Where’s your footage coming from?

[Oliver Peters]

[Tim Wilson] “Are you shooting it yourself?”

Nope. Just editor/colorist as a general rule. I have shot in the past, but that’s not normal for me.

[Tim Wilson] “Are clients bringing it to you?”

Client or production company.

[Tim Wilson] “Are you part of an editorial team on the post side of a production, production company, etc? “

Usually yes, as a freelance editor/colorist. For corporate/commercial work, these are actual companies. For indie features, these are often ad hoc companies just for that one production.

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

Corporate/commercial : C100, C300, C500, 5D, 7D, FS7, one of the various Sony Alpha DSLRs, GH4

Indie features: RED One, RED Epic, ARRI ALEXA

– Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Charlie Austin]

Movies. 🙂

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~ My FCPX Babbling blog ~
~\”It is a poor craftsman who blames his tools.\”~
~I still need to play Track Tetris sometimes. An old game that you can never win~
~\”The function you just attempted is not yet implemented\”~

[Tim Wilson]

[Charlie Austin] “Movies. :-)”

So they handing you off reels of film?

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(For the indie noise nerds like me: Yo La Tengo, “Deeper Into Movies”)

[Charlie Austin]

[Tim Wilson] “So they handing you off reels of film? “

lol.. Yes, and Mag. Then I load up the synchron…

Alright… It’s usually all ProRes of some flavor, and either shows up on drives, or we DL from the studio servers. Mostly finished cuts with split stems, sometimes dailies… 🙂

————————————————————-

~ My FCPX Babbling blog ~
~\”It is a poor craftsman who blames his tools.\”~
~I still need to play Track Tetris sometimes. An old game that you can never win~
~\”The function you just attempted is not yet implemented\”~

[Duke Sweden]

How odd. Everyone who ever answers my questions is nowhere to be found. I don’t recognize one name here. Anyway.

I eat what I shoot.
I use a Panasonic G7 (The GH4 for poor people!)
I make up stuff in my head, put up the green screen, and have at it. With the assistance of my handicapped son.
I use the Adobe collection on a pitifully under powered PC.
I do crazy stuff like this:
https://www.youtube.com/watch?v=xRZ-rHxfs94

[Tim Wilson]

[Duke Sweden] “Everyone who ever answers my questions is nowhere to be found. I don’t recognize one name here. “

I’ve cross-posted this question to a number of forums, so I would imagine most people reading this thread will see some new names. 🙂

btw, this is just curiosity on my part, not “research” or anything. We tend to focus on specific problems (for obvious reasons), so I wanted to open up the floor for some more general, but generally on-topic, considerations.

So, with thanks to everyone for playing along, we continue….

[Shawn Miller] “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”

Cool! I was meaning to ask this from other folks posting upthread who are working with ProRes and DNxXX — is your footage being shot in those formats, or converted for post?

[Neil Goodman]

[Tim Wilson] “Cool! I was meaning to ask this from other folks posting upthread who are working with ProRes and DNxXX — is your footage being shot in those formats, or converted for post?

“

Usually converted.

[Scott Witthaus]

[Tim Wilson] “is your footage being shot in those formats, or converted for post?”

Shot in those formats. Convert to proxy if doing multicam or 4k work.

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

[Duke Sweden]

Yeah, somehow after I responded I ended up in the FCP X forum! You must be a magician! 😉

Well, for a very short period I shot in ProRes HQ when I owned a Ninja 2, but it was very incompatible with my then D5500. It worked but it was a major pain to use so I sold it. So back to 24 MB h264, until I got the G7, so now I shoot 100 MB 4K, and transcode to DNxHD. But, for what I do I may as well be using the Crayola codec 😉

[Bill Ravens]

One man production company, working mostly on documentaries and promos for private individuals. I shoot with a Sony FS700, Sony F5, or Canon 5D, capture to an Odyssey O7Q. So, all my footage is Prores 422, acquired by myself. For R&G, the FS700 is the camera of choice. For controlled shooting environments, the F5 takes the prize.

I’ve been editing on Media Composer since v3.0, but, lately, I’ve been trying to edit on Davinci Resolve 12.5. I’ve alternated between PC and MacIntosh platforms, over the years, currently editing on a PC based edit bay.

Clients vary from those that want raw, unedited camera footage to those that want footage delivered on thumbdrive, DVD, or YouTube. 99.9% of all jobs don’t require distribution, as that’s handled by the client.