I need a bit of information on a professional level work flow. If a client is using a 7D or even a RED, etc. - is it normal to bring those files into After Effects and convert them immediately to ProRes422? Do real documentaries export their final product as ProRes422 or do you need to keep a lossless version as well that you hide in the timeline below the ProRes replica the entire time (and then just unhide when you're ready to do the final export)?
For a 7D, ProRes 422 is perfectly fine. The only exception would be if you have to re-render clips over and over: think five generations deep. That's when you'd want to use HQ. I can't think of a single workflow that would call for doing that, so it's a very rare thing.
RED footage would be a different matter, especially at the 2K and 4K resolutions. HQ would be the way to go, but this is all hearsay -- I've never worked with the stuff.
Sr. Promotion Producer
KCRG-TV (ABC) Cedar Rapids, IA
For RED, I'd use a direct R3D workflow and render to whatever format is preferred in the rest of the pipeline (ProRes 4444, DPX, etc.).
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