Canon 5D Mark 2 Workflow PLEASE HELP

I'm using FCP v6.0.6 on a Mac Pro (about 4/5 years old) - see specs below - and I'm trying to figure out the best workflow for editing material which has been shot on the Canon 5D Mk 2 and whose final destination is the web (but it must be good quality).

From my research I understand that it's necessary to convert the .MOV files from H264 to ProRes, using MPEG Streamclip. However, it has been suggested to me that it would be better to use ProRes Proxies for editing purposes, and then to 'conform' to high res at the end of editing. I gather I'd need to use an application called Magic Bullet Grinder to create a timecode on the original .MOV files prior to converting them to Proxies. Is this straightforward? And, at the end, how would I "online" back to the .MOV files (or to ProRes)? Or would it be best just to stick with editing the ProRes files, even though they are large? My final sequence will only be a few minutes long, but I have about 1 hour's worth of footage.

Also, if ProRes is the way to go, should it be simple ProRes, or LT, or HQ? I hope my question is clear enough to answer! I'd really appreciate any advice. (I'm working in PAL, if that is of any relevance.)

Many thanks in anticipation.

Model Name: Mac Pro
Model Identifier: MacPro1,1
Processor Name: Dual-Core Intel Xeon
Processor Speed: 3 GHz
Number Of Processors: 2
Total Number Of Cores: 4
L2 Cache (per processor): 4 MB
Memory: 6 GB
Bus Speed: 1.33 GHz

YOu have FCP 6. You do not have access to the ProRes LT or ProRes Proxy codecs. Those only come with FCP 7.


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> From my research I understand that it's necessary to convert the .MOV files from H264
> to ProRes, using MPEG Streamclip.

MPEG Streamclip isn't the best tool for this purpose. Final Cut Pro's own Log and Transfer, using the Canon E1 plugin, will be able to retain time-of-day timecode on the clips. I haven't used Grinder.

Unless you have a lot of footage and not enough storage space, I would suggest going to ProRes directly and avoiding the mess of re-converting and reconforming later on.

> My final sequence will only be a few minutes long, but I have about 1 hour's worth of footage.

Gosh. That's nothing. Just go directly to ProRes 422 and edit that.


www.derekmok.com

Thanks so much. You guys are amazing... it's great to know there's a lifeline out there. Much appreciated.

>MPEG Streamclip isn't the best tool for this purpose. Final Cut Pro's own Log and Transfer, using the Canon >E1 plugin, will be able to retain time-of-day timecode on the clips. I haven't used Grinder.

I've got another question. The files have already been copied off and given to me on an external firewire drive. Is the Canon E1 Plugin and FCP's Log and Transfer still relevant in this case? In short, what's the best way for me to convert the existing .MOV files to ProRes and import into FCP? Sorry if I was not clear in my original question. Many thanks.

I think if you have the latest version of the canon E1 plugin it will be ok but normally you need the associated files with the .mov
mpeg streamclip works fine and it has batch facility and it's free.

Derek

A quick question please. I converted H264 clips to ProRes 422 for editing purposes in FCP. That's all fine, but to export the final 3 minute clip - at the best quality for the web - do I simply export the ProRes sequence as a QT, or do I need to do another conversion? Many thanks.

A ProRes file at 1920x1080, even at 23.98fps, would be too large for the web. Such a file should be made as a master. Create an H.264 version of it for the actual upload. "Best quality", in the meantime, is not a hard-and-fast target. You can get great quality for a three-minute piece if you make a 500MB file, but nobody's going to sit around waiting for a 500MB file to load, and you may also get stuttering playback.


www.derekmok.com

How do you mean exactly? Create an H.264 version in FCP? (Hopefully I'm near the end of this saga!) Thanks

> Create an H.264 version in FCP?

Yes, or MPEG Streamclip, or Compressor, or Sorenson Squeeze...


www.derekmok.com