I've heard that there is a better format for .mov files for FCP for DSLR cameras; I have a Canon 60D - H.264 apparently will slow down my processor and make editing a brat... It's a log and transfer plugin, if I remember correctly..
I'm wondering how I can get one of these better formats for FCP 7 - I do not have the installation disks anymore; I hope this won't be an issue..
Hey Shane - how are you handling off and online 5D/DSLR footage these days?
Using FCP, I've been creating prores proxy as well as HQ files in situations where I'm going use multiclips or multiple streams in my offline and then relinking to HQ for the colour correct.
This is fine for smaller shoots/projects but for larger docs and series with 2TB+ of media, creating both formats + keeping the original MOVs/BPAVs etc (never mind backing up and archiving it) is getting cumbersome.
[Graham Withers]"Hey Shane - how are you handling off and online 5D/DSLR footage these days?"
I don't. I edit full res, as most of the projects that use 5D that I edit are short form. Well, one project was 45 min total, but the amount of footage was under 1TB. No need to offline/online.
[Graham Withers]"Using FCP, I've been creating prores proxy as well as HQ files in situations where I'm going use multiclips or multiple streams in my offline and then relinking to HQ for the colour correct."
I have a fast RAID 5 Caldigit HDOne that can do 5 streams of ProRes 422 just fine. ProRes HQ is completely unneccessary for footage originating from the 5D. ZERO benefit is had when you use HQ over regular 422. Even when color correcting. HQ is for 10-bit formats, like Alexa, Red, AVCintra. All you are doing is eating up drive space...50% more drive space.
[Graham Withers]"This is fine for smaller shoots/projects but for larger docs and series with 2TB+ of media, creating both formats + keeping the original MOVs/BPAVs etc (never mind backing up and archiving it) is getting cumbersome."
2TB of media? Dude, I have three 3TB internal drives on my computer. Each cost under $300. And an external 2Tb drive can be had for between $300-$400. I'd opt for that, rather than messing with offline/online workflow and the hours it will take to go from offline to online. Say it took a day...at my rate that is $650...just for me, not my system. Staying full res skips that process...and with those drives, you already saved a lot of dough. 2TB is NOTHING. If we are talking 16TB of footage, then there's an issue.
But multiclip...yeah, you'll need a RAID that will run more money...$4000-$6000. But if you offline, and have a copy of the full res and then just relink...it should work fine. VERY little time to do that, if all the file names match.
I hear ya Shane - I love the Caldigit HD One I've got in my own suite but I'm out working in producers' suites more often than not and more often than not, it's on fairly paired down systems.
Good call on using 422 for 5D footage - it's really been on the advice of colourists that I've been going to HQ...
As for drive space, you're totally right - space is cheaper than cheap these days, but as an editor I find I get stuck with recommending a good archiving strategy as pretty much everything is file-based for me these days.
Cloning hard drives is the lowest-cost option but not fail safe - but really, HDD backing up the source footage and printing masters to tape still seems to be the most realistic option until LTO gets cheaper or flash drives get bigger, no?