5D/7D workflow

HI,

I'm assisting on set with my computer and Final Cut Pro for a shoot tomorrow that is shooting an interview with the Canon 5D. I believe they are recording separate sound.

Can anyone list the workflow with the camera?

I've been reading mixed reviewed about shooting this way, but tomorrow's shoot is not negotiable so any advice is most appreciated.

Thanks,
rachel pearl

It's basically copy over the H.264 clips the camera shoots and transcode to ProRes. Then you decide if you're going to go with the 30p that the camera shoots or convert to 24p- which can mean some trickiness with sync sound. I'd research it a bit more or maybe get your hands on a training video for the 5D and the post workflow.

Noah

Final Cut Studio Training, featuring the HVX200, EX1, EX3, DVX100, DVDSP and Color at [www.callboxlive.com]!
Author, RED: The Ultimate Guide to Using the Revolutionary Camera available now at: [www.amazon.com].
Editors Store- Gifts and Gear for Editors: [www.editorsstore.com]

I've just finished a project where we've mixed 5d footage in with our usual hdv, just google for the free 5d 'droplet' used in conjunction with compressor. the clips take a while to process but after using the 'realtime' option we've been taking those files straight into fcp with no problems.

just drop a 'shift fields+1' and a fast-de interlace on the clip and it's good to go.

you may also find this helpful: [forums.creativecow.net]

OsBourne Cox
EF Productions

There are a number of methods to convert your footage for edit use. The one Osbourne mentions is from Peter Wiggins, however it converts to 25fps, so if you live in PAL land then its cool.

[idustrialrevolution.com]

This tut from Philip Bloom is good

[philipbloom.co.uk]

Michael Horton
-------------------

Osbourne,

What you're doing is converting the 5d (7D in my case) footage to what (HDV?) using a Compressor droplet...then are you putting it on a (HDV?) timeline and further adding a shift fields +1 filter and fast de-interlace filter?

I'm interested in knowing because I just started using a 7D and will soon be integrating it with my HDV footage.

Thanks!
Casey

don't those cameras shoot progressive?
there should be no need at all for either shift fields or de-interlace filters.

converting to HVD would be a bad idea, if you you have Prores as an option.


nick

Pro Res is the option of the cool people with HDSLR. One day no transcode but for now ProRes. You will not be sorry.

Michael Horton
-------------------

I'm converting my 7D footage to ProRes...but does that make any difference if I'm going to an HDV timeline anyway...is it better to go to ProRes first, or if I'm going to HDV, is it more logical to go to HDV, since that's what it's going to be?

Convert to ProRes & convert to HDV or just convert to HDV?

I'm also asking a lot of questions about HDV and ProRes on this thread...I'd use ProRes if it were faster to work with than HDV, but for me it takes 3x longer, although it seems everyone else who uses it says it is as fast or faster. I must be doing something wrong, but what?


Thanks!
Casey

Yeah HDV is not a good option, you are taking all the negative traits of H264 compression and combining them with all the negative traits of MPEG-2(HDV) compression. It's bad times all over. Plus I've never heard anyone say HDV is faster than anything, it's kinda the default standard for slow complicated processing.

What flavor of ProRes are you going to? If you are on FCP 7, you can try ProRes LT which is a lighter codec and should technically be easier to work with. I did a bit of a write up on my experience with the conversion process here, check it out if you'd like. There is also a droplet at the end which i use on all my 7D footage now...

That's really interesting. the last time I used HDV for an editing job it was a render nightmare.