[Neil Redman]

Wow thank you so much, it all makes a lot of sense!

The workflow you described is pretty much what I used to be doing before. I didn’t know however that you only need the BDMV folder for Premiere so that is a big help as it will leave at least with a little bit less clutter. Anyways I think I’ll try sticking from now on to the workflow everyone has suggested by always using a new card/formatting it.

Maybe Adobe could adress these little issues by adding some features to Adobe Prelude that helps manage files in a situation like this? (I haven’t upgraded yet so I don’t know if it might already do something similar)

Anyways a big thank you to everyone that posted here!

[Neil Redman]

[John-Michael Seng-Wheeler] “It’s not imposible, but it will be varying degrees of difficult depending on what format you’re shooting on and whether you’re downloading your footage using a Mac or PC.”

I’m shooting with a Panasonic GH2 and it records AVCHD on SD-Cards. While I’m currently on a Mac I’m about to make the switch to windows, so that would be the workflow I’m more interested in.

[Chris Tompkins] “Off-load all of card to hard drive. Back that up to a second hard drive.
Format card in cam for next shoot.”

When you do it this way, do you have a good way to organise your footage on your harddisk? Or do you you just keep it in folders, like Card A, Card B, Card C, etc.?

(Sorry for the little late reply)

[Neil Redman]

I’m not using the SD-cards as my only backup, more as an added layer of safety. I copy the files to my harddisk and make a backup of it, but its nice to have that extra bit of safety. Generally I try to keep all my footage on the SD-cards until the editing is done and I’ll move on to the next project.

I’m afraid so, that what you are saying might be the best way, but it makes file organising really annoying. When I shoot I generally try to copy all the footage from the card as soon as I find some time for backup and if I do this often during the day I end up with a lot of “file structure folders” for my footage, and you can’t probably organize them.

Just for comparison here is what I would do if my camera would record single files:
– Shoot a few clips (say clips 1-10) -> copy on harddrive
– Keep shooting on card (11-20) -> copy clips on harddrive in same folder
– and so on…
– then afterwards maybe do a batch rename to the files and put them in folders (Day 1, Day 2, or Person A, Person B, etc.)

I’m guessing something like this is impossible to do?

[Neil Redman]

[Todd Terry] “Well, no… you want the frame rate be appropriate to the amount you want to slow-mo, not necessarily the highest possible. You wouldn’t want to shoot 1500fps with a Phantom camera if you only wanted to slow-mo by 50%, obviously.”

I meant that more coming from a standpoint where you only have a camera that does 30p or 60i and you would want to get the footage as slow as you possibly can with that setup. But yeah you’re totally right obviously 😉 Just how could I forget that I had my phantom flex laying around collecting dust while I’m shooting with my cheap DSLR? ^^

[Todd Terry] “60i shooting can be useful, if you have editing software that can extract the frames into fields.”

Is there a way to do that in Premiere or After Effects?

[Neil Redman]

Ah now everything finally makes sense to me! Thanks so much that was a great explanation!

[Neil Redman]

Another reason for the price is the fact that there are a lot more photographers than videographers out there, so the market for the DLSR’s is a lot bigger which allows them to sell DSLR’s at a lower price than traditional video cameras and still make a profit.

[Neil Redman]

Okay, thanks everyone.

Just so I understand the 50i thing correct. I understand it that there are 25 frames captured a second, which are then transformed into 50 interlaced frames. Is that correct?

So would it then be enough to just check the footage as progressive (like in premiere under interpret footage) or do you have to do some kind of deinterlacing? Or does checking it as progressive already deinterlaces the footage?

neil

[Neil Redman]

Hey, thank you for the advice. I was actually already planning on doing that pretty soon. I just wanted to make sure I understand all the modes I have right now on there, before I start modifying it.

I’m still hoping someone could have a read through my points and tell me if I made any mistakes.

Cheers

[Neil Redman]

Okay thanks to you two. Its starting to make sense to me now 😉

[Neil Redman]

Hey, thank you very much for the reply but I’m still not exactly sure about the exact differences between a mixer and an external recorder.

Say you are recording your sound dual system to an external recorder anyways. Wouldn’t then all of the points that you just named (except for number 7) also apply to a good external recorder? And for number 7 when would it be of advantage to feed my audio to more than one camera? Would it be for backup purposes and to save time in Post synching up footage?

Could you say that a good recorder (something better than say a zoomh4n, like I mentioned in the first post, but with many input connectors) can essentially do the same things as a mixer, with the difference that a recorder would record the audio to individual tracks and the mixer would feed it to a camera or a recorder?

So bottom line, if I had a recorder that let’s say records 8 individual tracks (and thats all I need) letting me control the gain for each of them and that has really good Preamps, EQ’s etc. and I want to record dual system, could I then still benefit from a mixer? [Besides slowing down the production and using up all of my budget of course ;)]