Where’s your footage coming from?

[David Mathis]

Cameras: iPhone, Blackmagic Cinema Camera want a Red Camera low end model
Format: raw, ProRes

Bonus:

Software: FCP, Motion, Compressor, Resolve will be adding Fusion perhaps Premiere Pro
Computer: Old chesse grater Mac Pro, dinosaur technology
May get a new iMac

[Claude Lyneis]

I am mostly a single shooter doing West Coast lacrosse for Youtube. OK, several steps down from the average on this forum. Canon XA20, 1080 p, 35 Mb/s, FCPX. 2011 27″ mac, Color Finale. Output to the web with a modest goal of getting a million views (at 760 thousand now). Occasionally I shoot for a lacrosse website and just upload and they edit.

I get a lot out of reading the COW forums FCPX Techniques and X or Not because many of the contributors are serious editors and this gives me a view by experts. While I am taking some courses at the local film school, where X is considered the lowest of low, it works for me and I am not headed for industry. I went from 7 to X and it took more than a while to learn how to select in the browser and edit in the timeline, but it seems efficient and fun to me, especially compared to PP and Pro Tools.

Claude Lyneis aka bhsvideodad on Youtube

[Scott Witthaus]

Canon C100/300, Sony FS100, Sony F7, iPhone, various DSLR’s. Not much Red anymore except for a bit of Epic every now and again.

I shoot a bit, but mostly comes from DP’s that a production company will hire for an agency. Multiple cameras is now the norm and I usually make a multicam clip right off the bat. It’s actually taking longer to get to the creative edit process than it did in film/dailies days because there is just so much more footage coming in now.

Motto: bill by the hour.

Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter

[Paul Neumann]

Mostly C100/5D as the B camera and FS5/a7S II as the B camera. All Canon or all Sony makes for shot matching ease of use.

I’m down to about 10% of the stuff being for TV. It’s all for the internets.

And I’m heavily into Adobe Stock with shared libraries for any stock footage or stock photography. Clients are all onboard with that workflow.

[Michael Hancock]

I work at a small production/post production shop as an editor/budding colorist. We do primarily corporate, TV spots, and web videos. No episodic or film work (except for local short films other employees and their friends shoot).

If we shoot, it’s Arri Amira 95% of the time. The other 5% is C300/C100.

If an ad agency, outside producer or direct-to-client is bringing us just the post work there’s no telling where the footage will come from. This year we’ve gotten footage from 5D, 7D, C100, C300, GoPro, DJI Phantom, XDCam, Red Epic and Dragon, Alexa, F5 and iPhone. We’ve also gotten footage from miniDV, Beta, HDCam, and Digibeta. No 3/4 or 1″ (yet!).

—————-
Michael Hancock
Editor

[Jarrod Fay]

We shoot basically all of our own footage (commercial, corporate, etc.). Sony F55. FCPX works brilliantly with 4K XAVC footage.

—> Jarrod

[Rick Foxx]

We shoot almost everything in-house. We have a mix of Panasonic AVC-HD cameras (AC160A, HMC150s), a few GoPros and a Canon DSLR (T4i). We do a ton of multicam, and typically edit in ProRes. We get the occasional iPhone or MP4 footage from a client, and we’ll transcode that to keep everything consistent within the project. We’re a production company with 2 editors, and a number of contract camera operators.

2013 MacPro 6 core 3.5 gHz, 16GB RAM, 1TB SSD, 2012 rMacBook Pro, Areca ARC-8050, Final Cut X, Adobe Production Premium CS6, Logic X

[Shawn Miller]

I’m an in house corporate guy, so I shoot about 25% of what I edit. My main acquisition formats are DNxHD (hopefully all DNxHR soon),Prores422 and Prores4444 from the Blackmagic Ursa Mini 4.6k, the 2.5k Cinema Camera or the Pocket Cinema Camera – once in a very great while, I’ll shoot with a Panasonic AF100, an HVX200, or an HPX500 – so P2 and AVCCAM are still in the mix. About 25 to 30% of the footage I receive is stock from Videoblocks, Shutterstock, Getty or iStock. 15% of my footage comes from vendors – .mxf from the Canon C100/C500 or XDCAM the Sony FS5/FS7 seem to be the most common formats I get from them. The rest is CG or motion graphics that I create with a combination of Cinema 4D, After Effects, Realflow etc. – I usually use .exr, .tiff and Cineform wrapped in .avi for motion graphics and CG.

EDIT: I meant to add that I get a fair amount of footage from co-workers shot on smart phones…

Shawn

[Shane Ross]

[Tim Wilson] “Are you part of an editorial team on the post side of a production, production company, etc? (This would cover episodics and features for sure, but also in-house corporate, worship, etc.)”

This. I work in broadcast TV, and this is a majority of how this works for me. Most of the time I work in an office in Hollywood, but on occasion (like now) I work from home. Even when working from home, we have full crews that shoot footage that I edit.

ALTHOUGH…a few shows I work on are almost 80-85% stock footage. Not only news footage and stills, but we actually make episodes work with footage other people shoot and we use generically, or suggestively. Challenging, to be sure. When I go to NAB, the Pond5 people know me well. WEll, they know my company well.

[Tim Wilson] “What cameras/formats are you shooting/receiving?”

That isn’t stock footage is mostly C300 lately. Some Sony XDCAM from time to time, but lately, mostly C300. A little DSLR footage thrown in from GH4’s or 5Ds… and some shows have a smattering of GoPro.

I mainly work on Historical docs, and one particular reality show (Curse of Oak Island) and a couple recreation shows.

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[Don Walker]

My A camera is a Panasonic DVX-200 (great camera even with a fixed lens). My b camera is either my iPhone 6s plus, or a Panasonic GH-2. We also record our services with 4 Panasonic 160’s and a 150, all switched through a Blackmagic 2 ME switcher. I will be adding a used Canon 7D to the mix, as soon as it comes back from repair.

90% of what I edit, is video that myself or a volunteer has shot.

I can’t say enough enough about the Pani 200. It has a big sensor look, in a form factor that’s easy to for volunteers to deal with!

don walker
texarkana, texas

John 3:16