I found plenty of blog entrys about how to work with video footage shot with a DSLR.
The best solution so far is, to convert all files you need for your edit to a edit friendly codec. The problem I came across is obvious: You create LOTS of data and your harddrives are full after just a few projects.
For instance: I shot a clip with the Canon 5D in 1080p with 25fps and a duration of 8sec: the native H.264 is about 45MB. Since I’m still using Final Cut 6, I’m not able to convert to ProResLT so if I want to choose the best quality possible for a nice edit in Final Cut, I have to use ProRes422 which quadruplicates (yeah, I finally had a use for this word!) the native file from 45MB to 183MB = 4(!) times bigger
H.264 => ProRes422 = 45MB => 183MB
Another solution: convert to XDCAM EX like Kevin Shahinian from Pacific Pictures did for his “City of Lakes” trailer (amazing work btw).
H.264 => XDCAM EX = 45MB => 35MB
Pretty nice and you will save a lot more space than just converting to ProRes422. You won’t notice a difference of quality when watching it compressed on the internet. But after converting some footage, I noticed some artefacts and pixels within the XDCAM EX codec file. It is a great codec (especially for web use) with nice quality and stressless editing but it’s another compressing step.
BUT, I’m still not happy with that. I shot hundreds of gigabytes of footage. Even if it’s “just” 80% of the original file size, it’s still too much. And, well, you are converting footage which is already very compressed out of the camera.
I tried some workflows and found a solution to save harddrive space (in the end) AND raise quality too!
Here’s my workflow: (step by step)
- copy your footage 1:1 to your harddrive
- open MPEG Streamclip
- Go to Lists => Batch List
- Drop all video files into that list (I usually select files in FCP and just convert all the footage I shot the day before)
- convert to a codec which works best for your editing software
Now you’re able to edit your project without having several crashes. I tried to edit H.264 in FCP but it’s very slow and FCP keeps crashing.
But then I tried something different: Why not editing in ProRes422 and when finishing it, just relink all your footage to the native (H.264) files?
It works! If you want to try it first, just move your footage folder with all your ProRes422 files to a different location. FCP won’t find it until you reconnect the files manually.
Nothing easier than that:
- when moving source folder, the clips will turn offline
- choose from the menu “reconnect files”
- now go to the folder with all the native H.264 files (NOT the ProRes Folder!!)
- MPEG Streamclip doesn’t rename files after converting, so FCP will notice the file names
- It will take a while, depending on how big your edit is
- select all and hit render
- Now you can export out of this timeline with all your native files
It’s nothing new, I know, but I feared that Final Cut will crash again and again, so I tried different projects with different amounts of footage and it worked without having a single crash! Even with filters like Magic Bullet Looks or other color correction filters on it. Transitions worked also
The nice thing about this workflow:
- you’ll save space cause you can delete the 2nd folder with all the converted files
- you relink to all the native files which will raise the quaility (even if just minimally)
- if you have to change several shots after finishing it, you could just convert all the files again and relink to ProRes
- and of course: if it won’t work, just let MPEG Streamclip re-encode all the files over night to ProRes
But honestly: none of us wants to make huge changes on finished (and already paid) projects 
Hope that was useful for all the DSLR shooters out there until Apple releases a update which supports native H.264 editing.
I deleted some ProRes422 folders and…well… more than 1TB free space!
If you have problems with this workflow, please let me know. It may not work flawlessly with any project and don’t be frustrated if FCP keeps rendering the timeline. It may take a bit longer
cheers
Mario
*Update*
the main reason why I wrote this is (like I said above): I hate wasting harddrive space. Even if you won’t relink the footage to the native files, you can delete the ProRes folder (or whatever you encoded) and if you need the files back, simply let MPEG Streamclip do the work for you again. Drop the files into your batch list and hit the export button. That’s why I always drop the whole folder in it instead of selecting the best shots.
25 Responses to “My DSLR Workflow (Canon 5D/7D/T2i/1Dmk4)”
I’ve used the same workflow a long time for the odd JVC codec .TOD, but you have to purchase the MPEG2 license for QuickTime first, as well that you have to as you’ll have to download the integration for Everio in QuickTime. I used a similar workflow with exporting the .TOD to XDCAM EX 422 in QuickTime Pro (you’ll get some weird kind of wobbly interlaced horizontals that kind of look like the rolling shutter issue on the HDSLRs) then bring it into the batch list of MPEG Streamclip and converting the XDCAM EX 422 to ProRes422 (HQ is the best, but there’s no difference on using LT when screening on the web). This is the best way to handle the old and odd JVC codec .TOD (it’s JVCs version of MPEG2) for MAC users.
been looking for a post like this all night to finish my work, cheers!
Glad it helped! cheers
or use Premiere CS4/5 that reads natively the h.264 format without all the locked in horrendousness that is apple software. works a treat, so fast, more stable, more creative.
Hi, I tried moving my folder. FCP still finds the clips..
But, I could link them manually.
My question is, because I like to render on the go, after each edit, so when I re-link to the native files, they obviously turn red because the sequence settings are pro res 422 (LT). Should I then change sequence settings to h.264 for the quality to improve, even a small amount, then render out with h.264?
My workflow concerning internet video has always been this:
h.264 -> Pro Res 422 (LT) -> FCP -> Edit, Color etc. -> Compressor
(compressor settings at h.264 8mbps)
Thanks in advance,
Joe
Oh, and would grading in Color (the app) survive?
You could trash it. FCP won’t find it in your basket. I have changed the settings but didn’t notice any difference in stability, rendering speed or quality so I left it as they were.
would never render out in H.264. Your final edit should be best quality possible = ProRes
Regarding Color: Color doesn’t “like” transitions, effects or any codec except ProRes… it’s the most instable software in that FCS bundle. Even if you choose ProRes as editing codec, it will crash if you have effects on your clips.
That’s why I said, trash the ProRes folder at the end of each project, not in between. If you have to go back to Color to make some changes: re-encode.
H.264 => ProRes => Edit, color correction => finish => export to ProRes => trash ProRes folder (to get some space)
It’s not really necessary to relink your to all the native files. No one will notice a difference, but the fear of trashing all your prepared editing files is gone, cause you would have the chance to relink (either with the native files or with re-encoded ProRes files)
Once I finished a job, I never went back to make changes (well, maybe 95% of all the jobs I finished)
Okay, I’m able to grade in color, with transitions etc. It just doesn’t show in the timeline in color.
I’m giving up the idea of relinking to the original files because it is impossible to keep the grading from color that way.
My main question now is, why would I render OUT (export) prores? That is no delivery codec is it? Would Vimeo and YouTube accept pro res?? I didn’t think so at least..
Thanks in advance,
Joe
oh, you meant as delivery codec. ProRes would be your master. I never export to H.264 right out of the timeline. I’m always finishing my projects in ProRes and export the final video to the I need codec (H.264, mpeg, avi, you name it)
Like I said, relinking to H.264 is not a necessary, it’s just possible without having several crashes. The main thing, why I wrote this: get rid of those HUGE amount encoded ProRes files at the end each projects.
Thanks
I get it, just misinterpreted it a little!
BTW, what do you use for internet videos?
Compressor? If so, what codec and settings for optimal quality.
I kinda suck at that aspect!
Thanks a million for the info!
Well, Compressor, Quicktime Pro, Mpeg Streamclip. For Image Sequences Quicktime Pro most of the time. It depends on what you will export. Motion Graphics? Video? 1080p? 720p? For Vimeo I’d recommend H.264 (or maybe MP4) with a bitrate of 4000-6000 kBit/s. It really depends on how long it is, what it is and so on. My Sunny-4seasons spot on Vimeo for instance is 25sec long with about 6,5MB. No Video, only graphics
Actually the best method of editing 5D/7D/550D footage is to use Premiere Pro CS5. It handles the files very well indeed. I was using fcp 7 earlier and my working speed was very slow. But CS5 kicks serious ass when run with a good gfx card
I know, I own Premiere Pro (as part of the Production suite including After Effects and Photoshop) and tried CS5 also, but I’m a Final Cut user and I’m happy with it. (expect this H.264 problem). I simply don’t understand why Apple didn’t manage it to make it work without problems.
They invented this codec.My Post is more of a way to go for all the Final Cut users until Apple releases a (hopefully) MAJOR Update, Not minor like the last one. That’s why I’m still using FCP6
Hey mario. This article was really handy! I have a question. We shot a movie on a canon 7d. We are going to transcode the original h264 files into one of the apple prores codecs and edit. However, we are going to make a blowup to 35mm film and we were wondering what codec is the best one to make the blowup from? Does the apple prores 4444 result in a better image quality?
Cheers,
Santiago
totally forgot to reply. Sorry for that.
For 35mm blow up, I’d recommend to create a tiff or targa sequenz. But actually never did that with DSLR footage, only with Motion Graphics out of After Effects
Sorry as interesting as this article is I can’t see how this will save time or space at all. If you are editing in ProRes which FCP will favour compared to H264 and then want to export it out to say H264 why not just export it out via QuickTime? I would have to manually relink all of my files AND then re-render the whole timeline again?? Only to produced a H264 which will have lower quality to start with there compromising the final output. In the environment I work in (i.e. corporate / broadcast) this would add time to making a programme, increases the size of the render cache (because you have had to render the same timeline twice) and only saves space at the END of the project and not during. What happens when you need to make changes later down the line? Do you try and recut in H264 which you stated was causing FCP problems? Sorry just a little feedback.
yup, it saves HDD space at the END not during the edit. Since FCP obviously doesn’t support H.264 natively, we have to transcode each clip first.
The main thing I want to write down is simple: don’t fear to delete the ProRes files as soon as your project is finished. The DSLRs don’t create Proxies for editing like the RED One, so we have to create our own editing Proxies (like huge ProRes files)
Mario
This blog has been a serious education for me. I follow your exact workflow using Streamclip and ProRes 422. Only I leave it as is. I don’t relink to H.264
All my finished projects are stored on ex hard drives. 2TB a pop. I just buy additional drives when they fill up.
But my inexperience re this entire process speaks volumes. Reconnecting to ‘offline media’ is not my strong point.
Thank You, Mario
Dan
What about the Date/Timestamp of the Native H264 Quicktime fies when using Canon EOS Plugin for FCP (vie Log and Transfer) or the RG “Grinder” Software, maintaining the “Timcode” Information on clips.
Are there any drawbacks when reconnection to the original (Native) data that way?
sorry, never used the EOS Plugin. Only use MPEG Streamclip for encoding ALL files
Thank you for sharing your workflow.
I want to ask you a very basic question.
After the conversion do yo delete the original footage ?
I’m feeling that I have to buy a new 2TB hard drive every week.
Thank you again!
Juan
Juan, just read the last part of my post.
After each shoot, I’m doing the ProRes conversion of all the files I shot.
Native files are saved on 2 different harddrives (=>BACKUP)
Am only using the ProRes files for each edit. After that, I’m deleting the ProRes files to get HDD space back.
Even without all the ProRes files on my harddrives, I’ve got around 20TB of used HDD space. Imagine how many harddrives I would have to buy when keeping the HUGE ProRes files
Hi all-
I had a problem with Premiere CS4 not playing the H.264 smoothly so I simply batched out the files to a lower bandwidth of H.264 (around 1.5mp/s) still looks great on screen for editing but takes no space up at all. Then I relink.
For some reason Adobe Media Encoder puts a .mp4 tag on these files verses the .mov tag I get native from DSLR. That means I can keep track of which is which.
Works like a charm. Hope that is helpful.
Next question for me is what is best to master to? Any ideas?
`.` I am really thankful to this topic because it really gives up to date information ,:.