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Canon DSLR Workflow
I have a few questions about the Canon DSLR workflow for Final Cut Pro 7.
1) When backing up the cards, would you recommend using any software to do so (as opposed to just copying over in the finder)? I heard that it may be better to do it that way, because some programs have a verification process that ensures that all the files have transferred over.
2) I know that FCP hates H.264 and that I should transcode the footage to ProRes. Is there any benefit to ingesting the footage as ProRes422 into FCP via Log and Transfer versus placing those videos directly into Compressor (without FCP)?
3) If the final product is going to be for the web, is it ok to go from H.264 to ProRes422 to H.264? Meaning: I transcoded the original H.264 footage into ProRes422 and will then transcode to H.264. Will the video have noticeable loss in image quality? Is it better to go through the online/offline process utilizing Media Manager? This leads me to my next question:
4) The client has also asked that I prepare the files for future use in festivals. I’m assuming that all festivals and screenings have different specifications needed for the video. I was thinking that I could give her the Full-Res version, so that she can transcode it to whatever she needs later. However, when I try to use the online/offline process to export out the video as a self-contained Quicktime, the video is jittery. What is the correct way to go about doing this?
Thank you!
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5 Replies
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[Heather Kim] “1) When backing up the cards, would you recommend using any software to do so (as opposed to just copying over in the finder)? I heard that it may be better to do it that way, because some programs have a verification process that ensures that all the files have transferred over.”
Yes. Use SHOTPUT PRO from ImagineProducts.com. It will verify that the copied media matches what is on the card exactly, so you know nothing was missed. Also, you can set it up to automatically backup when a card is inserted. Great for runandgun.
[Heather Kim] “2) I know that FCP hates H.264 and that I should transcode the footage to ProRes. Is there any benefit to ingesting the footage as ProRes422 into FCP via Log and Transfer versus placing those videos directly into Compressor (without FCP)?”
Yes. If the media gets corrupt, or you lose your media drive due to failure, all you need to do is select the clips, mount the card backups, and hit BATCH CAPTURE…and everything will come back in perfectly. Also, FCP adds a REEL number, which is vital for FCP’s ability to manage the media properly. If you use Compressor, you will have a lot of rebuilding and relinking to try to do.
[Heather Kim] “3) If the final product is going to be for the web, is it ok to go from H.264 to ProRes422 to H.264?”
Yes. Perfectly fine.
[Heather Kim] “Will the video have noticeable loss in image quality?”
No.
[Heather Kim] “Is it better to go through the online/offline process utilizing Media Manager?”
No. Keep things as simple as possible.
[Heather Kim] “4) The client has also asked that I prepare the files for future use in festivals. I’m assuming that all festivals and screenings have different specifications needed for the video. I was thinking that I could give her the Full-Res version, so that she can transcode it to whatever she needs later. However, when I try to use the online/offline process to export out the video as a self-contained Quicktime, the video is jittery. What is the correct way to go about doing this?”
Import as ProRes, give the client a ProRes master. This is the best possible thing you can do.
Here’s the workflow:
https://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1
Shane
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Read my blog, Little Frog in High Def -
Thanks, Shane! This helps a tremendous amount. I just have one more question: Should the ProRes master be ProRes422 or ProRes422HQ? Is there a huge difference in image quality? Thanks!
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ProRes 422. The canon shoots 8-bit H.264 files…ProRes HQ is meant for 10-bit original formats. It would be overkill for the DSLR footage.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Hi all,
I’m trying to up-res a sequence from Apple Pro Res 422 (Proxy) to Apple Pro Res. I have the tape reels labeled correctly for match-back. I’ve done everything to create an off-line sequence. When I try to reconnect the media, FCP can’t find the path back to the original high-rez’d footage. In the ‘Files To Connect’ window, FCP is looking for the original clip per its original name (I changed the clip names within my browser) so, in theory, the path should be clear for FCP to trace it back to but something is awry.
Any help is appreciated!
Thanks!
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How did you create the proxy files originally?
Shane
Little Frog Post
Read my blog, Little Frog in High Def
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