can anyone share a basic easy multicam video set up with 5d3s?

[Axilrod]

the question is about shooting multicam PRO footage and importing into a PRO sequencer where the clips line up to the exact TIME CODE recording during session for both online and offline PROFESSIONAL editing, same process used in film and cinema, PROFESSIONAL standards require TIMECODE, if you you want entry level equipment that does not REQUIRE to be up to those standards like the minimum of 100mbs, Timecode - digi clock, SDI connectors then a pro-summer camera would be priced at the correct range for you.

You can make pro looking videos, even money doing them but PROFESSIONAL level work requires PROFESSIONAL equipment up to  par with networks,  i think someone does not understand what PROFESSIONAL means, and yes anyone can buy PROFESSIONAL sony, canon, Panasonic cameras with TIME CODE and all that syncs with TV networks and up scaled hardware software for Hollywood Suites.

Anyway, i a not trying to sound PROFESSIONAL, i like to work with my clients as their friend, i tend to make them more then happy to pay me, its working out nice.

I guess ill fiddle with the TIMECODE on the canon 5d3 here, as i mentioned before it seems un stable, but this time ill try using the canon "EOS utility" software and see the camea settings and live mode as well as reading the manual.

Ok Mr. Professional, we get it, but you don't have to be a prick about it.  And last time I checked "professional" means doing something as your main source of income.  It doesn't mean that ANY video project ever done by mankind has to meet broadcast standards, content has plenty of other destinations nowadays.  And yes, in broadcast/film industry in general timecode is absolutely critical and very useful. But this is just some guy with a couple 5D3's (which aren't technically "professional video cameras") and not that much experience.  He can turn both of those cameras on and off all night, and as long as he has a clean audio source can sync them up in a matter of minutes without much thought, so why not let him do that?  You're acting like this is the most important job of his life and is going to be broadcasted worldwide and acting like we are trying to tell him to use his cameras underwater or something.  My favorite part about film/video is that it doesn't matter what was going on behind the scenes as long as the final product looks good, so who cares?

[Cgdillan]

the question is about shooting multicam PRO footage and importing into a PRO sequencer where the clips line up to the exact TIME CODE recording during session for both online and offline PROFESSIONAL editing, same process used in film and cinema, PROFESSIONAL standards require TIMECODE, if you you want entry level equipment that does not REQUIRE to be up to those standards like the minimum of 100mbs, Timecode - digi clock, SDI connectors then a pro-summer camera would be priced at the correct range for you.

You can make pro looking videos, even money doing them but PROFESSIONAL level work requires PROFESSIONAL equipment up to  par with networks,  i think someone does not understand what PROFESSIONAL means, and yes anyone can buy PROFESSIONAL sony, canon, Panasonic cameras with TIME CODE and all that syncs with TV networks and up scaled hardware software for Hollywood Suites.

Anyway, i a not trying to sound PROFESSIONAL, i like to work with my clients as their friend, i tend to make them more then happy to pay me, its working out nice.

I guess ill fiddle with the TIMECODE on the canon 5d3 here, as i mentioned before it seems un stable, but this time ill try using the canon "EOS utility" software and see the camea settings and live mode as well as reading the manual.

Ok Mr. Professional, we get it, but you don't have to be a prick about it.  And last time I checked "professional" means doing something as your main source of income.  It doesn't mean that ANY video project ever done by mankind has to meet broadcast standards, content has plenty of other destinations nowadays.  And yes, in broadcast/film industry in general timecode is absolutely critical and very useful. But this is just some guy with a couple 5D3's (which aren't technically "professional video cameras") and not that much experience.  He can turn both of those cameras on and off all night, and as long as he has a clean audio source can sync them up in a matter of minutes without much thought, so why not let him do that?  You're acting like this is the most important job of his life and is going to be broadcasted worldwide and acting like we are trying to tell him to use his cameras underwater or something.  My favorite part about film/video is that it doesn't matter what was going on behind the scenes as long as the final product looks good, so who cares?

+1 I totally agree

[cayenne]

the question is about shooting multicam PRO footage and importing into a PRO sequencer where the clips line up to the exact TIME CODE recording during session for both online and offline PROFESSIONAL editing, same process used in film and cinema, PROFESSIONAL standards require TIMECODE, if you you want entry level equipment that does not REQUIRE to be up to those standards like the minimum of 100mbs, Timecode - digi clock, SDI connectors then a pro-summer camera would be priced at the correct range for you.

You can make pro looking videos, even money doing them but PROFESSIONAL level work requires PROFESSIONAL equipment up to  par with networks,  i think someone does not understand what PROFESSIONAL means, and yes anyone can buy PROFESSIONAL sony, canon, Panasonic cameras with TIME CODE and all that syncs with TV networks and up scaled hardware software for Hollywood Suites.

Anyway, i a not trying to sound PROFESSIONAL, i like to work with my clients as their friend, i tend to make them more then happy to pay me, its working out nice.

I guess ill fiddle with the TIMECODE on the canon 5d3 here, as i mentioned before it seems un stable, but this time ill try using the canon "EOS utility" software and see the camea settings and live mode as well as reading the manual.

Ok Mr. Professional, we get it, but you don't have to be a prick about it.  And last time I checked "professional" means doing something as your main source of income.  It doesn't mean that ANY video project ever done by mankind has to meet broadcast standards, content has plenty of other destinations nowadays.  And yes, in broadcast/film industry in general timecode is absolutely critical and very useful. But this is just some guy with a couple 5D3's (which aren't technically "professional video cameras") and not that much experience.  He can turn both of those cameras on and off all night, and as long as he has a clean audio source can sync them up in a matter of minutes without much thought, so why not let him do that?  You're acting like this is the most important job of his life and is going to be broadcasted worldwide and acting like we are trying to tell him to use his cameras underwater or something.  My favorite part about film/video is that it doesn't matter what was going on behind the scenes as long as the final product looks good, so who cares?

+1 I totally agree

Heck, I'd just be excited to have a 2nd or 3rd camera and a friend to go shoot something with!!!



cayenne

[Cgdillan]

Oh! and i would definitely shoot IPB

[cayenne]

Oh! and i would definitely shoot IPB

Why IPB rather than ALI?

[Cgdillan]

Oh! and i would definitely shoot IPB

Why IPB rather than ALI?

I've shot with both and have found that ALL-I is not any better in terms of quality, but is only better for editing, and only if you edit with the raw footage and don't do any transcode or conversion. If you do transcode the for editing, then save the space on your memory card if your shooting a long day and use IBP. I have found ALL-I doesn't help color correction and actually has more artifacts than IBP. If you are editing in FCP X or Premier, and only use the the h.264 footage for editing out of camera, then ALL-I will be more friendly for editing - for the most part the only benefit, which is great for come people. Someone else's opinion may differ from mine, but that is just my experience.

[cayenne]

Oh! and i would definitely shoot IPB

Why IPB rather than ALI?

I've shot with both and have found that ALL-I is not any better in terms of quality, but is only better for editing, and only if you edit with the raw footage and don't do any transcode or conversion. If you do transcode the for editing, then save the space on your memory card if your shooting a long day and use IBP. I have found ALL-I doesn't help color correction and actually has more artifacts than IBP. If you are editing in FCP X or Premier, and only use the the h.264 footage for editing out of camera, then ALL-I will be more friendly for editing - for the most part the only benefit, which is great for come people. Someone else's opinion may differ from mine, but that is just my experience.

Hmm....well, I just dump my 'raw' footage from the camera into FCPX and try to do roundtrip with Davinci Resolve Lite.  I don't do any transcoding.

On one thread on the forums here, I'd found that you didn't need to transcode anything before using FCPX (I believe it was Axelrod that told me about that).

So, if doing it the way I do it...ALI-I is the way to go?

C

[Cgdillan]

Oh! and i would definitely shoot IPB

Why IPB rather than ALI?

I've shot with both and have found that ALL-I is not any better in terms of quality, but is only better for editing, and only if you edit with the raw footage and don't do any transcode or conversion. If you do transcode the for editing, then save the space on your memory card if your shooting a long day and use IBP. I have found ALL-I doesn't help color correction and actually has more artifacts than IBP. If you are editing in FCP X or Premier, and only use the the h.264 footage for editing out of camera, then ALL-I will be more friendly for editing - for the most part the only benefit, which is great for come people. Someone else's opinion may differ from mine, but that is just my experience.

Hmm....well, I just dump my 'raw' footage from the camera into FCPX and try to do roundtrip with Davinci Resolve Lite.  I don't do any transcoding.

On one thread on the forums here, I'd found that you didn't need to transcode anything before using FCPX (I believe it was Axelrod that told me about that).

So, if doing it the way I do it...ALI-I is the way to go?

C

Exactly, you technically don't need to transcode, but if you do, then rending is faster and final export is faster. So it's really just opinion based. I prefer IPB to save space on cards for long days of shooting (I primarily shoot weddings = long days and lots of footage) that way I only need 1/3rd the number of cards. but then I put the time in for transcoding.. So it goes both ways and just depends on where you want to invest.

I think shooting IPB for long events and long "uncontrolled" shoots is best to save you card space.

I think ALL-I is better for shorter and controlled shoots to save time in post.

I've noticed just a couple more artifacts in ALL-I so I always use IPB and just deal with the transcoding time so I can be editing in FCPs "true" native format.

And again neither way is wrong. It's all just about preference.

[Capnbooboo]

so why do you think time codes exists?

explain

[Cgdillan]

so why do you think time codes exists?

explain

Because when time does we're created, auto sync with sound didn't exist yet. Lol =) well because in a nicely controlled environment timecode easier

[Capnbooboo]

Why are you answering this thread if you do not know?  lol

Are you one of those people calling your self professional because you got a expensive camera with time code you never use or need to synchronize anything for film or TV?, well let me tell you that its not a thrill to work for other people unless you love it and do what you like, if you are told what to do its not at all fun, why the hell wanna be professional exists beats me, but whatever we all did this before i guess.

Listen the 5dmkiii dos have a problem with time code, any changes you make to it are un responsive unless you shut off the camera and turn it back on, this is another bug on canons part, why we have to wait until april for a update is just a scam, canon seems to be obsessed with competing with their own higher quality cameras rather then the market itself, i hope they stay in tune and do not fall off a clif.

[Cgdillan]

I answered a thread with a question about "a basic easy multicam video set up with 5d3s". The easiest method with 2 or 3 5D mkIIIs is to capture half way decent audio on each camera and record audio to a separate continuous audio recorder to use as your main sync track. Then use pluraleyes to auto sync, which only takes a few minutes on the computer.

Trying to do anything with timecode on a Canon DSLR, for now, is only going to cause trouble. With other cameras and other situations, timecode is better. NOT with a Canon photography camera.

Yes I have made commercials for TV and full 30 minute spots... Yes I have had to sync 5 continuous cameras for 2 hours running time... And I don't work for other people, because I don't like to work for other people, and I love what I do.

I am sorry your DSLR that shoots video doesn't run timecode professionally =-( it probably never will.. your probably better off selling it and getting the VERY least a c100 or some other super 35 video camera..

[Capnbooboo]

ok i missed your post obviously, allot of responses with work arounds or jokes lol

So your saying time code on a 5dmkiii is actually false and no less then a marketing scheme, which means it does nothing but tell me about a start and finish time of a video, but yet is useless since i dont even see the current time lol

Japanese thinking can be very confusing

thanks

[Cgdillan]

Aha. I see. Yeah. The 5D mkiii is more for reference rather than sync. And unless they come up with some magical update, it is pretty much just a marketing scheme