FORUMS: list search recent posts

Offline multiclip workflow with the 5D

COW Forums : Apple Final Cut Pro Legacy

<< PREVIOUS   •   FAQ   •   VIEW ALL   •   PRINT   •   NEXT >>
Adam Ridley
Offline multiclip workflow with the 5D
on Nov 27, 2012 at 10:43:45 pm

Hello all, started working on a project with two cameras. One is a C300 and the other is a 5D. While we're not shooting a lot of multi-cam there are moments when we need to shoot both at the same time for a few hours. The C300, of course, can roll continoutsly but the 5D is limited to 15min chunks.

So my question is when it comes time to make multiclips in Final Cut 7 with the proxy media what is the best way to make multiclips that can easily reconnect to the original files? My first impulse was to create a Quicktime Reference of the 5D clips and sync the two together but that seems like a poor choice for when it comes time to online or if the media was to ever be moved to a new drive. Any suggestions? Thanks!


Return to posts index

Jeff Meyer
Re: Offline multiclip workflow with the 5D
on Nov 28, 2012 at 2:04:40 am

I have two main questions.
• Why are you using proxies for a 5D?
• Why are you using multiclip for two cameras?

If this were my media, I would bring the 5D and C300 footage in as ProRes422 and cut it on a timeline. Put the C300 on V1 and the 5D on V2, then remove/add the 5D depending on which camera you want to see.

The proxy workflow makes sense for R3D or other 10 bit 444 sources, but from 8 bit H.264 (5D) or XDCAM50 (C300) sources ProRes422 is lightweight enough to work with, and pristine enough to color correct from.

If you insist on multicam being the approach, export your 5D footage as an online, synced clip with black chunks between the clip breaks. Make a proxy of this file if the payload of two ProRes streams is too much for multicam. If you're interested in doing it right, match timecode between the C300 and the synced 5D clip.


Return to posts index

Rafael Amador
Re: Offline multiclip workflow with the 5D
on Nov 28, 2012 at 2:15:55 am

I absolutely agree with Jeff.
Offlining makes sense when you are working with something like RAW, a heavy codec or uncompressed stuff.
With the footage you are working with, you will only complicate the workflow.
rafael

http://www.nagavideo.com


Return to posts index


Shane Ross
Re: Offline multiclip workflow with the 5D
on Nov 28, 2012 at 3:42:11 am

Offlining also makes sense when you have hundreds or thousands of hours, and limited drive space. If you don't have that much...no point to it.

Shane
Little Frog Post
Read my blog, Little Frog in High Def


Return to posts index

Steve Eisen
Re: Offline multiclip workflow with the 5D
on Nov 28, 2012 at 3:54:16 am

Save yourself time and look into PluralEyes for syncing. You have to make sure that your C300 and 5D footage have the exact same image size and frame rate.

Steve Eisen
Eisen Video Productions
Vice President
Chicago Creative Pro Users Group


Return to posts index

Adam Ridley
Re: Offline multiclip workflow with the 5D
on Nov 28, 2012 at 5:34:16 pm

Thanks for the message. This is a feature-length documentary with tons of footage so creating proxies was a choice to save space. Thanks for the reply!


Return to posts index


Adam Ridley
Re: Offline multiclip workflow with the 5D
on Nov 28, 2012 at 5:41:14 pm

Hey Jeff, thanks for the reply.

1) I'm using proxies for 5D because it is a feature-length documentary with potentially hundreds of hours of footage.

2) I'm using multiclip because there are quite a number of events relating to the project that are shot with two cameras and it's easier for me to bring up a multiclip in the viewer to cut into the timeline as opposed to having a series of sequences to cut down.

Just one question on exporting the 5D as an online: Is ProRes 422 sufficient for a "master"? It was my understanding that I'd work in the Proxy codec and then reconnect to the H.264 files when it came time for finishing. Thanks!


Return to posts index

Andrew Kimery
Re: Offline multiclip workflow with the 5D
on Nov 28, 2012 at 7:33:17 pm

[Adam Ridley] "Just one question on exporting the 5D as an online: Is ProRes 422 sufficient for a "master"? It was my understanding that I'd work in the Proxy codec and then reconnect to the H.264 files when it came time for finishing. Thanks!"

You don't want to finish with H.264 files. Transcode H.264 into ProRes or ProRes HQ in the beginning and that becomes your new master media. You can transcode that into ProRes Proxy if you need to and then go back to the ProRes or ProRes HQ file for finishing but you should never plan on going back to H.264.

Keep in mind that to use multicam in FCP 7 the footage from the two cameras have to be the same codec, frame rate and frame size.




Return to posts index

Adam Ridley
Re: Offline multiclip workflow with the 5D
on Nov 28, 2012 at 8:59:38 pm

Interesting, I never would have thought to transcode the original H.264 files to use as a master because I'd be worried about any amount of degradation (no matter how small) but if that seems to be the consensus then it would make sense to create one large master file of the 5D shots to group with the C300.

I've read that there is barely a difference between ProRes and ProRes HQ but I'd imagine one would want to use HQ if you were creating a new master. Especially if the ultimate goal is a theatrical release.

Thanks again for the help!


Return to posts index


Michael Gissing
Re: Offline multiclip workflow with the 5D
on Nov 28, 2012 at 9:24:06 pm

Perhaps you might want to consider editing in either Premiere CS6 or FCPX which can edit the h264 natively saving a lot of drive space and render time. X has multi cam.


Return to posts index

Adam Ridley
Re: Offline multiclip workflow with the 5D
on Nov 28, 2012 at 9:36:48 pm

Yeah, looked into that but given that our project is feature-length and will have many hundreds of hours of footage I didn't think it would be a good idea to edit natively. Hopefully we'll be able to do that in the next few years as the hardware advances.


Return to posts index

Michael Gissing
Re: Offline multiclip workflow with the 5D
on Nov 28, 2012 at 9:47:38 pm

The hardware is already advanced. NLEs like FCP7 are unable to use the hardware capability that has been around for the past four years.

I can understand reticence to jump to software like X that is still public beta or Pr6 which is yet to crack a big feature project to given editors confidence.


Return to posts index


Andrew Kimery
Re: Offline multiclip workflow with the 5D
on Nov 28, 2012 at 11:37:05 pm

[Adam Ridley] "Interesting, I never would have thought to transcode the original H.264 files to use as a master because I'd be worried about any amount of degradation (no matter how small) but if that seems to be the consensus then it would make sense to create one large master file of the 5D shots to group with the C300. "

To steal a line from another COW user, if the production was really that concerned about possible image degradation they wouldn't be shooting to H.264 in the first place. ;)


[Adam Ridley] "I've read that there is barely a difference between ProRes and ProRes HQ but I'd imagine one would want to use HQ if you were creating a new master. Especially if the ultimate goal is a theatrical release."
The rule of thumb I've seen some people toss around is use Pro Res HQ if you'll be doing a lot of heavy FX work and compositing (something where you must get the most out of every, single pixel) and use regular Pro Res if that's not the case.




Return to posts index

Adam Ridley
Re: Offline multiclip workflow with the 5D
on Nov 29, 2012 at 11:20:02 pm

Thanks for the reply. Yeah, matching up the C300 with the 5D footage will be interesting given the quality of the C300. Luckily we're shooting most of the interviews/verite/EXT's with the C300 and using the 5D in special situations where we want a little more coverage.

Thanks again for the advice about ProRes.

-Adam


Return to posts index

Adam Ridley
Re: Offline multiclip workflow with the 5D
on Nov 28, 2012 at 6:27:27 pm

Hey Jeff, thanks for the reply.

1) I'm using proxies for 5D because it is a feature-length documentary with potentially hundreds of hours of footage.

2) I'm using multiclip because there are quite a number of events relating to the project that are shot with two cameras and it's easier for me to bring up a multiclip in the viewer to cut into the timeline as opposed to having a series of sequences to cut down.


Return to posts index

<< PREVIOUS   •   VIEW ALL   •   PRINT   •   NEXT >>
© 2017 CreativeCOW.net All Rights Reserved
[TOP]