[Ryan Holmes]

That’s the nature of DNxHD 80. It’s a subsampled codec which reduces resolution to 1440×1080. If you’re looking for space savings then stick with DNxHD 100 or even 36 (if you’re doing a Proxy-based workflow).

https://www.avid.com/static/resources/us/documents/dnxhd.pdf

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Shimon Pinto] “Have you any idea of how to go about it or must I (we) conclude that Atomos Shogun and Canon 5d maark iii is A BAD combination?”

The Atomos is a fine product. The problem is trying to run audio through the 5D3 out to the Atomos. Don’t do it. The way you deal with this is exactly what I described for the original poster.

[Ryan Holmes] “Second source audio, meaning you shoot your camera footage to the recorder and the sound to a different device entirely. Then in post you sync the 2 back together.”

When I shoot a DSLR on set it just gets scratch audio (recorded internally) on CF card. Then i import my second source audio and sync that up in post. For what you’re doing the Shogun is just giving you a better quality picture, but the audio will still have to be matched up. Remember: you’re shooting video with a stills camera, so you’re going to have to accept some sacrifices. If you want something that handles better audio you’ll need to look at the Canon Cinema series, Sony FS7, or Blackmagic products.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

There’s no real magic to it. Media Encoder can do the pulldown conversion of your footage without any real hiccups. If you’re unhappy with the final product then you’ll need to look at a hardware solution like Blackmagick’s Teranex Express or 2D Processor. The most cost efficient solutions are software based (Media Encoder, Compressor, Telestream Episode, etc). But as usual, it depends on your budget, time, and overall standards.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

You can download the ProRes codecs from Apple’s website and install them on your system (provided you’re running a Mac, if you’re on a PC you can’t write ProRes files). With GoPro the Cineform codec that they developed was bundled with CC2014 I think. I would assume you could download that as well and install it.

As for Netflix, that’s not a codec. You just need to built a preset to the specifications that Netflix requires and encode that. And to be more specific your list above conflates formats, codecs, and presets together. They are different things:

Codec = compression/decompression (such as ProRes, DNxHD, Cineform, JPEG 2000, etc). These can be added to your system via downloads from the codec developers website usually (sometimes these are paid proprietary items)
Format = Quicktime Movie, MXF, WAV
Preset = a predetermined list of settings that combines the format and codec used to create a new derivative file

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Jeff Markgraf] “What makes PPro so great, for you? Specifically, what features does it have that you find both useful and unique?”

To hit some high level features I’d say that since CS5 Premiere has taken just about any codec you throw at it with realtime playback (provided you have the hardware). Premiere was working with h.264 files pretty early on into the “DSLR revolution” and that endeared it to many of us shooter/editors. That’s not a defining feature today as nearly all NLE’s can handle h.264 with east today (though I’m not sure how well Media Composer does with those files….?).

The integration between apps is a great benefit as Herb notes – Audition, AE, Photoshop, etc – all can come into Premiere natively (just import the project file and Premiere will parse that and display the content). Building template lower thirds and handing them to my editors as an AE file speeds up the workflow. And because it’s a template the editable text fields appear in Premiere while keeping the animation. So the editor can just swap out the name without ever leaving Premiere or having to fiddle with animation.

As much as one can enjoy kayframing, I think Premiere’s keyframe editor is better than the other apps (though this may be personal preference because I’m used to AE). It can still use some work, for sure, but I don’t mind having to push keyframes around in Premiere (it’s a lot better than FCP Legacy, IMHO).

The customizability (is that a word?) of the interface is nice in our shop. Since not everyone has the same monitor real estate it’s really easy to customize the interface to fit with what that editor wants to see as they work across 1 screen or 2 screens – every panel is movable and resizable.

Specific to CC2015, I’d say that the Lumetri color panel is absolutely spectacular. If you’ve ever used Lightroom then Lumetri is basically that ripped out and slid into Premiere. The masking, tracking, and vignetting all available within Premiere are really nice too.

But users mileage varies, and if you strictly edit (no sound, no color, no mograph) then it would seem like personal preference regarding which NLE you enjoy as they all can “get the job done.” In our shop we have to do a bit of everything so the Adobe suite of apps suits us very well to accomplish that task. And the more tightly they integrate them the better it is for us.

[Jeff Markgraf] ” because the client says CC2015 is too buggy, and so won’t upgrade yet. “

I’m not sure what the fuss is about CC2015. I’ve been running it since June on 5 workstations and turning work out every week. There’s always hiccups within any software, but buggy to the point it’s unusable I haven’t experienced. Or maybe the bugs that are there just don’t cross my workflow….?

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Ibrahim Ziazadeh] “Is there a way to also have a SD card in the slot, while recording video on CF card so that when it gets filled the recording automatically continues into the SD card?”

No. It’s either recording to the CF card or the SD card. You can’t fail over to one after the other is full. Remember this is a stills camera, not a video camera. Because the controller on the 5D3 for the CF card is faster, I’d recommend recording RAW to that. Use the SD card slot for the Magic Lantern hack.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Richard Hendrick] “I have some security camera footage with the extension “.D01″ on a disc. Also on disc is a dcs.exe file.”

Security camera footage is typically proprietary in format. You’ll need to see if the app that opens those files also exports out to a more commonly playable format – wmv, h.264, mp4, etc. Once you get the file into a more commonly playable format you’ll still need to convert it to somethng that FCP7 can handle – ProRes or DNxHD. Those security apps don’t interface with pro editing software much, if at all. So, in my experience, it’s usually a 2-3 step process to get it in. If all else fails, do a screen capture of the video playing in the DVR Player app on the PC. Then bring that file into FCP7 (or convert that screen capture for use in FCP7).

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Jacob Giacometti] “Yes I have Adobe CC 2015 full, why ?”

Adobe Prelude can do ingesting as well. That’s probably why Warren brought it up.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Jacob Giacometti] “Oh you mean I need a capture card in like, the mac can’t capture and convert through HDMI ?? :-o”

Yep. You need a PCIe card that can ingest the signal. FPC7, Premiere, Blackmagic Desktop Video – all would capture the signal from a C100. But the card is needed as the interface between the camera and the computer. The HDMI ports on Mac laptops or trash cans is an output port only. They don’t ingest signal.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

It sounds like you want to capture the C100’s signal in realtime to your Mac. You’ll need a capture card, like an Intensity Pro or Decklink card from Blackmagic – https://www.blackmagicdesign.com/products – and you’ll also need hard drives capable of reading/writing data fast enough to keep up with your codec of choice. And since you’re computer will be doing the conversion to ProRes or DNxHD or whatever you’ll need enough horsepower for that to keep up in realtime.

With all the inexpensive external recorders these days (Atomos, Blackmagic, Convergent Design, Video Devices, etc), I don’t see many people dragging their computer out as a capture station. If you’re more concerned with monitoring a picture from your Mac onto a TV screen or color calibrated display then Blackmagic is the least expensive option out there for external display.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost