Shooting on P2 cards has drasticly cut down on your injest timeĪs you file transfer at approx. We started off using Avid newscutter, but have now successfully moved over to Apple's Final Cut Studio 2 on 15in MacBook Pros. This initually felt like one step forward, two steps back, due to having to capture all of you footage into the computer before you could start editing. We stopped shooting on tape and moved to Sony's XDcam professional disc system, this also meant that edits had to be done on computers using Non-Linear edit software.

In the early days of 24 hour News, everything that was shot and edited out on the road, had to be driven to a feed point. The biggest requirements for any News organization are accuracy and speed, and there is always a race to find the quickest ways of delivering the pictures back to the main studio. I am one of the Senior Cameramen / editors for a large UK based, 24 hour news channel.ġ2 months ago i came of the road to concentrate on teaching our UK region staff camera crews,įirstly Final Cut Pro edit software, followed by Panasonic's new P2 solid state camera system. This is my first attempt to blog so please bear with me. If you click inside the thumbnail, and hold the mouse key down you can scrub through that clip. As soon as you mark an In point, it will reset the poster frame to be to In frame. You can then see the first frame of every shot.

You could, though, leave the individual clips alone in the browser and turn on the VIEW Thumbnail column in the browser. Also if you have not ensured that both the rushes sequence and the edit sequence have the same settings (DV? DVCpro? Uncompressed?) Then you will forever be being asked to render.Ī better way of working would be to drop the rushes on the original timeline, FILE > EXPORT > Quicktime movie (make self-contained) export it onto your media drive, when complete FILE > Import> Files, this will establish a clip in the browser that is linked to the media file. One disadvantage of this method is that, the edit timeline will not show audio waveform overlays from the rushes timeline. You can always make a new sequence in the browser, open it up in the timeline, drop the shots onto the timeline then go about editing from one timeline (your Rushes) to another. What I would like to do is to suggest a couple of ways of working, and a couple of the pitfalls that are associated with this.

A lot of old school editors, who have recently moved over to non-linear and tapeless cameras would prefer to have their browser clips more akin to chunks of tape that can be shuttled through, rather than every button on button off as a completely new clip.

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