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CatDV Pro and DSLR workflow
I work for a small production company and we are looking into getting CatDV Pro as our archiving system. We primarily ingest DSLR footage, and I am wondering what the workflow is like for this type of footage. How similar is it to the FCP log and transfer workflow? Also, Is there time of day timecode and how accurate is it? Thanks!
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7 Replies
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Hey there,
The TC is solid, but it’s only within a second, since CatDV has to get a start time from the THM files.
One cool workflow for DSLR is that if you have the space, you can use the originals as your “proxy” and then transcode only the hi res files you need for the project. (This takes the Worker and a little scripting but is a great way to work.) Watch and log the files, pick the ones you like and transcode only those.
Otherwise, you put the raw files away in a catalog for archive and then use your ProRes masters as the main files and proxy from there. The Worker can do both copies in the same action if you like and create a new catalog based on the main files with the hi res and proxy ready to go. Obviously for these workflows you need some horsepower for your transcodes to crank out a lot of footage but it’s way nicer than doing it in FCP.
Anyone else have any tips or workflows they’ve done?
bryson
bryson “at” hidefcowboy.com
hidefcowboy.com
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Hi Halle
I now use a 7D to shoot stuff, also have a RED One , horses for courses, however with each the workflow has differing challenges. For 7D Catdv can easily import it and you can add a timecode track to the source which will be respected by any conversion to ProRes , if that is what you want to do with the footage . You could use the creation date as a seed and cut and paste that into Catdv`s Timecode window . Then bring it into FCPX or FCP 7 or whatever. In addition you can add metadata to help you track stuff, if you are really creative you could use the source as a proxy and the PRORes as your editing media or vice versa and archive the smaller source and alt drag the proxy via the OTHER TAB into FCP which drops the proxy into the FCP bin. Anyhow timecode addition Window shown in screen grab.Hopefully Below.
Kevin Duggan
CatDV/MME -
Hi
it seems Bryson and I where thinking along similar lines … at the same time .Kevin Duggan
CatDV/MME -
As we often do… 😉
bryson
bryson “at” hidefcowboy.com
hidefcowboy.com
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Very helpful, thank you.
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Thanks for the response, screen grab worked.
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HI Halle
I should have added that tools like PluralEyes and FCPX itself mitigate the need for totally accurate timecode in multi-camera shoots as the THM and the method I described in a previous post get you well into the ball park where these audio pattern matching tools take over and sync your footage with remarkable accuracy and speed. As ever its all about figuring out a workflow and trying to minimise the manual steps that need to be taken to meet your goals.Kevin Duggan
CatDV/MME
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