[Brendon Marotta]

You didn’t mention what kind of run and gun you are looking at..the use of the camera and final target market will very much determine which way to go. Private client (i.e. sports, weddings, corporate), web only, broadcast…they all can drive a different set of choices.

I’m shooting documentary – with the occasional off narrative project shot in documentary style. The project I’m editing now involved more than one political protest and surgery being filmed – not exactly moments you can do over.

There aren’t any deliver requirements beyond those I set for myself. My primary concern is image quality and flexibility shooting. For example, a RED had great image quality, but when I spy two protestors who are both characters in my documentary about to meet for the first time, and my equipment is still in the bag, I need a camera I can bust out, focus and get the shot with quickly.

I was looking at the Sony NEX-VG900 not because it has the strongest video quality, but because it functions like a handycam and the auto-focus is supposed to be good. The image quality may be too much of a compromise for me, but that ability to gun appeals to me.

I looked at the xf300 – next to the DSLRS, it looks very videoish to me still. I can see why it got lost in the DSLR boom.

I’m not too invested in any glass. C100 is definitely on the shortlist. AF-100 is a bit up in price range, but I’ll look at it.

[Brendon Marotta]

I’m actually copying from my harddrive – I’ve clicked and dragged the card files onto it and am opening those. Still getting the same problems.

[Brendon Marotta]

Actually, I’ve got the full clicked-and-dragged cards from the shoot backed up. So, the proxy files are being made right now from log-and-transfer. I just needed to see how to go back from those files to the originals for my final output. Thanks for the links!

[Brendon Marotta]

Hey Chad,

I like the idea, but I’m not sure how to execute. Specifically, if I turn all my footage into a ProRes Proxy and cut the film, how do I go from those edited clips BACK to the h.264 files to turn them into a higher quality ProRes file?

Also, this film will probably go heavy on the color correction, so making a high res final version is important.

[Brendon Marotta]

For reference:

Right now, we’re shooting 5D, which means H.264 files.

Editing FCP 7 – using compressor to make ProRes 422 (HQ) files.