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Where’s your footage coming from?
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[Tim Wilson] “Are you shooting it yourself?
Are clients bringing it to you?
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.)
What cameras/formats are you shooting/receiving?”I do not operate cameras as a rule.
I run a more-or-less full service online/grade/delivery service (used to be called “online,” I guess) including captioning.
The gamut of service covers just about everything that can be encoded as an image: from stills to feature-length for streaming, disk delivery, broadcast and theatrical presentation. Among the many one-offs, I’ve been fortunate enough to be retained on about half a dozen series over a multi-season arc over the past 10 years or so, and certainly the acquisition formats have changed a lot in that span. Our tools have also changed radically, going from Silicon Color FinalTouch2K to Apple COLOR and then through multiple generations of Resolve. Which I wanted to start with, but even then, davinci systems were not sure about it in favour of their 2K+ system. But we know how that went.Used to get a lot of HDV 10 years ago, which mutated into C300, saw a pile of RED, then EPIC, some ARRI, a lot of Sony FS7 lately. It depends on the flavour du jour and how rich the producers feel. HD is on the decline in favour of 4096 finished as 3840, which is kind of a pain in the asspect ratio.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Tim Wilson] “Are you shooting it yourself?”
Rarely.
[Tim Wilson] “Are clients bringing it to you?”
Usually.
[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.)”
Yes.
[Tim Wilson] “What cameras/formats are you shooting/receiving?”
I generally have no idea. With MC and/or FCP Legend I’d have to know because I’d need to know which camera plugins to install, but since I switched to mainly using PPro a couple of years ago I typically just grab the footage and get to work.
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As a solo creative, i shoot most of my own footage but there are projects where I act more as producer/director and will send others to do the shooting. I also have several clients that I just edit for, and two clients that I just have me do audio mastering/colour grading.
I’ve been a freelance shooter/editor for almost 30 years but I’ve occasionally worked full-time for production companies and I’ve maybe spent four years out of those almost 30 just editing.
If it’s just me, I own a Sony FS100, some Panasonic GH4s, some Canon DSLRs (7D, 70D, 550D), some Go Pros, a DJI Osmo and some video cameras (an ancient Sony FX1, Canon XA10, XA20). I’m primarily capturing ProRes via my various Atomos recorders but otherwise it’s AVCHD, MP4, or similar. I also regularly get footage from a Sony EX3 and occasionally from HDV tape.
Being solo, I’ve had the luxury of editing all of the above exclusively in FCPX since the day it was released.
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(For some reason I can\’t edit my own posts so apologies in advance for the stupid mistakes and bad English that I can\’t go back and fix)
Jeff Kirkland | Video Producer & Cinematographer
Melbourne, Australia | Twitter: @jeffkirkland -
[Andrew Kimery] “since I switched to mainly using PPro a couple of years ago I typically just grab the footage and get to work.”
This should go on a blurb somewhere I think!
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[Tim Wilson] “This should go on a blurb somewhere I think!”
Didn’t mean to sound like a pitchman, but it’s the truth. Most of the time taking the performance hit for staying camera native (I’m talking HD here, not UHD or 4k) is the lesser of two evils for me vs taking the time plus, increased storage space, to transcode to a more edit-friendly codec.
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We have some Sony FS7 in house and F55 at rent.
A lot of lens like Canon CN-E 30-300mm and Sigma 120-300mm for live events (Opera live = long time duration).
All the footage shooting in UHD/4K 50p XAVC-L/-I.
Editing on Imac 27″ late 2013 and Mac Pro “black basket” with n. 4 Areca thunderbolt 2 Raid 5 (Tot 112 Tb).
Fcp X work better with XAVC-I than XAVC-L but the best is ProRes.
Multicam with proxy is the standard.
We waiting a new Mac Pro with more power and a new FCP x with more audio features.
Apple don’t forget about us! -
I work on mid to low budget projects, both in house and on contract. My regular projects include footage from a variety of sources ranging from cell phone footage to a FS7 and every brand and blend between.
Jeremy Doyle
https://www.jeremydoyle.com -
I own a RED Scarlet and GH4.
I also acquire the best and worst formats.
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[Eric Santiago] “I also acquire the best and worst formats.”
“They were the best of formats, they were the worst of formats.”
-A Tale of Two Cameras.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
To put it simply.
Every format, codec, camera, etc. but by the time i get my hands on it – its all DNXHDxxx.
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