Tutorials
Tutorials
These tutorials have been selected because of the quality of their content. Aside from the videos produced by 5DFilmMaking.com, there is no affiliation, endorsement, or relationship between 5DFilmMaking.com and the creators of these videos. Click on any link to view the tutorial in a new page, in its original context.
Production Tips, Techniques & Theory
 Film-Style Shutter with DSLR Video by 5DFilmMaking.com |
 Lens Selection: Zooms vs. Primes by 5DFilmMaking.com |
Editing – File Import & Export
 Converting 5D/7D Footage using MPEG Streamclip by Chris Fenwick. |
 Converting 5D/7D Footage Using Compressor by B&H Photo/Video. |
 Exporting for YouTube with QuickTime Pro by Chris Fenwick. |
 Understanding Chroma Subsampling (4:4:4 vs. 4:22) by 5DFilmMaking.com |
Editing – General
 How to Edit B-Roll Faster by Chris Fenwick. |
 Using a Travel Matte in Final Cut Pro by Chris Fenwick. |
 Using Smoothcam in Final Cut Pro ReelClever.com |
Editing – Color Grading
 Hollywood-Style Color Grading (Uses Magic Bullet, but the principles are universal)by Stu Maschwitz for Red Giant Software. |
 CP Basic Color Correction – Part 1 (Scopes and Analysis)by ReelClever.com |
 FCP Basic Color Correction – Part 2 (Using the Color Corrector filter)by ReelClever.com |
 FCP Basic Color Correction – Part 3 (White Balance & Color Matching)by ReelClever.com |
 FCP Color Corrector vs. Magic Bullet Looks by Chris Fenwick. |
 FCP 3-Way Color Corrector (Dealing With Mercury Vapor Lights)by Chris Fenwick. |
Audio – Field Mixing & Recording
 Using a Shotgun Mic by JuicedLink.com |
 Pro Audio with the Canon 5D Mark II by 5DFilmMaking.com |
 Anatomy of an Audio Bag by B&H Photo/Video |
 Phantom Power vs. Battery Power for condensor (shotgun) microphonesby JuicedLink.com |
Audio – Postproduction
 Editing Audio Within Final Cut Pro by Chris Fenwick. |
 Syncing Audio & Video with FCP Pluraleyes Plugin by Philip Bloom. |
Product Reviews
 LitePanels Lights by 5DFilmMaking.com |
 Low-Cost Shotgun Mic Comparison by JuicedLink.com |
 Rode Videomic vs. Audio Technics shotgun by JuicedLink.com |
 HandySLR (camera support rig) by 5DFilmMaking.com |
 $600 Field Monitors by 5DFilmMaking.com |
If I am working with a mix of both 5DMarkII and Panasonic P2 DVCPROHD footage in the same sequence, should I configure the sequence so its native for the 5DMarkII (with square pixels) as opposed to native for the DVCPROHD footage?
I’d suggest setting up your editing sequences at 1280×720 (at whatever frame rate you shot at), with square pixels, and then drop everything in. That way you won’t be stretching the DVCPRO footage, and you won’t be distorting the 5D footage, and you should be able to crop in a bit on any shot that needs a bit of “cheating” (i.e. reframing).