Hello all,

After 20+ years of being a video enthusiast, and shooting several weddings free for friends, I have decided to take the plunge into doing it as a business.

I know this is a lot to ask for a newbie, but I am very anxious to get the input/expertise of the fine people on these boards as to :

What I am planning that is right.
What I am planning that is wrong.
Any and all other suggestions!

I own a JVC HM100u which I have had for about a year and a half. I love this camera, but I know it doesn’t do well in low light. I also own a new Canon 7D. So the good news is I have a brand new 7D; bad news is, I don’t know how to use it yet. (I also have several extra batteries and several SD & CF cards for these devices, as well as 2 Manfrotto tripods and a monopod.) Being new to DSLR, I am not versed in lenses either and at this point still a bit overwhelmed with all the terminology. Based on what I have gathered with my research, I came up with the following.

I have approx. $10K to spend, and my current shopping list includes:

Sennheiser EW 100-ENG G2 Wireless lav system
Tamron AF 70-200mm f/2.8 Di LD IF
Tamron AF 17-50mm F/2.8 XR Di-II LD SP
Zoom H4n recorder
160 LED light
Rode shotgun mic for 7D
2nd JVC Hm100u (??)
Zacuto viewfinder for 7D
Blackbird Stabilizer
Various DVD products (Lightscribe burner, etc.)

The above "wish list" should run about $6-7K, according to my calculations.

I also own a MacPro quad core system with FC Studio, and I just installed a dedicated 2TB drive for wedding projects. (I am fairly fluent with FCP; still learning Sountrack, Motion and DVD Pro). My thoughts are to shoot with a stationary Hm100, 2nd Hm100 for B roll other angles, and the 7D for everything else. Obviously every wedding/venue will be different, but that is the basic model I have in mind. Of course the Hm100 shoots in native QT; I would use the Apple ProRes codec to transcode the 7D footage. I am concerned with how well these 2 very different cameras will work together; will I have to do a lot of extra work in post to mesh video from these 2 sources?

My other big concern is the learning curve with the 7D, as I have been shooting video with camcorders for nearly 25 years; never have I used a DSLR. So, first of all, strictly from an equipment standpoint, please critique my shopping list and/or my current inventory. Then, be honest with me about how hard it will be to learn to shoot video with the 7D. Can my $$ be more wisely spent? I could ask a thousand more questions but I don't want to push my luck!

(I don’t ask much, do I?)

Thanks so much for ANY input!!

I'll jump in here since no one has replied yet. I don't know much about the equipment you have so I can't be much help there. But I do know that two things jumped out right away.

One is another lav system...We have two...we always wire the groom, and usually the officiant. Although with only one video cam you only have that one extra audio input. [I guess if you get the second cam with the ?? by it that would solve that]

At the very least, I would say get a lav mic to use with the Zoom and that way you not only have a way to mic the officiant, but you have a backup mic in case the Sennheiser system fails (we have that system, and no problems but you never know what could happen!) In that case too, I would recommend a second Zoom, to either put on a lectern for readings, etc. Those things are priceless IMO. One of my favorite and most helpful gadgets.

The other thing that stuck out to me is hard drive space. I know you mentioned the HM100 shoots native quicktime, so I'm not sure how much file space that will take up. We work with Panasonic HMC150s, where everything has to be transcoded to Apple Pro Res, and I know a full day's wedding can take up quite a bit of space, depending on how busy (and how quickly) things get. You might need more, depending on how many weddings you are working on and what your turn-around time is.

Also, if you don't have it already, Pluraleyes is an absolute must have for editing weddings in FCP. I just recently discovered it after much praise on a post on this forum, and I will never work on another wedding without it.

My two cents...hopefully that helps.

Thanks Katie! Yes, that is very helpful.

After reading another thread, I have indeed downloaded the PluralEyes trial, and will undoubtedly purchase the full program. Seems like a real time saver, if not miracle worker!

I agree that a second lav mic setup and/or second Zoom would be beneficial. I'll try to budget in the extra $$. I haven't decided on which camera to buy yet, really. Kinda waiting on more feedback here, and also trying to learn more about the new JVC Hm150u. I like the thought of recording to 2 SDXC cards simultaneously. Good backup strategy... In any case, I'll have more audio options with my next cam.
3 cameras and 4 audio sources per wedding should curb my paranoia!

Hard drives are relatively inexpensive these days, so if I get busy enough - (just the kind of problem I hope to have) - I'll definitely add on.

Thanks so much for replying. :)


Who's next?? :D

Hi Ben!

Have you considered not using a wireless system at all, and instead picking up a couple Zoom H1N's? I used to use wireless, but recently switched to these small audio recorders, and it's been wonderful. Of course, if you feel that you need to monitor the audio the whole time, it might not be for you.

Also, depending on your area/market, it may be wise to pick up a Blu-ray burner. Even if you don't offer it right out, it may come in handy if someone asks for it, or if you need a good selling point.

As far as the DSLR goes, you may be better off with another "proper" video camera until you really learn how to shooot with it. There's quite a learning curve, especially if you have no experience with them at all, and will be a nightmare to use in fast-paced wedding shoots.

Corey,

I do want to monitor some source of audio while recording, but I still think another Zoom is a good idea, if only as a backup. Can't have too many sources of good audio, right?

And I do own a BluRay burner; just failed to mention it in my original post. I still haven't done much BD authoring with other projects; I was thinking about DVDit! Pro from Roxio? I have DVD Studio Pro but I'm not fluent with it; I don't believe it has a BD plug-in? Anyway, don't want to get off topic here. (Are there Lightscribe BD-R's yet?) So far the only BD-R's I've burned were with Toast.

I am certain that what you say about 'nightmare' of using DSLR with no experience is true. I know that it's something I want to do in the long run, after seeing what they are capable of. And since I already own a 7D, might as well start learning. But your point is well taken - I should do my first few jobs, at least, only with "proper camcorders". I still wonder if the JVC GY-Hm100u or 150u are the right cameras, given their low light limitations. I do love the fast workflow though! No transcoding, just straight to the FCP timeline. In my mind, I feel like I should always have 3 cameras at a shoot; at least for the ceremony. I'd hate to have to buy TWO more JVC's (or other camcorder), at $3K+ each. Especially when I own a 7D. That I don't know how to use. Oh well !


It's great to be getting this feedback. I have wanted to do this for a long time! :)

Well, as someone else who just started not too long ago I think the bit about the "proper" camera is hogwash. It's not rocket science, it's a camera! It shouldn't take longer than a weekend to learn it well enough to shoot. Now, it also depends on what style you are going for - if you're going for a more organic look then the shifty focusing and wobbly bits add charm, whereas it would kill a cinematic look.

I'd also strongly recommend getting Neat Video and some faster glass (1.2-1.8). Instead of getting the second JVC you might consider the Panasonic GH2; you can get an adapter to mount Canon lenses with it as well and it will perform much better in low light than the JVC.

Well, as someone else who just started not too long ago I think the bit about the "proper" camera is hogwash. It's not rocket science, it's a camera! It shouldn't take longer than a weekend to learn it well enough to shoot.

I had to chuckle at this one . . .

It's called getting experience on the camera; learning its ins and outs, its limitations and shortcomings; when to switch modes, exposure, frame rate, and lenses; how to control focus; stabilization; how to make a device specifically designed for still photography work as a video camera; logging hours on the camera so that when you're in the midst of a frantic shoot, you don't have to sit there and scratch your head wondering how to handle it. You have to get it to the point of where it's automatic.

DSLR's are completely different from "proper" video cameras. Going from ZERO experience on one to shooting something for money will take longer than "a weekend." I wouldn't pay someone to shoot for me whose entire experience on the camera was a weekend -- sure, you might learn how to make it record video, but it will likely look terrible. I know it's not "rocket science," but it's vastly different than anything else Ben has shot with.

Fluency and professional results with any camera only comes with experience, not learning it in "a weekend."

My advice, from the perspective of just now turning the corner a little more than two years in business is first, keep some of your startup money in reserve. Have you heard the old saying in business, "Cash is King?" Well, it's true. You do not want cash flow problems just after starting up.

Secondly, give more of your attention to learning proper business practices. Get an accountant, get an attorney, and finally, make it your number one priority to learn how to effectively market your business. BIG HINT: the secret is networking face to face with GOOD prospects. People become good clients for the same reasons they become good friends. They want (business) relationships with someone they know they can trust.

The vast majority of new businesses, including video production businesses, fail within the first year. My guess is that it's not from technical incompetence, but from poor business decisions.

Getting gear isn't what you need to concentrate on. Concentrate on getting customers. Concentrate on serving your customers. Most of my work is corporate video, not weddings, so most of my work now comes from repeat customers, which you probably won't get specializing in weddings. But you will get referrals from satisfied customers. And if you let a customer down, expect word to spread. You don't have to be perfect, just trustworthy. If you make a mistake, handle it quickly. If you can help your customer solve a problem with the event you're shooting, do it. Let the customer know that you're working primarily to please them, not to just please yourself.

Of course, if you please your customers, you will be pleased as your business starts to succeed.

Is your new 2TB drive a 7200RPM model? The "green" drives are great value at the moment but are generally 5200RPMs which doesn't make them great for video editing.

Ben, I did not read most responses, so I'm going to go ahead and jump in anyway at the risk of being repetitive.

As you get into wedding work, I would imagine you would find any 1/4" sensor camera is not adequate for wedding work, especially paired with a 7D. It doesn't make a lick of sense to me. You already know your JVC is no good in low light, why in the world would you buy another? You are completely going the wrong direction with video, IMO. No one that knows anything about weddings, who has money to spend, would buy anything less than a 1/3" sensor camera. There are those who shoot weddings with your camera and no doubt do fine work, but you cannot get around the low light performance of a small sensor camera. It will be grainy in low light because you MUST turn up the grain. There is NO substitute for a larger sensor.

If I were in your shoes, I would find a buyer for your present camera, buy two of the about to be released Pansonic AG130s, a wireless, shotguns if the cams don't come with them (not sure). You'd have two cameras great in low light, with zooms, and the 7D for getting ready and B-Roll, which is a good way to start.

I would skip all lenses for the 7D except for one or two high-quality primes, starting with a Tokina 12-18mm F/2.8, or whatever mm is that is so popular. You don't need a 7d for long shots, not with only one DSLR. Besides, you have to learn how to use each lens, they are all different, so buying one at a time is the smart way to go.

After you have two good low light videocameras and a fast, wide zoom, then start looking for work, shoot for other companies as much as you can, hire yourself out as a second shooter, then start advertising on The Knot or wherever to bring in your own business.

I wouldn't pay someone to shoot for me whose entire experience on the camera was a weekend -- sure, you might learn how to make it record video, but it will likely look terrible. I know it's not "rocket science," but it's vastly different than anything else Ben has shot with.


/Shrug. I stand by what I said; if he's motivated then why not start learning right now? It's not an insurmountable task. I'm not suggesting he go and shoot a wedding his first time using the camera but to make it out to be so difficult is just silly. Pick what you like and go with it; it's just a tool in the grand scheme of things, and choosing something for the sake of familiarity might not be the best option in the long run. Plus, with that sort of budget in mind, it might be more prudent to get something that really gives you bang for your buck.

Jeff has some really good advice there, although I'm still an advocate for the GH2 ;).

Instead of a wireless lav setup, I use digital voice recorders connected to wired lav mics. It's much cheaper (<$100). I know people's main concern is the ability to control and monitor levels, but I think that's a moot point. If something goes wrong with the mic, etc during the ceremony, what can you realistically do to fix that?

My best purchase and perhaps my most important piece of equipment (minus the camera) has been this: Amazon.com: Manfrotto 561BHDV-1 Fluid Video Monopod with Head: Camera & Photo

It's a very expensive monopod, but well worth it. I would replace in a heartbeat if I ever lost it (for what it's worth, I shoot only with slrs). The stability and fluid control are incredible, and it gives you a lot of power to be creative AND very mobile.

My second best purchase has been pluraleyes (software plugin). It syncs audio with video from multiple sources. It's fantastic and to the extent that you are using a lot of audio in your final product, it will save you hours in editing.

Good luck!

EDIT: also, yes, I would be concerned with the quality differences between your slr and non-slr sources. For one wedding, I parked a camcorder at the back and did slr for everything else. I thought the different viewpoints would be enough to overcome the differences in quality. They were not. I could not really stand the difference in quality and ultimately chucked the camcorder footage. Also, the different codecs gave me problems when rendering the final video in sony vegas. Not sure if FCP is better, but I just assume that using a single type of video codec would only help.

EDIT2: Just go out and do it :) more than any of the advice on here, by doing a few weddings, you'll know immediately how you can improve by either purchasing certain pieces of equipment or by modifying your technique. Experience and equipment are both important (I would say experience even moreso). At the end of the day, your job is to make your clients happy (which can happen even if you're not 100% satisfied) and to be able to foster more business.

Corey, Lindsay, I would definitely pay someone with no experience if he had the gear I listed. My god, the rental costs alone for the gear would be $1K or greater ($500 per camera per day, etc).

That's how I started. You have the gear, you can find work. Just don't ask much for pay, pay attention, be loyal, keep quiet, don't hand out your business cards at someone else's gigs, and build a relationship with the guy you are working for and it will last for years. If you don't click with someone, find someone else to work with.

I am still friends with the guy who I shot my first gig for, and if I need gear, or anything, I can call him anytime. Building relationships is the single most important thing to do initially, making friends in the business.

Instead of a wireless lav setup, I use digital voice recorders connected to wired lav mics. It's much cheaper (<$100). I know people's main concern is the ability to control and monitor levels, but I think that's a moot point. If something goes wrong with the mic, etc during the ceremony, what can you realistically do to fix that?

My best purchase and perhaps my most important piece of equipment (minus the camera) has been this: Amazon.com: Manfrotto 561BHDV-1 Fluid Video Monopod with Head: Camera & Photo (http://www.amazon.com/Manfrotto-561BHDV-1-Fluid-Video-Monopod/dp/B003YM04NO/ref=sr_ob_4?ie=UTF8&qid=1317918561&sr=8-4)

It's a very expensive monopod, but well worth it. I would replace in a heartbeat if I ever lost it (for what it's worth, I shoot only with slrs). The stability and fluid control are incredible, and it gives you a lot of power to be creative AND very mobile.

My second best purchase has been pluraleyes (software plugin). It syncs audio with video from multiple sources. It's fantastic and to the extent that you are using a lot of audio in your final product, it will save you hours in editing.

Good luck!

I've often wondered about the need for wireless. Are you going to run up to the altar and plug back in the lav mic if it falls out? I guess if you were brave you could run up and try to fix it - and totally ruin the wedding. This is why I believe in redundancy - Lav both the officiant and the groom, record off whatever audio system is being used, and try to get a recorder relatively close. You're covered that way against everything short of a tornado hitting in the middle of the ceremony.

We have several of those Manfrotto 561's and they are amazing. I would warn anyone who gets one to periodically apply a little bit of WD40 to the ball on the bottom. Without it the monopod tends to "pop" when you move the bottom ball.

I can't speak for audio synching! Lindsey handles all our editing - I just get the fun bit of color grading and finishing!

Great advice guys, all around...

Jeff, you're killing me here! LOL I know there's no getting around the low light issue with the 1/3" sensors; I was just hoping to be able to stay with a camera I know (and already own), not to mention the easy workflow with FCP and no transcoding. But as well liked as the JVC camera is, it's not popular among wedding videogs for reasons that are clear enough. As Lindsey said, choosing something for the familiarity of it may not be a smart choice. (Any idea when the AG130 will be shipping?)

I hope to shoot some video this weekend around home with the 7D, to start familiarizing myself with it, although I currently have only the kit lens. But I also have the luxury of owning a chapel I can shoot in for practice! Otherwise, Corey, I agree with you on the DSLR issues. A true expert in any profession can do their job/run their equipment flawlessly. I believe we need to be able to change settings on a camera without thinking about it, perhaps without even looking. Especially at weddings, where you have to work on the fly. I would never try to shoot a wedding with my 7D unless I felt completely comfortable with it. It's a work in progress, I suppose.

And Roger, your advice is also well received; although I already own a successful business in my hometown, so I already have an accountant, attorney, etc. And because my current business happens to be a funeral home, I am on a first name basis with every pastor and florist in town. (Yes, you read that right - I am going from funerals to weddings!) So I am hoping that is to my advantage as far as earning clients and earning trust. I am sure a website and a facebook acct. will help as well...

Jeff's right. Low-light capabilities are so crucial in weddings; they are most definitely a necessity. At this point, your 7D paired with a good, fast lens is your only option for low-light shooting, which may be good for some shots, but not to carry the entire load. Sony has great low-light video cams, look at the Z5's and Z7's. Or, you can definitely wait for the AG130.

... but to make it out to be so difficult is just silly.

It's relatively difficult. In his situation. It's just my opinion.

Ben, don't know when they are shipping, but November is what I've read. Panasonic cameras are generally user friendly and easy to use.

Concentrate on your videocameras first, IMO, they will be the pillars of your video business. You can shoot an entire wedding with two of those, and that is what you should focus on, learning how to shoot a basic, high quality wedding video. You need to learn the rhythm, how to anticipate the next shot, and that only comes from having done a bunch of them. When the couple does a devotion to Mary I am often at the statue before they are. Since I'm not Catholic, all of that stuff threw me off when I was new. You don't want to be looking around with a "What's going on?" expression on your face in the middle of the action, as you miss the shot.

The Canon 7D is great, and you can easily get by with a single high-quality lens at first. Use your kit lens for stunning outdoor shots, learn how to use it before buying a bunch of lenses. If you can buy a Sigma 50mm F/1.4 for Canon it is considered among the best third party lenses for the money. Not all Sigmas are created equal, and that especially goes for Tamrons, but the Sigma 50mm 1.4 for Canon has a stellar reputation.

Oh, and as Lindsey said, GH2 is great, but your 7D is a higher end pro camera, and you'll NEVER get photos with the GH2 like you will with the Canon. And I love high quality photos, I snap the entrance of the church, altar, flowers, gift table, all the detail shots and use them in place of moving video, and they add a really nice element to my videos, and it's so much quicker.

I also personally love photography, and your camera is a great still camera. I'd love to have one.

Good luck!

One of the advantages of monitoring a wireless microphone is that the system will most likely fail BEFORE the ceremony starts, allowing you some time to fix the problem. The failure usually occurs when the groom goes around hugging people, possibly loosening the connector, or popping off the windscreen. My most recent problem happened when the groom picked up his young son before the ceremony started, and that movement popped the windscreen off and unmounted the mic clip, causing it to dangle. Since I heard everything, I was able to run to him and fix it in time.

The second advantage is that you can hear what is going on, so you know exactly when the ceremony will begin. Or if there is a delay, you'll know why by listening in. Last week, there was a delay in the ceremony. Everyone was wondering what was going on. As I was monitoring the minister and groom, I heard them mention that they were waiting for an important relative who got lost trying to find the ceremony site, but was very near. I passed the word on to the musicians, who were playing but wondering what was happening.

The biggest advantage of all is editing. Audio is always locked in sync, from beginning to end. No need to fuss at all, no matter how you cut up your main track!

Warren, thanks. I will probably stick to my current setup in the short term, but I'd agree, those are all advantages (things I wish I had during a shoot) that may be worth the investment into a wireless setup.

I've been looking at the specs of the Panny 130. Definitely a great looking camera. I'm not sure if I can find room in the budget for 2 of them though. That's 8 grand without spending a nickel on all the other goodies we've been talking about. Oh well, it's only money. Fortunately for me, it's the relative slow season for weddings, so I should have the opportunity to get things in place, purchase at least one new camera, and be ready to go soon enough. Until the 130 is actually released, I can spend the time learning to use my 7D! And building a website. And having pamphlets printed. And attending bridal shows. And creating a facebook account, and... ;)

I very much appreciate all this feedback. Please keep it coming!

Ben, $6500 after you sell your JVC for $1500 :) The beauty of matching cameras cannot be overstated. Color balance is easier, editing is simpler, batteries can be shared by both, less crap to keep track of. There's no downside, and lots of upsides. You're right, today and the near future is a great time to play with your 7D and learn it. Make some fun home movies, shoot photos, etc while you can relax and enjoy it.

I don't want to oversimplify, but it seems like if you're gonna do weddings, your cameras better be 1/3" sensors, or better. So that certainly takes my JVC Hm100u out of the picture. But since I have gotten used to using it, I now have to ask this question: what codec do you FCP users use to transcode AVCHD? Apple ProRes422? I realize that I will have to transcode footage from my 7D as well; if I were to go with the soon to be released Panasonic AC130, can I "batch" transcode all the footage from both of the above mentioned sources? Seems like it's gonna add a lot of time in post as compared to the JVC... makes SDE's kinda tough doesn't it? Just thinking out loud here, trying to get a handle on which direction I should go, as well as the workflow I can expect.

Ben, first of all see what codec the Panasonic uses, vs the JVC. Are they the same? Are you saying they are different?

If so then this should not be any different. Are you saying they use different codecs? I am thankful to say I don't use FCP, my NLE handles AVCHD natively, so sorry, I can't help you there.

I use HD link to convert all of my footage, and I do love it.

Ben, we shoot on Panasonic HMC150s and use FCP. I haven't read up on the new AC130s, but I'm guessing the workflow and codec are the same. We transcode everything to Apple Pro Res, and yes it does seem to be a bit time consuming...at first we did what you suggested, batch transcode everything and just let it run over night and boom, done. However, that takes up a tremendous amount of space.

Now, I sort through footage as I transcode. Realize that not everything you shoot is going to be useful, so why transcode it to Apple Pro Res [much much larger file size than the AVCHD] if you don't need it. I found that it cuts my hard drive space nearly in half when I weed out the garbage before I transcode. [Haha, what does that say about what I'm shooting?! all of it's not bad, but some of it I just know I won't use in the end!]

For me, I like watching everything I have to work with too, so I can plan the layout of the video before I even start editing. Transcoding is a little gimmicky though, not sure if it is a bug or what, but FCP does not like when you use the mouse a lot in the Log and Transfer window...learn keyboard shortcuts for it, they will be your biggest ally...and save often.

Katie, the New AG AC130 uses the MPEG-4 AVC/H.264 codec, which I assume is the same as the HMC150's. I have always ingested everything into FCP and edited from there - but that's easy to do when you're using QT files and you don't need to transcode. It feels like a step backwards, but now I see myself going back to the methods I used when importing from tape: preview and only capture/import that which is needed or relevant. I know I keep whining about losing the convenience of the 'straight-to-timeline' capability of the JVC cams, but wow, what a time saver. I suppose I could always go with the JVC GY-HM710U... only $6,500 each! (Not exactly a run and gun cam, either).

Ah, decisions, decisions...

Once you get a system down, transcoding goes pretty quickly...and there still are clips that you can batch import...like the full ceremony, speeches, first dances, things that are long durations that you know you will need most, if not all of.

But in the end, time is money...but so is quality video. It is a big decision. We bought our HMC150s this year, and absolutely love them. We also bought used, but if you're looking at a new unreleased model that isn't an option for you.

Ben, I do up to three weddings a weekend and yet I convert all of my footage, and I have drives large enough to hold it all. Katie's idea of sorting through is nice, but I don't have time with my workload in season. 3TB drives are $100 when on sale now.

My time is too limited to sort through hundreds of clips. I convert it all overnight, and start to work the next day. It's not that big of a deal. I come from tape background, and it was much faster, straight to the timeline, after downloading, but you deal with it.

One wedding after converted turns into around .75TB, maybe more. Again, not a big deal, hard drives are cheap. I convert and back up everything to separate drives and edit away.

I skipped the XF100 because it was Mpeg 2. Mpeg 2 at the bit rates the camera records at end up breaking up an hours worth of footage into mulitple files, and if you have several cameras that is insane. For a wedding, you end up with hundreds of clips where there should be dozens. For example, you end up with 20 clips for an hours worth of footage where with AVCHD at a reasonable bit rate you end up with two or three.

AVCHD is pretty much the standard these days, it seems. But if you really think you prefer MPEG 2 get the Canon XF100 for $3000, it's great in low light. I only did not recommend it to you because it is MPEG 2, and I didn't realized you liked it.

I can see why you might like mpeg for short projects, but if you're getting into multiple camera for wedding work? I see it as a curse, not a help, but that is just me.

There are two HMC150s for sale for $2100 each in the classifieds right now, now that you mention it Katie.

You're right Jeff, hard drives are cheap,and we have a ton of space. I think it's the obsessive side of me that likes to see everything and know exactly what I have to work with before I start :-)

Can I ask what your workflow is then? I mean you still have to go through the footage and mark what things are and note good/bad, etc...right?

And good eye on the classifieds. Used is definitely a great way to go, you just have to be smart about it and know what to look for, both in product and seller.

No, I don't do any marking or identifying except the clips before downloading to hard drive after the shoot. I use Windows and Vegas, and I don't know how FCP works, but here's what I do.

First and foremost my clips are named and numbered, using the built in feature in windows to batch rename clips. I view the card before downloading, select all files on the card, right-click and batch rename the clips from that card, eg. SmithCamOne and then Windows numbers the clips SmithCamOne 001, SmithCam One 002, etc. I then drag and drop the clips into a pre-made folder. I then copy that folder to second drive (back up).

I repeat this for the card from the next camera. I use 32GB cards for this reason, all footage from the whole day for a camera is on one card, not broken up over multiple cards.

I do not label ceremony, etc, because it is not necessary with Vegas and Plural Eyes later on, but I'll get to that.

When I'm ready to edit, I use Cineform to re-encode the files. When that is done, I drag all files from one camera onto a timeline at one time, and I name the timeline CamOne.

I create a second timeline, below the first, and repeat this procedure for all four cameras.

I start up Plural Eyes, and it syncs everything up that can be synced, works perfect. Then I delete all non ceremony and reception footage from the timeline, which of course I edit separately, open multicamera, and edit the ceremony and reception.

Later I drag and drop the extraneous footage like getting ready stuff and edit it separately of course, and later assemble the parts fine tune it to work together.

Windows shows thumbnails of clips, so when I'm ready to edit the getting ready, I can easily see in the video folder which groups of clips I need to select and drag and drop back into Vegas later, as it's clear what is what just by viewing the folder, takes no time to select footage. I already know which cam has the getting ready footage, it's always my Cam One, so that is a piece of cake to find.

I hear terms like logging etc used in conjunction with FCP, and I have no idea what that is, or why that extra step is needed, but it sounds painful and tedious. Maybe not, I don't know, of course.

I'm not sure, but my workflow is all drag and drop, but that is a Vegas feature. I do not have to navigate to a folder via Vegas and select what to bring into a project, I just drag it onto the timeline from an open folder.

Vegas edits AVCHD natively, so I don't always transcode at first, sometime's I'll just start edtiting the raw files, and encode later. I use another tool that allows me to switch back and forth from the converted clips to the original HD clips as needed for whatever reason.

I think maybe I can kill 2 birds with one stone here; I was planning on playing around with my 7D this weekend, and start learning to use it. Then, I can also get a feel for ingesting/transcoding footage in FCP.
I assume the process would be exactly the same with a Panny camcorder?

I've always been rather gun shy of used equipment; you just never know the true history of it. I have no problem clicking on 'place order' for $8K worth of new cameras... if I can be certain I am making the right decision. I guess I have at least a month to decide for sure. But the thought of shooting weddings with 2 new Panasonic AC130's and a Canon 7D sounds pretty exciting to me! :)

Yes, as of now, for the money, the Panasonic is what I would very much like also. It looks to be a very good camera at a great price, for what it can do. I'd be excited in your shoes also, Ben.

Wow, thanks for the run down Jeff, that is very helpful. The editing process is pretty similar for me, using pluraleyes for all the major events, multi cam editing, etc. The major logging time for me is checking out all my b-roll and wedding prep mostly. I know that the way I do things is not always the most efficient it can be, so I'm always looking for ways to speed up the process.