[Stace Carter]

Hi Scott – I’m not quite understanding your problem here, but would reccomend you transcode everything to ProRes (422 or 422LT depending on the quality you require). FCP requires every clip in a Multiclip to be the same format/fps/etc/etc/etc.

ProRes is actually a very efficient format, and the trouble it will save you on the back end (vs working with HDV or H.264) is well worth the upfront investment in time and disk space. Simplify your workflow (and life!) by starting everything on a level playing field.

Cheers,
Stace

Apple Certified Trainer

[Stace Carter]

This is a little complicated – After you do the video edit, you’ll do another “multicam” edit but adjust your Viewer’s playhead sync popup from “Video” to Audio->All, and then switch away without regard to the video. You’ll notice now that when you’re switching angles during playback that the green box (audio) indicates your selected AUDIO source and the Blue box (video) will bounce to the active video angle as you had previously selected in your video edit pass. Having made that change in the Viewer’s playhead sync popup, you are, at this point, only switching the audio.

This does raise the question of whether it’s the best method though – cutting audio like this can be somewhat heavy handed and introduce abrupt level changes and pops; I can’t imagine a scenario where you wouldn’t need to perform additional audio post on the show after making these cuts, so I’d advise you try a short segment in FCP, and compare that workflow with simply bringing all of your audio, along with the finished video edit, in to STP and see how quickly (play with automation) you can make the edits in audio land.

Cheers,
Stace

Apple Certified Trainer

[Stace Carter]

I went with the kit 28-135 after reading countless reviews – it’s a great “walk around” lens and fast enough for my needs. I also picked up the EF 24mm as I wanted a slightly wider and faster prime.

The kit is a great lens, but your needs will depend on the type of work you’ll be doing or shots you want to get. Also, you might want to rent a few (rentglass.com is fantastic, I’ve used them for a few jobs where I had specific needs that didn’t justify a full investment) to see what you prefer; however I’d go with something generic to have on you at all times, and then you can rent as you go.

Cheers,
Stace

Apple Certified Trainer

[Stace Carter]

You’d have to test – mine has two FW ports but I belive one is video, the other “data”.

Cheers,
Stace

Apple Certified Trainer

[Stace Carter]

hey Chaz – not sure about output on the FS but I believe the Canon has a BNC out, which is probably what they’d be looking for at the switch.

Cheers,
Stace

Cheers,
Stace

Apple Certified Trainer

[Stace Carter]

I can tell you it works; my only concern is that the firewire connection is very… consumer. If the camera is locked down and you can secure the HD with lots of Gaf tape (or on the hot shoe) you should be fine. For anything moving I was always concerned about the cable pulling out as there’s really nothing to secure it.

That being said – and especially if you’re shooting SD, you really can pull the drive off the camera and start editing immediately. Also, since the FS uses a DOS-based file system, you’ll get file breaks every 2GB (or something like that), but in the few times I’ve used ours it never dropped a frame and the FS files lined right up in my editor.

Cheers,
Stace

Apple Certified Trainer

[Stace Carter]

I know it as “cutting to the beat”, but I like boogie cut better. It’s a common technique I learned, and teach, in FCP classes. Our technique is to insert a slug in the sequence over the music, and then tap out edits as the timeline plays. Then, go back and perform replace edits into the cuts on the slug.

This does seem more like a strobe though; an effect more than an edit.If this were “cutting to the beat”, those were something like 32nd notes, and at that tempo, I don’t think I could hit the keys fast enough 😉

Cheers,
Stace

Apple Certified Trainer

[Stace Carter]

https://training.apple.com/locations

this would be a good place to start – you can also use that site to find Apple Certified Trainers (ACTs) in your area or willing to travel (most of us are!) who might be able to do a custom program for your company.

Group classes are great though, because it gives you access to other professionals with different perspectives and adds an additional dimension to your learning.

Cheers,
Stace

Apple Certified Trainer

[Stace Carter]

The Canon plug-in is also creating a timecode stream and reel number, which may add overhead to that encode, although I can’t imagine it would be significant. I guess this begs the question of, would you miss the “unique” TC if you didn’t have it? If you won’t be doing conforms, etc, then it may not be a big deal.

Cheers,
Stace

Apple Certified Trainer

[Stace Carter]

I’m not sure if this is what you’re talking about, but Canon reccomends covering the eyepiece to prevent light leak when not using Live View (if you won’t have your face pressed against it).

There’s a little rubber cover that comes on the strap of the 7D (and the new Rebels as I recall) that will snap right on and should prevent any erroneous exposure adjustments.

Cheers,
Stace

Apple Certified Trainer