Do I need ProRes 422 or ProRes 422 HQ?

[Michael Gissing]

Do a search of this forum for 5D. The correct workflow and codec recommendations have been covered many times and the same question is repeated a few times a week.

[Angel Nieves]

I’ve searched the forum and I’ve found stuff on 5d and ProRes, but not specifically the answer to my question, which involves film transfer as the final product. If someone could answer my question here it would be greatly appreciated.

[Gary Adcock]

[Angel Nieves] “but not specifically the answer to my question, which involves film transfer as the final product.”

then you did not read all of the forum posts- I answer this question at least once a week.
You gain nothing from using ProRes HQ- you have 8 bit RGB original material.

FYI-
Unless you are outside the US- I doubt your project will see a film out, unless you already have a production deal.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[Angel Nieves]

And why is that?

[Arnie Schlissel]

[Angel Nieves] “I will most likely transfer to 35mm film eventually. Do I need ProRes 422 HQ, or just ProRess 422? Thanks.”

Then you will need to test this with the transfer house. You should start testing right now, because the results of your tests will effect your entire post production work flow.

[Angel Nieves] “I shot a feature film with Canon 5D Mark II, and now I need to know which codec I need to convert the files to.”

For future reference, you should have made this decision during preproduction. If you don’t have your post frame work mapped out before you start shooting, the odds of actually finishing your film are greatly reduced. And you may even find that you’ve locked yourself out of certain options (like a film finish) because of decisions you made during production.

Arnie
Post production is not an afterthought!
https://www.arniepix.com/

[Gary Adcock]

[Arnie Schlissel] “For future reference, you should have made this decision during preproduction. If you don’t have your post frame work mapped out before you start shooting, the odds of actually finishing your film are greatly reduced. “

Excellent point Arnie, thanks for reminding me…

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640

[Robb Harriss]

Wow, gotta agree with that. Plus you’re leaving out a lot of issues like speed, system power, storage capacity, and offline v. conform and finish. I haven’t checked out the new codecs for the 5D and FCP7. Anyone know how they relate to 8 and 10 bit uncompressed? I might have some 5D “footage” coming in sometime in the near future. But my output will be primarily web for that project.

Non-linear: all the time and nothing but.

[Arnie Schlissel]

Because it will cost you at least $25,000-30,000 to have a negative made.

That does not include the cost of color correction, sound mix, reconforming any material that’s not in your original format, and retiming any frame rate that’s not 24fps, 23.976fps or 25fps into a frame rate that can be shot out to film.

In Europe, you can get grants & subsidies for this. In the US, you need a distribution deal that will pay you enough of an advance to cover these costs.

Arnie
Post production is not an afterthought!
https://www.arniepix.com/

[Walter Biscardi]

[Arnie Schlissel] “Because it will cost you at least $25,000-30,000 to have a negative made.”

Actually, $40,000 for our feature documentary, not including the color grade. We priced it out a few months ago. That pretty much made the client decide not to go with a film out.

We’re going HDCAM SR and Digital Cinema File now.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media

“Foul Water, Fiery Serpent” featuring Sigourney Weaver coming soon.

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[Gary Adcock]

[walter biscardi] “We priced it out a few months ago. That pretty much made the client decide not to go with a film out. “

My comment had nothing to do with costs, but the penetration of digital projection.

it was more about the facts that film delivery is the norm in europe and most of asia, outside of major cities, digital delivery is non-exisitant in most of the world.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://blogs.creativecow.net/24640