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Project XDcam1080p25/720p25, Canon 5D
Good morning!
I just returned from a dokumentary shot on Sonys EX1 and Canon 5D MarkII.
Which is the best way to set up the project in Final Cut? Footage was shot mostly in 1080p25 with some slow motion in 720p25. However a big part was also shot on Canons 5D MarkII Stills camera which shoots in 30p.
As space on our harddrives is not unlimited i would set up in 1080p25 and convert the 720p25 – i did this for an earlier project and had problems with ratio. I had to manually change ratio in FCP howerver this time there is about 150 shots in 720p and i would like avoid doing it manually.
I found a thread about transfering the footage of the 5D to 25p however on the tests i did a strange flickering turned up. Any way to avoid this???
I am working on PowerMac 3.0GHz 4GBRam Final Cut Studio2 Color Correction will be in Color on the same mashine. Delivery format can be in ProRes.
Thanks for the help in advance!!!
Malte Rosenfeld
d.o.p
s i n g l e s h o t f i l m s -
2 Replies
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Mixed frame rates are a bad idea. I would never recommend mixing 25 and 30 frame.
The Canon also shoots H264 which is not an edit codec so all the footage needs to be converted to an edit codec like ProRes 422. Also the sound is 44.1 khz so that needs to be converted to 48khz as well.
So in a nutshell the canon shoots the wrong frame rate, the wrong codec and the wrong sound sample rate. Poor choices and a bit too late to be asking for workflow advice after a big mistake.
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well i did not ask for an opinion on how bad an idea it is of the director to start shooting lots of aditional footage with a stills camera on a film that was meant to be shot on the EX1 but just wanted to know if someone knew how to make the best of what the editor got….
So if anyone has got a helping idea i would be very glad. Thanks a lot.
PS Besides the point that some of the footage we got with the 5D would not have been possible with the EX1. No matter how much you strip it down it will never be as low profile as the 5d stills camera.
Malte Rosenfeld
d.o.p
s i n g l e s h o t f i l m s
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