This video teaches you how to work as a DAM (Digital Asset Manager) preparing DSLR double-system video and sound files for use with Final Cut Pro 7.
UCF Film undergraduate student Zachary Beckler explains, in great detail, how he handled importing data, file organization, video transcoding, and manual sound syncing during the latest MFA feature length film production “Bad Pixels.”
This feature was shot entirely on both the Canon 7D and 5D Mk II. Sound was recorded using the Zoom H4n Handy Recorder.
A note for all: You can skip the ProRes Proxy step and just transcode everything straight to ProRes 422 if you’d like. That way you don’t have to worry about later creating an online edit by reconnecting media. We just did it because of the sheer amount of content we were producing each day of this particular project. On smaller projects, it’s an unnecessary step.
However, we are working on an additional video to explain how to move from an offline to an online edit (by replacing the ProRes Proxy content with higher quality ProRes 422 media) after you’ve picture locked your edit.
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