Comments on: My DSLR Workflow (Canon 5D/7D/T2i/1Dmk4)

By: Kacey

Kacey — Fri, 18 Nov 2011 01:22:24 +0000

I do agree with all of the ideas you’ve introduced for your post. They are very convincing and can certainly work. Still, the posts are too short for newbies. Could you please extend them a little from next time? Thank you for the post.

By: WALLY

WALLY — Wed, 19 Oct 2011 10:57:51 +0000

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By: Audio Power Amplifiers

Audio Power Amplifiers — Tue, 25 Jan 2011 04:57:43 +0000

`.` I am really thankful to this topic because it really gives up to date information ,:.

By: Geoff

Geoff — Fri, 12 Nov 2010 00:22:33 +0000

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?

By: mario

mario — Tue, 09 Nov 2010 18:32:41 +0000

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

By: mario

mario — Tue, 09 Nov 2010 18:28:48 +0000

sorry, never used the EOS Plugin. Only use MPEG Streamclip for encoding ALL files

By: mario

mario — Tue, 09 Nov 2010 18:27:30 +0000

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)

By: mario

mario — Tue, 09 Nov 2010 18:23:22 +0000

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

By: Juan

Juan — Tue, 09 Nov 2010 17:43:20 +0000

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

By: Thomas

Thomas — Fri, 05 Nov 2010 16:41:48 +0000

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?