digitalfilms by Oliver Peters
The interest in HDSLR production and post shows no sign of waning. Although some of this information will seem redundant with earlier articles, I decided it was a good time to set down a working recipe of how I like to deal with these files. To some extend this is a “refresh” of the Round II article, given the things I’ve learned since then. The Canon cameras are the dominant choice, but that’s for today. Nikon is coming on strong with its D7000 and Panasonic has made a serious entry into the large-format-sensor video camera market with its Micro 4/3” AG-AF100. In six months, the post workflows might once again change.
To date, I have edited about 40 spots and short-form videos that were all shot using the Canon EOS 5D Mark II. Many of the early post issues, like the need to convert frame rates, are now behind us. This means fewer variables to consider. Here is a step-by-step strategy for working with HDSLR footage, specifically from Canon 5D/7D/1D HDLSR cameras.
Before doing anything with the camera files, it is IMPERATIVE that you clone the camera cards. This is your “negative” and you ALWAYS want to preserve it in its original and UNALTERED form. One application to consider for this purpose is Videotoolshed’s Offloader.
Once that’s out of the way, the first thing I do with files from a Canon 5D or 7D is convert them to the Apple ProRes codec. Yes, various NLEs can natively work with the camera’s H.264 movie files, but I still find this native performance to be sluggish. I prefer to organize these files outside of the NLE and get them into a codec that’s easy to deal with using just about any editing or compositing application. Generally, I will use ProResLT, however, if there is really a quality concern, because the project may go through more heavy post, then use standard ProRes or ProResHQ. Avid editors may choose to use an Avid DNxHD codec instead.
I have tried the various encoders, like Compressor or Grinder, but in the end have come back to MPEG Streamclip. read more...