Offline multiclip workflow with the 5D

[Adam Ridley]

Yeah, looked into that but given that our project is feature-length and will have many hundreds of hours of footage I didn’t think it would be a good idea to edit natively. Hopefully we’ll be able to do that in the next few years as the hardware advances.

[Michael Gissing]

The hardware is already advanced. NLEs like FCP7 are unable to use the hardware capability that has been around for the past four years.

I can understand reticence to jump to software like X that is still public beta or Pr6 which is yet to crack a big feature project to given editors confidence.

[Andrew Kimery]

[Adam Ridley] “Interesting, I never would have thought to transcode the original H.264 files to use as a master because I’d be worried about any amount of degradation (no matter how small) but if that seems to be the consensus then it would make sense to create one large master file of the 5D shots to group with the C300. “

To steal a line from another COW user, if the production was really that concerned about possible image degradation they wouldn’t be shooting to H.264 in the first place. 😉

[Adam Ridley] “I’ve read that there is barely a difference between ProRes and ProRes HQ but I’d imagine one would want to use HQ if you were creating a new master. Especially if the ultimate goal is a theatrical release.”
The rule of thumb I’ve seen some people toss around is use Pro Res HQ if you’ll be doing a lot of heavy FX work and compositing (something where you must get the most out of every, single pixel) and use regular Pro Res if that’s not the case.

[Adam Ridley]

Thanks for the reply. Yeah, matching up the C300 with the 5D footage will be interesting given the quality of the C300. Luckily we’re shooting most of the interviews/verite/EXT’s with the C300 and using the 5D in special situations where we want a little more coverage.

Thanks again for the advice about ProRes.

-Adam