracks to mark the groups. Use arrow keys to quickly jump and Add edits to the beginning and end of each clip where there is a timecode break. You are essentially using add edits to mark all sections that are “group-able”.
5. Pull out all clips between the add edits from sync map by copy and pasting them to the Browser or a bin. This will make new master clips group-able by the first frame as in points. No need to mark anything. (I pre build a quick folder set – one for each set of grouped clips. This where I also save the resulting multiclip.)
6. Make multi-clips from new clips.
7. Drag into track above the original stacked clips. They should be the same length and right in sync.
8. Check for sync and matching timecode. Multiclips are ready to edit.
Now you could make a clean copy of this sequence with only the multiclips in the timeline ready to edit.
Mitch Jacobson
Producer/Editor: Avid & FCP
New York City -
FYI: You can get matching timecode to the FCP capture now mode by converting an LTC TC into RS422 and tricking FCP into thinking it is recording a VCR. Then your switched or iso TC will all match up. Use the Adrienne AEC-uBOX-2.
https://www.adrielec.com/aec-ubox.htm
Mitch Jacobson
Producer/Editor: Avid & FCP
New York City -
There have been reports of a green flash having to do with sync on location.
By any chance did your production team use tri-level sync? If so, was there wired genlock to the cameras or did the cameras use internal sync after jam-syncing? Was there genlock at all?
Sometimes it may be a simple as a bad cable or connection from a lock-it box.
Mitch Jacobson
Producer/Editor: Avid & FCP
New York City -
Thanks! Will do.
Mitch
Mitch Jacobson
Producer/Editor: Avid & FCP
New York City