Saving time when you are editing can create some more opportunities for you later on in a post workflow. Now I know this is news to everyone out there, but its true. I’m going to briefly provide 7 tips I find useful getting through a cut in FCP. You may be aware of some of these – maybe I can shed some light on them.

1) Get Organized – From the moment you import, ingest, digitize… bring any footage in to FCP, log it. Give each clip a unique filename and log note. Filenames could be as simple as the name of the project and a series of numbers following it. Then I like to use the log note to be more specific about the clip. Writing exactly what might appear in the clip. There are many other fields to take advantage of in the log and capture/transfer window. I will say, logging P2 media from a P2 card or a fire store is quite time consuming… I like to import all the footage I need, as is, with the weird filenames give to each clip by the camera. I have built and Automator Action to batch rename all the clips I ingested. After doing that, you will have to re-import them into FCP. Once the footage is back in, then go through your footage and place log notes with the clips. Now this may seem like a lot to go through, but until Apple provides us a better way of batch ingesting media, this is the solution I have developed.

2) Button Bars – Button bars are relatively new to FCP, but they are powerful little buttons nevertheless. You may know where they are, but not know how to modify or use them. From the “Tools” menu, choose “Button Bar.” From here you can search for may keyboard shortcuts, menu commands, filters and other operations. Drag the commands/buttons into the bars above the browser, viewer, and timeline. Each of those places you can load up buttons that are specific for that window. This personally is one of my favorite tips to share with users. You can save button layouts by right clicking the button bar are choosing Save. Load them the same way.

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Check out this article from the COW. While I haven’t had the experience to work with either of these companies or these systems, I have heard a lot about each. And the new system that was just announced appears to be promising!

“The combination of the da Vinci 2K Plus® front-end coupled with the dual stream-capable Sledgehammer back-end has reinvented the way we color grade our clients’ projects,” said Terry Lockhart, chief engineer at Finish. “As we were evaluating the direction we wanted to take, it was clear that the 2K was our key investment, delivering the best and most complete toolset possible. Now that the 2K is integrated with the dual stream Sledgehammer, our clients have a fully non-linear, uncompressed, and in-context experience in the suite and they’ve never been happier.”

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In this ever-changing universe that is the internet, video has become a key feature to many web 2.0 sites. Many sites have popped up in the last couple years in the YouTube vein, producing and hosting mash-up style videos as well as Saturday Night Live-esk skits and shorts. Many producers are looking to the web their primary or sole distribution plan for their original content. Even with TV channels such as CurrentTV it is far easier to distribute yourself. However, the trick is gathering followers and having regular viewers.

While I’m wouldn’t be the best source for information about finding followers, I maybe able to provide some insight into producing video for the web. “What’s the difference between producing video for the web?” Well, honestly, not a whole lot – however, there are a couple of key points I want to share.

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I’ve seen it with my own eyes! The PWX-EX1, XDCam from Sony. In a post from last week, I wrote without a lot of hope about the MPEG-2 compression on the camera along with a number of other things. After seeing the camera and a demo with the camera, I’m still not completely sold, but am a lot more interested in seeing it really put to use. A Sony rep. who was at the demo was boasting the EX’s stunning low light capabilities, and I must say, based on what was shown, I am seriously impressed. Here are some other things that might make you think about opening your wallets for the sub-$7,000 camera:

1. Tapeless media sold by Sony and San-Disk. They are calling the media, SxS (spoken, “S by S”). Since it is being made by both companies you can probably count on cheap media. Cheaper than P2 cards that is.
2. The SxS card will slide of so nicely into your slot on the MacBookPro. Take your download speed up to 10x real time. If you have 100 minutes for footage, you can be editing on it in 10 minutes in FCP. You can buy a USB 2 reader which will download in about 3x real time.  The camea is equipped with a SP and a HQ record setting. SP records 1440×1080 @ 60i (the equivalent of HDV) at 25mbs (thats mega-bits). The HQ setting records all formats at 1920×1080 and writes 35mbs. Quite a quality jump.
3. Fujinon Lens. Yes, you read correctly, a serious lens on this camera. A user of the Ex1 at the demo was raving about how much sweeter it is than the HVX200’s lens. And from the looks of it, it does appear that way. Since it is a Fujinon lens, it has a iris ring built into it which will stop turning when its all open or all closed. (AMAZING). As well as a focus ring which will slide forward and back to which between auto and manual focus. This could be turn in to a real nightmare for this camera, I’ll be listening to see what people think.
4. Uncompressed audio recording is a great addition to this package. Unlike some other solid state cameras, this thing gives you 2 uncompressed tracks. I know in my previous post I was doggin on the EX’s audio abilities, and I’m still not loving only two tracks, but I’d rather have two uncompressed than four compressed.
5. Lastly, 1/2″ CMOS chips. Three of them for that matter. And they all record full 1920×1080. Each chip is 2.2 mega pixels and records a full progressive frame.

There are other things to note about this camera, but for now, go and play with it. I could see this camera being a reality in my shop sooner or (more likely) later. Its too bad though that Sony couldn’t match or beat Panasonic’s price point. We’ll see how things unfold in the coming months.

Happy techo-lusting.

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I realize I left out anything having to do with audio recording on the 200. While it is no where near as complicated, as working with the picture side of the camera, understanding your options and how to best use them will increase your productivity in post.When you are shooting DVCPRO HD or Pro 50, the camera will record four channels of audio, two of which will always be the on board mic. The other two will be the XLR inputs on the camera. I prefer to always set the switches on the side of the camera (under the LCD panel to reflect channel one receiving input one and channel two receiving input two. This will force the on board mic to channels three & four. When you injest your footage and start editing, your audio tracks from your XLRs will appear on the top two tracks and on board mics on the bottoms two.

The manual for the 200, as with many manuals, has a lot of useful (and some useless) info. For those of us who don’t like to thumb through the paper copy, you can download a PDF version which is searchable (an added bonus). If you are curious about the 3:2:2:3 pull down, conversion to 24p, 30p to 60i and 24PA to 60i, the manual, and many places on the web, have this info. This will inevitably be a topic of conversation in the coming months.

I would also like to add some thoughts on the P2 and FireStore tapeless media. For all of us who have came from a would of shooting tape, which seems to be all of us, we’re use to putting tape in the camera, and shooting until we run out. The only thing that has changed with shooting tapeless media, is about of space we’re aloud to shoot before we have to spend almost as much time injesting that footage. P2 cards until recently has been the inferior of the two formats. You could only store about and hour of footage on two 16 GB cards. Yeah, this isn’t much different than your hour of tape, but when you have to spend another hour injesting before you can use it again, you begin to see its disadvantages. The Firestore and handle 110 minutes of 720p30 HD footage. And depending on your project, this usually is enough to get you to a stopping point, injest some, and continue.

In November, the world will be blessed with 32GB P2 cards holding about an hour on each card. Now we’re talking! The 200 will hold up to two P2 cards at a time, and if you are able to purchase two cards, you can shoot one, and then injest it while you shoot the other and never have to really worry about running out of space. Yes, this advancement will take HD to a new level and untether you from the Firestore.

For now, I think that will do it. In about two weeks, look for an article on producing for the internet.

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