Merging video clip separated into two clips in camera

Working with a Canon 5D mk3 and a single clip was separated into two clips by the camera. Trying to merge them back into a single clip so that I can then merge into a multiclip arrangment with footage from second camera and off camera audio. Have followed the following process from support:
http://documentation.apple.com/en/finalcutpro/usermanual/index.html#chapter=29%2 6section=4%26tasks=true
When dragging the selection back into the Browser, a single file is not created but rather the two separate files.
Suggestions?
Thank you.

The only way for FCP to stitch separate shots is if it is shot in a format that is supported by the Log and Transfer function, and if the camera is designed to merge the clips into one shot via the metadata. For example, P2 breaks up the footage into 4GB chunks, due to the P2 card format's 4GB file size limit. AVCHD will do the same thing, as will XDCAM. But the metadata recorded by the camera informs the NLE that they are essentially one clip, so when you convert via Log and Transfer, FCP (And Avid, and Adobe) will stitch them together.
But this only works with supported formats. H.264 from DSLRs...not supported...by any NLE. Even though you can L&T Canon 5D Mark 2 footage (Mark 3 is unsupported, as it is a newer camera, and FCP was discontinued before it came out), it still keeps the media separate. Sorry...that's the drawback to shooting DSLRs. The ones that shoot AVCHD...will be stitched, because they have advanced metadata support.
FCP-X will multiclip these separate files, however. Because it doesn't have issue with broken clips. It's the best multicam function of any NLE.

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Artistry wrote:
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Karsten Schlüter wrote:
aapl.crox wrote:
… For example I can't mark a favourite that spans from the end of the first clip to the second.
... ehm? you can select two clips and hit F = both marked.
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Thanks, but i figured it out.
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Jason,
the effect you are looking for is called 'blue-' or 'green-screening'. The name derives from the background color you shoot one scene with. It is was usually blue because it is a color that does not appear naturally on an actor, and can easily be targeted by the composition hardware (a so-called 'chroma-keyer'. Blue worked well because at that time a simple high-pass filter on the blue channel could be used to trigger the composition circuit, and allowed real-time composition on analog hardware).
It basically works like this:
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Please Note:
I work for cf/x, and may profit from posting here.

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Merging video clip separated into two clips in camera

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