Canon intros MPEG-2 Full HD codec for future pro camera (FCP compatible)

Another group of codecs for the Final Cut Pro / CS4 roster:

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When life gives you dilemmas...make dilemmanade.

And a new plug-in. Finally Log and Transferrable.

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Just what the world needs another MPEG-based format.

New camera, new hard-to-work-with codec. C'est la vie.



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Sony did this just a few months ago too. And EVERYONE cries "I wanna work NATIVE!" Well, these camera manufacturers sure arent' making that easy.


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Yeah it's just getting stupid now. Make them all shoot ProRes and be done with it already. It's becoming a battle of who can have the least difficult codec to work with that otherwise flattens out colors and adds motion artifacting.

Noah

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Shooting PRORES shuts out a HUGE community of editors who use Avid and Premiere...Edius, Vegas. Making it FCP only is shooting yourself in the foot.


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We have 3 - Ki Pro's and a 7D coming in the next few weeks. We are going to experiment with dumping the grainy bulky HVX-200 / P2 media for our Studio shoots and work with AJA to experiment recording 7D straight to ProRes. Woo-hoo!! It's AWESOME working for a Studio where you get to test new gear & techniques.

When life gives you dilemmas...make dilemmanade.

[Shooting PRORES shuts out a HUGE community of editors who use Avid and Premiere...Edius, Vegas. Making it FCP only is shooting yourself in the foot.]

It's really QuickTime only, not "FCP only" I can access all flavors of ProRes in After Effects for input and output, and very likely Premiere and any other app accessing QuickTime-- even AVID.

But I guess it would be the same as DXDnHD codecs-- nobody's going to build a camera which shoots these flavors either.

- Loren

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What's annoying is how often now people come to you with a codec you've never used before, so you have to go out and research all the attendant 'gotchas' before you start work. So you're on the back foot before you start, and have to spend edit time figuring out which is the best approach.

Shifting ground is bollocks. I vote we all agree on one codec and tell the rest of the world that's the only thing we will work in. That should work.

> What's annoying is how often now people come to you with a codec you've never used before, so
> you have to go out and research all the attendant 'gotchas' before you start work. So you're on
> the back foot before you start, and have to spend edit time figuring out which is the best
> approach.

That's what happens when shooters don't bother to research their cameras and do tests before the fact. They wait until after they've already used the damn things, and by then, what's the use?

How many times do we have to tell producers and cinematographers to do their homework before shooting?


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I think it's really because they don't understand how much difference it makes to us at the other end. All a DP usually cares about is quality of image and problems that might happen during the shoot. The rest is Secret Editor's Business as far as most of them are concerned.

Having said that, I do have a few good guys who always contact me before a shoot to discuss what they are planning, so we can nut out the best approach for both of us.

If the manufacturers stopped bringing out these stupid new munted codes once a week it might help.

Anyone know how many possible codecs there are now? Must be more than forty in the standard list already.

Quote

I vote we all agree on one codec and tell the rest of the world that's the only thing we will work in.

Where do I sign up for that?

When life gives you dilemmas...make dilemmanade.

Raw 4K 50/60p and I want that to play on my laptop on a USB drive.

What universal file based format is there that doesn't require any form of transcoding? DvcproHD is close to being replaced by AvcIntra, and that requires transcoding (at least transcoding after editing). The rest of the i-frame codecs are platform dependent.



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Avid can't read the ProREs codecs. It transcodes those to MXF or OMFI. If it isn't an Avid media file type, then Avid transcodes. Even ProRes. So the KiPro, the JVC cameras...they shoot QT formats that FCP recognizes and can work with right away. And I'm sure that Premiere might be able to as there is a ProRes DECODER in QT 7.6. But what do you render to? Export to? Not ProRes, the Encoder isn't available.

And yea, I am very tired of producers and DPs choosing cameras and shooting TONS of footage, THEN coming to talk to the editors. There are a few that consult with me before they do things, but that is rare.


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