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P2 + 5D workflow
i’m cutting project with 80 hours of media, the A cam shot with an HPX and the B cam with a 5D.
i have only just realized that using Canon’s EOS-E1 plugin ONLY lets you convert to ProRes .. not DVCPRO HD — why is this? is there no workaround? and i am correct in thinking that you can only import to DVCPRO HD from P2?
this project is so large with such a short turnaround time that i have no idea how i’ll be able to afford the time to transcode one of the camera’s media multiple times.. not to mention the fact that transcoding outside of FCP will break the links to the raw media..
any tips?
disclaimer: i have tried working with both ProRes and DVCPRO HD in the same project with multiclips .. last time i tried this i had ENDLESS bugs and i do not trust the reliability of editing both formats in one timeline ….
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7 Replies
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just found this link:
anyone have any experience with this program?
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This is what i do.
Transcode all dslr footage to pro res 422. P2 footage comes in native.
I then put both formats in a pro res timeline. And render when the edit is done.
2.66 GHz 8-core, ATI Radeon HD 4870,
FCS 3, AJA Kona Lhi“The creative person wants to be a know-it-all. He wants to know about all kinds of things: ancient history, nineteenth-century mathematics, current manufacturing techniques, flower arranging, and hog futures. Because he never knows when these ideas might come together to form a new idea. It may happen six minutes later or six months, or six years down the road. But he has faith that it will happen.” — Carl Ally
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thanks. i have worked this way in the past with no problem .. but i also worked on a project with multiclips (where the multiclips themselves were comprised of both DVCPRO HD and ProRes) and it was very glitchy. ideally i would like to work consistently in ProRes or consistently in DVCPRO HD .. but i guess it’s not possible for this project as the transcoding time is not reasonable on our timeline ..
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well, how much 5D footage do you have?
A decent encoder should be about RT, so it should be done in a day or so.
And, who is to blame for the mess? The transcode could have taken place during the shoot, so you were ready to edit an hour or so after the last take…Bouke
https://www.videotoolshed.com/
smart tools for video pros -
wow, creative cow users sure like to make assumptions! 😛 the shoot hasn’t even happened yet (which is why i’m asking these questions now). the problem is, we can not transcode during the shoot as we do not have the budget to purchase a hardware transcoder.
there will be 40 hours of 5D footage so, no, it will not take a day.
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we love to make assumptions here to help people getting it right.
(we don’t make assumptions if you feed us with enough info. Eg, it was not clear to me that you did not start shooting yet…)Now, you do not need a hardware converter.
I don’t mean record the signal, i mean, offload your clips and do the transcode while shooting the next card.
If you have Mpeg Streamclip or Compressor, it will be fine.
Or, you can use my ‘offloader’ application, exactly intended to do this kind of work.https://www.videotoolshed.com/product/15/offloader/3
So take a laptop to the shoot, and start the transcode there.
(No matter what you use to transcode.)If you are going to shoot 40 hours of Canon stuff, how many cams are you bringing?
If it’s just one, the shoot will take several days. That also should give you enough time to do the transcoding overnight during the shoot, if you don’t want to bring a laptop. Could be done in the hotel.
No way a transcode of a day’s worth of shooting will take longer than a night rest.Get my point?
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
point taken .. i just didn’t want to type out every last detail of the shoot right off the bat, i knew no one would bother reading everything! 😛
all of your suggestions are great and would definitely be the ideal workflow, but there are other factors. the shoot is happening out of state, and dailies are going to need to be overnighted via portable harddrive back to post so that post can be working simultaneous with production. we have 10 portable harddrives (no more are within the budget!) and these do not contain enough space to allow for a transcode on set or overnight.
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