Shane Ross
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I highly suggest that if you have not done this before…that you find a job somewhere that does, to learn how it’s done. A sports production company…become a production assistant, anything…to see how things are done. Now, just because I suggest this, doesn’t mean it’s the only answer, but it will be one of the best ways to figure this out. Having no idea what you are doing, and dropping thousands of dollars on equipment with no guaranteed market out there to buy your end product…that’s a very risky venture, to say the least.
But yes, besides the camera, that will run you a few thousand (unless you get a consumer camcorder)…you’ll need a computer, and then the software to edit, and then a hard drive or few to store all this footage. And multiple cameras with only one person? Means you can’t follow the action on the other cameras. And then you need to know how to link up all those cameras and edit multicamera projects.
It’d be like me trying to open a restaurant because I dabbled in cooking. I have NO IDEA what is needed to bring in customers, how much food to order to have on hand, but not too much as to spoil. Need to hire a wait staff, buy cookware, table ware…TONS of small details. It would be wise for me to get a job in a restaurant first…waiter…sous chef. PREP chef…even dishwasher and work my way up. See how it’s done so I have some idea on what is required.
Trying not to be discouraging, but trying to be realistic. This is fun, and it can be profitable…but know that it will require a lot of financial investment, and there are lots of technical aspects of this type of production that requires experience to deal with.
Camera operation…editing…even drone flying…those are often separate jobs/careers. Specialist. But I know for lower end sports like high school, or local club levels don’t need that always. I’ve cut a highlight reel for a single player from footage shot by the coach and her father over the course of a season of play (football…soccer for us Americans). It was a challenge as the camera was hand held…in the hands of someone not trained to use a camera. So it was tricky.
There are many things that are needed to be learned before you jump in with mulitiple cameras Try one camera and just follow the ball…see if you can make a highlight with that and see if you can drum up interest in having people buy it…see if there is a market to justify the money you will dump into this. You need to make enough to get by, at least.
Shane
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Which version of Compressor? The only one you can SEND TO from FCP 7 is 3.5. Any later version and there is no such link. And what do you mean by FCP files?
Best option is to export from FCP 7 as EXPORT>QUICKTIME MOVIE. Don’t recompress…and not QUICKTIME CONVERSION. Just QT movie. This will export a movie with the same settings as your sequence. That will be your master. Bring that into Compressor then to compress for YouTube
Shane
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Guessing that the RX5 is the iZotope RX5…an audio mixing app? The typical workflow for getting audio to an audio app like that (ProTools, etc) is to send an AAF with either embedded audio, or linked to consolidated audio. Does the RX5 software take that sort of thing?
And then you export your mix, or audio stems, out to match back to picture.
Shane
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If this is for delivery to a TV network, none of those encoders will work. They produce a “hacked” version of the codec that networks reject. Sorry, Apple doesn’t officially license the ProRes encoder for Windows…except on high end software like Scratch.
Nope, for ProRes encoding that passes muster, you need to have a Mac to transcode your output, and software the includes ProRes, like Compressor.
Shane
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MPEG STREAMCLIP isn’t without it’s issues. And making QTs that aren’t interlaced has been on thing it didn’t always do well. So don’t use it…Compressor does a fine job, as do other options.
Shane
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[Luciana Foglio] “1 GH4 – at 4k/50fps”
It doesn’t shoot 4K at 50fps… tops out at 30fps in 4K. It’ll do 23.98, 24, 25, 29.97 at 4K. It’ll do 50fps and 60fps at 1080p.
[Luciana Foglio] “When I import the footage to Premiere, the GH4 footage appears as being 25 fps and Sony PMW-200 also as being 25 fps. “
Yes…that would be because they both shot 25fps. The Sony shooting 50i…the “i” means INTERLACED, and then we are talking IMAGES PER SECOND…interlaced footage has two fields per frame, so 50i means 25fps…interlaced.
Not sure why it looks fast..does it look “smooth,’ like news or sports or soap opera?
Shane
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You can do this inside premiere. Select the clip in the Browser, and right-click on it. Choose MODIFY>INTERPRET FOOTAGE. And then type in “23.98” into the ASSUME THIS FRAME RATE box.
Done
Shane
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Actually, I do this all the time in Avid….using the Animatte. The guy is already blurry…the camera dollys right to left, making his body cross the screen. Layer this shot on top, the incoming shot on the bottom, and mask out the area on the left of the guy in the dolly shot. This does have to be done frame by frame, and you need to create a custom mask to conform to his shape. Animate in Avid allows that, but in Premiere it’s called a MASK…not sure if it allows for drawing a shape around a subject and then accessing those points to move the mask with the shot. I should try to have a go with it sometimes.
I hope this is doable inside PPro, I did this in FCP and Avid a lot.
Shane
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LINK will connect spanned media into one clip. IMPORT will make the separate MXF files as separate MXF files. I think…don’t quote me. Test to see for yourself
Shane
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It’s playing back slow motion…in every player. That means that it was recorded at that frame rate. I know that the early P2 cameras, (I had an HVX170) allowed you to shoot 60p, but RECORD 23.98. So the file was encoded slow motion, in camera. That might be the case here. Not positive, just a guess. But because all the apps that look at that file are playing it slow motion, and not normal speed, it appears to have been recorded at 23.98.
Shane
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