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Which DSLR camera is best for FCP workflow: Canon60D /Panasonic DMC-GH2
My job: Industrial video production, usually shot on Sony HDV tape video cameras and digitized to FCP using AJA KONA LH. Old SChool.
My problem: work wants me to choose a new camera for my job. A DLSR that shoots video as well as stills. OKfine. I like the Canon 60D that produces a h.264 file and the Panasonic DMC-GH2 that produces a AVCHD file.
-Forgetting all other features of the cameras, WHICH FILE is BEST for the FCP workflow?
-Which looks better?
-Is there trouble importing AVCHD, even with L&T, like I’ve heard?
-Does AVCHD need to be converted before FCP?
-Can the Canon 60D footage be imported directly?Anyone’s thoughts and experiences would be most appreciated.
Thanks, Mr. Inthedark“Cognito Ergo Es”
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8 Replies
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Neither and both. H264 and AVCHD are crux codecs for editing and should be transcoded regardless- what I don’t know (someone fill in here) is exactly what log and transfer supports in FCP, but I have a feeling you can easily transcode to Prores from the canon formatted SD cards withthe correct file structure and h264 files, whilst I dont think you can with AVCHDfrom the other one. The 60D shoots better bitrate anyway…
😀
Tom Morter-Laing
Freelance Editor
Certified Apple Product Proffessional, 2010
http://www.depictproductions.co.ukSony Z5, with Rode NTG2.
iMac 27″ intel i7 2.93GHz, 12GB RAM, ATI HD5750 [1GB GDDR5], 2TB Int. SATA with 2TB External HDD; (FW800), with Elgato Turbo H264HD. -
My understanding is that the Canon EOS plugin for Log & Transfer supports 5D and 7D canons. Not sure if the 60D is supported. A quick search at the Canon site might help answer that.
Don’t forget to watch Shane Ross’s excellent tutorials on correct workflow with Log & Transfer. Search this forum and you will find it
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Both codecs need to be transcoded for FCP and edited as Pro Res. Although the 60D technically has a higher bit-rate, the Panasonic is supposed to have a better implemented bit-rate, something to do with number of i frames.
But you should really consider the camera features before choosing the codec. The Panasonic is a much better video camera than the Canon 60D. As there’s no mirror in the Panasonic, it has an eye level viewfinder you can use while shooting. Auto focus works while shooting as well as a few other features optimized for video.
The Canon 60D is a much better still camera. It has a larger sensor, huge choice of lenses and accessories. If you’re shooting outside with the Canon, you really need a viewfinder magnifier like the Zacuto Z-finder. The audio on the 60D sucks for video, ALC only, no manual control. I have a 60D and a 7D and love them both. But a friend has the new GH2 and I have to say it’s a better video camera.
So if you’re shooting 60% video, 40% stills, get the Panasonic. If you’re shooting 60% stills and 40% video I’d go with the 60D.
That said, the swing out screen on the 60D makes it a better video camera than the Canon 7D or T2i
Cheers
John C
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The actual FCP plugin from CANON ( 60D included ) does do a great job of log and transfer + direct convert to PROres in one fast and simple ingest. AVCHD which is usually not intra but long GOP and is base on a 1440 wide to be shown as 1920 …
I would suggest you prefer a good h264 easy to use in FCP prores rather than a good AVCHD easier to use in imovie…regards
zap -
Please be careful with the Canon log and transfer plug in.
Restoring projects can bite you right in the keister if your file paths aren’t exactly the same.
I would say get a still camera and get a video camera.
Jeremy
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both codecs can be brought into FCP ( as prores )just fine, so this really shouldn’t be your main concern. There are plenty of examples of beautiful pieces ( Vimeo et all ) shot with both, and I’d bet all were edited on FCP…
I’m actually editing a few pieces with footage from both ( actually the previous model GH1 and a 5d). And word is the new GH2 has much better image quality than the last generation GH1.So for your stated purposes ( ie unlikely to be blown up to the full screen) make your decision with how you like working with the cameras… articulating LCD is really great for run & gun doc stuff, auto focus very useful in doc as well. lots of info out there, try the Philip bloom and DVX user group sites for a ton of opinions.
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[John Christie] “audio on the 60D sucks for video, ALC only, no manual control”
No true, it has manual control of the audio, but you cannot monitor it (not sure if you can on the GH2)The Panasonic does have autofocus but only if you use one of there lenses and they are pretty slow. So the question is what type of video are you trying to get. If you are a run and gun operation with little time to set up DSLR video may not be what you are looking for. While both of these cameras have their differences from one another there is no clear winner for video or still.
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I dont think autofocus on a DSLR should ever be used in a professional capacity, and on DSLRs i especially dont think it should be a deciding factor about the camera, until they improve on this. People tried to argue this for the new Sony series when it came out, and it turns out theyre not very good either. As for audio monitoring and turing off AGC, get the magic Lantern firmware and itll allow audio monitoring,, AGC control, s=zebra striping, bitrate control and loads of other stuff.
As for the viewfinder thing, you should be investing in a better one for any DSLR to be honest, it helps a lot.
😀
Tom Morter-Laing
Freelance Editor
Certified Apple Product Proffessional, 2010
http://www.depictproductions.co.ukSony Z5, with Rode NTG2.
iMac 27″ intel i7 2.93GHz, 12GB RAM, ATI HD5750 [1GB GDDR5], 2TB Int. SATA with 2TB External HDD; (FW800), with Elgato Turbo H264HD.
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