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Canon c300 Post Workflow for Broadcast

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Karni Bags
Canon c300 Post Workflow for Broadcast
on Oct 9, 2012 at 9:08:36 pm

Just shot a spot with the Canon c300, everything is looking good with the plugin and utility, and it's importing into FCP fine.

Question...if I'm looking to create a broadcast quality master, do I want to log and transfer with prores 422 or go native for the edit? There's no sfx/greenscreen or anything like that, and I'll be editing in FCP 6.0.6 on a MacBook Pro. Presumably, will look to go out to Color for grading. If I can cut it reasonably without proxies, I'd prefer to go that route.

My test for a 10 second clip yieled a 65MB prores 422 file, and a 150MB native (MPEG-2) file.

Thanks!


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Neil Patience
Re: Canon c300 Post Workflow for Broadcast
on Oct 9, 2012 at 10:28:49 pm

I would go ProRes, 422 is fine as the C300 is 8 bit. As long as you have a decent amount of fast external storage you shouldn't need to go the proxy route. If its a commercial spot then I assume you wont have a huge amount of rushes and the transcode is pretty fast so you should be fine.

best wishes
Neil
http://www.patience.tv


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Karni Bags
Re: Canon c300 Post Workflow for Broadcast
on Oct 10, 2012 at 2:26:00 am

Awesome, thank you Neil. Just wanted to make sure I wasn't downgrading the image twice by going to prores, then color, then master. And if I am, it sounds to be a negligible amount.

I had spot checked a test clip transfered as both native and prores 422 clips, and they looked very similar at 100%. At 400% I could see a tiny bit more artifacting in the prores, but nothing that looked like a deal breaker.


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John Tagamolila
Re: Canon c300 Post Workflow for Broadcast
on Apr 24, 2013 at 5:10:16 pm

Thanks for your posts on this subject -- would there be any gain at all by transcoding raw C300 footage at 1080p/50Mbps to ProRes422HQ as a archival/master?


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