Ed Chapman

Personally I would telecine to digiBeta and make a DVCAM clone for editting in FCP. The timecode the digiBeta should be matched with the TC on the DVCAM. You can perform your edits from your DVCAM source by bringing the material into FCP through "most" miniDV cameras and deck. Check to be sure they read the DVCAM timecode. DigiBeta is a far more stable and robust medium than miniDV and would be better to "re conform" from should you need to up-res. from DV. Color space betaSP is roughly equivalent to DV, however, as betaSP is an analog source and A to D and D to A conversion will possibly cause it to suffer. Additonally, dubbing and analog source definitely shows generation loss. Good luck.

This technique has been used in theatrical films from the beginning. Yes, you do have to synchronize the projector with camera. In LA the Hansard family still owns and operates 35mm projectors and the syncing equipment. The film prints need to be editted and timed for proper color temperature to balance projection color temperature with the lighting color temperature. Tests should be made to determine whether front projection or rear projection would be best for the lighting scheme. Video projection could also be used. The playback would need to be 24fps and a sync box used if shooting 24 fps. For a music video ushooting at 30fps wouldn't be a big deal and save money on the playback gear. You still need a sync box. The projector probably wants to have a line doubler to eliminate the "scan line" look to standard interlace video projected that large. Even doing it as a post gag requires some lighting skills to give the impression of reflected light from the screen and the usually desired "projector beam" in the "smoke filled theatre.