Canon 7D workfkow

[Shane Ross]

Apple ProRes HQ is a format that you can only encode to if you have FCP. If you only have an Avid, you can’t encode to that format.

You are going to have a very tough time doing this in Avid. Why? Well, you can import the Canon 7D H.264 files as H.264 native and try to edit that. But that is sluggish as all get out (no matter what Avid marketting says). Or you can use AMA to access the footage, then TRANSCODE to an Avid codec.

But now you need to get this to Color.

To do that you need Automatic Duck Pro Import… https://www.automaticduck.com. And once you get that footage into FCP, you need to transcode it again to a Final Cut Pro format…say ProRes HQ. Because Color doesn’t work with any non-Avid codecs, such as DNxHD. If you do this, I’d transcode the Canon H.264’s into a high quality DNxHD format, like 145, or 220.

[Rui Coutinho] “Reconnect my sequence with the original H264 files, is it possible??
Export this final sequence with ApplePro Res HQ”

YOu can reconnect to the original H.264s…but then you cannot export via Automatic DUck to FCP. Because what you need to export is an AAF file, and you cannot export an AAF with footage you accessed via AMA…that’s an Avid limitation. SO you will need to transcode twice in this instance.

Or…use FCP from start to finish. THere is a Log and Transfer option in FCP that works directly with Canon DSLRs…so you can encode to ProRes…edit..send to Color…and be done. Since you need FCP in this equation anyway.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Rui Coutinho]

Thanks for your reply,

I’ve tried with FCP and the results are pretty good, starting from interpretation of Canon’s D7 color space.

This edit will published in the web,
so I don’t want my NLE messing with the original color space generated by the camera.
I’ve tried Avid MC 5 trough AMA and I get an automatic scaling to broadcast gamma levels, and this is something that I don’t want. (in this case…)

But I still have a question in Avid,
If I import without using AMA my Canon D7 H264s, encode to DNxHD 145, edit, export an uncompressed
Quicktime, in compressor encode this uncompressed quicktime to AppleProRes 422 HQ.
In the end I still got the Broadcast gamma levels, but I think in the grading we can adjust this??

Does it make sense?!

[Shane Ross]

[Rui Coutinho] “so I don’t want my NLE messing with the original color space generated by the camera.
I’ve tried Avid MC 5 trough AMA and I get an automatic scaling to broadcast gamma levels, and this is something that I don’t want. (in this case…)”

So you don’t want REC 709? What do you want?

[Rui Coutinho] “If I import without using AMA my Canon D7 H264s, encode to DNxHD 145, edit, export an uncompressed
Quicktime, in compressor encode this uncompressed quicktime to AppleProRes 422 HQ.
In the end I still got the Broadcast gamma levels, but I think in the grading we can adjust this??”

Yeah, you will. And there will be a gamma shift as well…as going from Avid to FCP via QT like that introduces a gamma shift. WHY? People are still looking into that. But, if you convert to ProRes HQ…gues what? That’ REC 709 as well. At least as far as I know.

What are you trying to accomplish?

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Rui Coutinho]

I don’t want REC 709 cause the producer don’t intend to broadcast the media.
It’s for web, and since the H264s from Canon D7 are sRGB I want the NLE maintain the footage as it is.

My accomplish is to use AMC 5 to edit this footage,
but it looks like if do that I will be in trouble.

Thanks!!