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Where's your footage coming from?

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Tim WilsonWhere's your footage coming from?
by on Jul 17, 2016 at 10:44:08 pm

A little bit of general conversation to throw in the mix:

Are you shooting it yourself?

Are clients bringing it to you?

Are you part of an editorial team on the post side of a production, production company, etc? (This would cover episodics and features for sure, but also in-house corporate, worship, etc.)

What cameras/formats are you shooting/receiving?

Just wonderin'.

Thanks!


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David MathisRe: Where's your footage coming from?
by on Jul 18, 2016 at 1:49:30 am

Cameras: iPhone, Blackmagic Cinema Camera want a Red Camera low end model
Format: raw, ProRes

Bonus:

Software: FCP, Motion, Compressor, Resolve will be adding Fusion perhaps Premiere Pro
Computer: Old chesse grater Mac Pro, dinosaur technology
May get a new iMac


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Claude LyneisRe: Where's your footage coming from?
by on Jul 18, 2016 at 3:10:02 am

I am mostly a single shooter doing West Coast lacrosse for Youtube. OK, several steps down from the average on this forum. Canon XA20, 1080 p, 35 Mb/s, FCPX. 2011 27" mac, Color Finale. Output to the web with a modest goal of getting a million views (at 760 thousand now). Occasionally I shoot for a lacrosse website and just upload and they edit.

I get a lot out of reading the COW forums FCPX Techniques and X or Not because many of the contributors are serious editors and this gives me a view by experts. While I am taking some courses at the local film school, where X is considered the lowest of low, it works for me and I am not headed for industry. I went from 7 to X and it took more than a while to learn how to select in the browser and edit in the timeline, but it seems efficient and fun to me, especially compared to PP and Pro Tools.

Claude Lyneis aka bhsvideodad on Youtube


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Scott WitthausRe: Where's your footage coming from?
by on Jul 18, 2016 at 1:17:13 pm

Canon C100/300, Sony FS100, Sony F7, iPhone, various DSLR's. Not much Red anymore except for a bit of Epic every now and again.

I shoot a bit, but mostly comes from DP's that a production company will hire for an agency. Multiple cameras is now the norm and I usually make a multicam clip right off the bat. It's actually taking longer to get to the creative edit process than it did in film/dailies days because there is just so much more footage coming in now.

Motto: bill by the hour.

Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter


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Paul NeumannRe: Where's your footage coming from?
by on Jul 18, 2016 at 1:30:37 pm
Last Edited By Paul Neumann on Jul 18, 2016 at 1:34:01 pm

Mostly C100/5D as the B camera and FS5/a7S II as the B camera. All Canon or all Sony makes for shot matching ease of use.

I'm down to about 10% of the stuff being for TV. It's all for the internets.

And I'm heavily into Adobe Stock with shared libraries for any stock footage or stock photography. Clients are all onboard with that workflow.


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Michael HancockRe: Where's your footage coming from?
by on Jul 18, 2016 at 1:47:18 pm

I work at a small production/post production shop as an editor/budding colorist. We do primarily corporate, TV spots, and web videos. No episodic or film work (except for local short films other employees and their friends shoot).

If we shoot, it's Arri Amira 95% of the time. The other 5% is C300/C100.

If an ad agency, outside producer or direct-to-client is bringing us just the post work there's no telling where the footage will come from. This year we've gotten footage from 5D, 7D, C100, C300, GoPro, DJI Phantom, XDCam, Red Epic and Dragon, Alexa, F5 and iPhone. We've also gotten footage from miniDV, Beta, HDCam, and Digibeta. No 3/4 or 1" (yet!).

----------------
Michael Hancock
Editor


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Jarrod FayRe: Where's your footage coming from?
by on Jul 18, 2016 at 2:40:28 pm

We shoot basically all of our own footage (commercial, corporate, etc.). Sony F55. FCPX works brilliantly with 4K XAVC footage.

---> Jarrod


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Rick FoxxRe: Where's your footage coming from?
by on Jul 18, 2016 at 6:02:47 pm

We shoot almost everything in-house. We have a mix of Panasonic AVC-HD cameras (AC160A, HMC150s), a few GoPros and a Canon DSLR (T4i). We do a ton of multicam, and typically edit in ProRes. We get the occasional iPhone or MP4 footage from a client, and we'll transcode that to keep everything consistent within the project. We're a production company with 2 editors, and a number of contract camera operators.

2013 MacPro 6 core 3.5 gHz, 16GB RAM, 1TB SSD, 2012 rMacBook Pro, Areca ARC-8050, Final Cut X, Adobe Production Premium CS6, Logic X


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Shawn MillerRe: Where's your footage coming from?
by on Jul 18, 2016 at 6:08:53 pm
Last Edited By Shawn Miller on Jul 18, 2016 at 6:11:54 pm

I'm an in house corporate guy, so I shoot about 25% of what I edit. My main acquisition formats are DNxHD (hopefully all DNxHR soon),Prores422 and Prores4444 from the Blackmagic Ursa Mini 4.6k, the 2.5k Cinema Camera or the Pocket Cinema Camera - once in a very great while, I'll shoot with a Panasonic AF100, an HVX200, or an HPX500 - so P2 and AVCCAM are still in the mix. About 25 to 30% of the footage I receive is stock from Videoblocks, Shutterstock, Getty or iStock. 15% of my footage comes from vendors - .mxf from the Canon C100/C500 or XDCAM the Sony FS5/FS7 seem to be the most common formats I get from them. The rest is CG or motion graphics that I create with a combination of Cinema 4D, After Effects, Realflow etc. - I usually use .exr, .tiff and Cineform wrapped in .avi for motion graphics and CG.

EDIT: I meant to add that I get a fair amount of footage from co-workers shot on smart phones...

Shawn



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Shane RossRe: Where's your footage coming from?
by on Jul 18, 2016 at 7:06:23 pm

[Tim Wilson] "Are you part of an editorial team on the post side of a production, production company, etc? (This would cover episodics and features for sure, but also in-house corporate, worship, etc.)"

This. I work in broadcast TV, and this is a majority of how this works for me. Most of the time I work in an office in Hollywood, but on occasion (like now) I work from home. Even when working from home, we have full crews that shoot footage that I edit.

ALTHOUGH...a few shows I work on are almost 80-85% stock footage. Not only news footage and stills, but we actually make episodes work with footage other people shoot and we use generically, or suggestively. Challenging, to be sure. When I go to NAB, the Pond5 people know me well. WEll, they know my company well.

[Tim Wilson] "What cameras/formats are you shooting/receiving?"

That isn't stock footage is mostly C300 lately. Some Sony XDCAM from time to time, but lately, mostly C300. A little DSLR footage thrown in from GH4's or 5Ds... and some shows have a smattering of GoPro.

I mainly work on Historical docs, and one particular reality show (Curse of Oak Island) and a couple recreation shows.

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


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Don WalkerRe: Where's your footage coming from?
by on Jul 18, 2016 at 7:21:09 pm

My A camera is a Panasonic DVX-200 (great camera even with a fixed lens). My b camera is either my iPhone 6s plus, or a Panasonic GH-2. We also record our services with 4 Panasonic 160's and a 150, all switched through a Blackmagic 2 ME switcher. I will be adding a used Canon 7D to the mix, as soon as it comes back from repair.

90% of what I edit, is video that myself or a volunteer has shot.

I can't say enough enough about the Pani 200. It has a big sensor look, in a form factor that's easy to for volunteers to deal with!

don walker
texarkana, texas

John 3:16


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Joseph OwensRe: Where's your footage coming from?
by on Jul 18, 2016 at 8:00:18 pm

[Tim Wilson] "Are you shooting it yourself?
Are clients bringing it to you?
Are you part of an editorial team on the post side of a production, production company, etc? (This would cover episodics and features for sure, but also in-house corporate, worship, etc.)
What cameras/formats are you shooting/receiving?"


I do not operate cameras as a rule.

I run a more-or-less full service online/grade/delivery service (used to be called "online," I guess) including captioning.
The gamut of service covers just about everything that can be encoded as an image: from stills to feature-length for streaming, disk delivery, broadcast and theatrical presentation. Among the many one-offs, I've been fortunate enough to be retained on about half a dozen series over a multi-season arc over the past 10 years or so, and certainly the acquisition formats have changed a lot in that span. Our tools have also changed radically, going from Silicon Color FinalTouch2K to Apple COLOR and then through multiple generations of Resolve. Which I wanted to start with, but even then, davinci systems were not sure about it in favour of their 2K+ system. But we know how that went.

Used to get a lot of HDV 10 years ago, which mutated into C300, saw a pile of RED, then EPIC, some ARRI, a lot of Sony FS7 lately. It depends on the flavour du jour and how rich the producers feel. HD is on the decline in favour of 4096 finished as 3840, which is kind of a pain in the asspect ratio.

jPo

"I always pass on free advice -- its never of any use to me" Oscar Wilde.


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Andrew KimeryRe: Where's your footage coming from?
by on Jul 18, 2016 at 8:12:16 pm

[Tim Wilson] "Are you shooting it yourself?"

Rarely.

[Tim Wilson] "Are clients bringing it to you?"

Usually.

[Tim Wilson] "Are you part of an editorial team on the post side of a production, production company, etc? (This would cover episodics and features for sure, but also in-house corporate, worship, etc.)"

Yes.

[Tim Wilson] "What cameras/formats are you shooting/receiving?"

I generally have no idea. With MC and/or FCP Legend I'd have to know because I'd need to know which camera plugins to install, but since I switched to mainly using PPro a couple of years ago I typically just grab the footage and get to work.


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Tim WilsonRe: Where's your footage coming from?
by on Jul 18, 2016 at 8:22:17 pm

[Andrew Kimery] "since I switched to mainly using PPro a couple of years ago I typically just grab the footage and get to work."

This should go on a blurb somewhere I think!


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Andrew KimeryRe: Where's your footage coming from?
by on Jul 18, 2016 at 8:28:48 pm

[Tim Wilson] "This should go on a blurb somewhere I think!"

Didn't mean to sound like a pitchman, but it's the truth. Most of the time taking the performance hit for staying camera native (I'm talking HD here, not UHD or 4k) is the lesser of two evils for me vs taking the time plus, increased storage space, to transcode to a more edit-friendly codec.


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Jeff KirklandRe: Where's your footage coming from?
by on Jul 18, 2016 at 8:21:45 pm

As a solo creative, i shoot most of my own footage but there are projects where I act more as producer/director and will send others to do the shooting. I also have several clients that I just edit for, and two clients that I just have me do audio mastering/colour grading.

I've been a freelance shooter/editor for almost 30 years but I've occasionally worked full-time for production companies and I've maybe spent four years out of those almost 30 just editing.

If it's just me, I own a Sony FS100, some Panasonic GH4s, some Canon DSLRs (7D, 70D, 550D), some Go Pros, a DJI Osmo and some video cameras (an ancient Sony FX1, Canon XA10, XA20). I'm primarily capturing ProRes via my various Atomos recorders but otherwise it's AVCHD, MP4, or similar. I also regularly get footage from a Sony EX3 and occasionally from HDV tape.

Being solo, I've had the luxury of editing all of the above exclusively in FCPX since the day it was released.

------

(For some reason I can't edit my own posts so apologies in advance for the stupid mistakes and bad English that I can't go back and fix)

Jeff Kirkland | Video Producer & Cinematographer
Melbourne, Australia | Twitter: @jeffkirkland


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Giampaolo MorettiRe: Where's your footage coming from?
by on Jul 19, 2016 at 8:47:53 am

We have some Sony FS7 in house and F55 at rent.
A lot of lens like Canon CN-E 30-300mm and Sigma 120-300mm for live events (Opera live = long time duration).
All the footage shooting in UHD/4K 50p XAVC-L/-I.
Editing on Imac 27" late 2013 and Mac Pro "black basket" with n. 4 Areca thunderbolt 2 Raid 5 (Tot 112 Tb).
Fcp X work better with XAVC-I than XAVC-L but the best is ProRes.
Multicam with proxy is the standard.
We waiting a new Mac Pro with more power and a new FCP x with more audio features.
Apple don't forget about us!

http://www.metisfilm.it


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Jeremy DoyleRe: Where's your footage coming from?
by on Jul 19, 2016 at 4:04:39 pm

I work on mid to low budget projects, both in house and on contract. My regular projects include footage from a variety of sources ranging from cell phone footage to a FS7 and every brand and blend between.

Jeremy Doyle
http://www.jeremydoyle.com


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Eric SantiagoRe: Where's your footage coming from?
by on Jul 19, 2016 at 6:21:33 pm

I own a RED Scarlet and GH4.

I also acquire the best and worst formats.


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Shane RossRe: Where's your footage coming from?
by on Jul 19, 2016 at 6:36:48 pm

[Eric Santiago] "I also acquire the best and worst formats."

"They were the best of formats, they were the worst of formats."

-A Tale of Two Cameras.

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


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Neil GoodmanRe: Where's your footage coming from?
by on Jul 19, 2016 at 7:47:07 pm

To put it simply.

Every format, codec, camera, etc. but by the time i get my hands on it - its all DNXHDxxx.


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Oliver PetersRe: Where's your footage coming from?
by on Jul 19, 2016 at 11:21:53 pm

[Tim Wilson] "Are you shooting it yourself?"

Nope. Just editor/colorist as a general rule. I have shot in the past, but that's not normal for me.

[Tim Wilson] "Are clients bringing it to you?"

Client or production company.

[Tim Wilson] "Are you part of an editorial team on the post side of a production, production company, etc? "

Usually yes, as a freelance editor/colorist. For corporate/commercial work, these are actual companies. For indie features, these are often ad hoc companies just for that one production.

[Tim Wilson] "What cameras/formats are you shooting/receiving?"

Corporate/commercial : C100, C300, C500, 5D, 7D, FS7, one of the various Sony Alpha DSLRs, GH4

Indie features: RED One, RED Epic, ARRI ALEXA

- Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com


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Eric SantiagoRe: Where's your footage coming from?
by on Jul 25, 2016 at 2:50:46 pm

[Shane Ross] ""They were the best of formats, they were the worst of formats."

-A Tale of Two Cameras."








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Charlie AustinRe: Where's your footage coming from?
by on Jul 20, 2016 at 12:04:52 am

Movies. :-)

-------------------------------------------------------------

~ My FCPX Babbling blog ~
~"It is a poor craftsman who blames his tools."~
~I still need to play Track Tetris sometimes. An old game that you can never win~
~"The function you just attempted is not yet implemented"~


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Tim WilsonRe: Where's your footage coming from?
by on Jul 20, 2016 at 1:54:02 am

[Charlie Austin] "Movies. :-)"

So they handing you off reels of film?



(For the indie noise nerds like me: Yo La Tengo, "Deeper Into Movies")


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Charlie AustinRe: Where's your footage coming from?
by on Jul 20, 2016 at 2:06:35 am

[Tim Wilson] "So they handing you off reels of film? "

lol.. Yes, and Mag. Then I load up the synchron...

Alright... It's usually all ProRes of some flavor, and either shows up on drives, or we DL from the studio servers. Mostly finished cuts with split stems, sometimes dailies... :-)

-------------------------------------------------------------

~ My FCPX Babbling blog ~
~"It is a poor craftsman who blames his tools."~
~I still need to play Track Tetris sometimes. An old game that you can never win~
~"The function you just attempted is not yet implemented"~


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Duke SwedenRe: Where's your footage coming from?
by on Jul 20, 2016 at 2:06:53 am

How odd. Everyone who ever answers my questions is nowhere to be found. I don't recognize one name here. Anyway.

I eat what I shoot.
I use a Panasonic G7 (The GH4 for poor people!)
I make up stuff in my head, put up the green screen, and have at it. With the assistance of my handicapped son.
I use the Adobe collection on a pitifully under powered PC.
I do crazy stuff like this:






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Tim WilsonRe: Where's your footage coming from?
by on Jul 20, 2016 at 5:03:34 am

[Duke Sweden] "Everyone who ever answers my questions is nowhere to be found. I don't recognize one name here. "

I've cross-posted this question to a number of forums, so I would imagine most people reading this thread will see some new names. :-)

btw, this is just curiosity on my part, not "research" or anything. We tend to focus on specific problems (for obvious reasons), so I wanted to open up the floor for some more general, but generally on-topic, considerations.

So, with thanks to everyone for playing along, we continue....

[Shawn Miller] "My main acquisition formats are DNxHD (hopefully all DNxHR soon),Prores422 and Prores4444 from the Blackmagic Ursa Mini 4.6k, the 2.5k Cinema Camera or the Pocket Cinema Camera"

Cool! I was meaning to ask this from other folks posting upthread who are working with ProRes and DNxXX -- is your footage being shot in those formats, or converted for post?


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Neil GoodmanRe: Where's your footage coming from?
by on Jul 20, 2016 at 6:27:39 am

[Tim Wilson] "Cool! I was meaning to ask this from other folks posting upthread who are working with ProRes and DNxXX -- is your footage being shot in those formats, or converted for post?

"


Usually converted.


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Joseph OwensRe: Where's your footage coming from?
by on Jul 20, 2016 at 6:32:09 pm

[Neil Goodman] "to ask this from other folks posting upthread who are working with ProRes and DNxXX -- is your footage being shot in those formats, or converted for post?"

Its a blend, depends on how much time and effort the upstream production can afford also taking into account the editing platform and what that preference might be in terms of "nimbleness" of the codec. Generally, for long form and drama, we go back as far as we can to camera original, like doing a neg-pull, and then I start linking to XAVC and RAW with all its log profiles, &c. IF the editor is particularly dedicated, they will do a Resolve conform and send me a .drp so I just lock and load, dive straight into a grade with most, if not all, conform issues falling to the production.

Generally part of the post stream involves exporting and re-imbedding VFX, and those are travelling in DNxHR HQX, ProRes4444, and dpx sequences. I also get a certain amount of jpg, png, tiff... as stills and as graphic animations.

jPo

"I always pass on free advice -- its never of any use to me" Oscar Wilde.


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Scott WitthausRe: Where's your footage coming from?
by on Jul 20, 2016 at 10:07:42 am

[Tim Wilson] "is your footage being shot in those formats, or converted for post?"

Shot in those formats. Convert to proxy if doing multicam or 4k work.

Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter


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Duke SwedenRe: Where's your footage coming from?
by on Jul 20, 2016 at 11:47:55 am

Yeah, somehow after I responded I ended up in the FCP X forum! You must be a magician! ;-)

Well, for a very short period I shot in ProRes HQ when I owned a Ninja 2, but it was very incompatible with my then D5500. It worked but it was a major pain to use so I sold it. So back to 24 MB h264, until I got the G7, so now I shoot 100 MB 4K, and transcode to DNxHD. But, for what I do I may as well be using the Crayola codec ;-)


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Shawn MillerRe: Where's your footage coming from?
by on Jul 20, 2016 at 4:54:27 pm

[Tim Wilson] "
Cool! I was meaning to ask this from other folks posting upthread who are working with ProRes and DNxXX -- is your footage being shot in those formats, or converted for post"



Hey Tim,

I shoot DNxHD on the Blackmagic Cinema Camera and the Pocket Cinema Camera. As soon as BMD releases the 4.0 firmware update for the 4.6k Ursa Mini, I'll start recording DNxHD/HR on that camera as well. I also tend to convert smartphone footage to DNxHD for smoother editing. Lastly, I will start asking external venders to use alternatives to Prores where possible... I'm trying to lessen my dependence on PR as much and as soon as possible. :-)

Shawn



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Bill RavensRe: Where's your footage coming from?
by on Jul 20, 2016 at 12:48:15 pm

One man production company, working mostly on documentaries and promos for private individuals. I shoot with a Sony FS700, Sony F5, or Canon 5D, capture to an Odyssey O7Q. So, all my footage is Prores 422, acquired by myself. For R&G, the FS700 is the camera of choice. For controlled shooting environments, the F5 takes the prize.

I've been editing on Media Composer since v3.0, but, lately, I've been trying to edit on Davinci Resolve 12.5. I've alternated between PC and MacIntosh platforms, over the years, currently editing on a PC based edit bay.

Clients vary from those that want raw, unedited camera footage to those that want footage delivered on thumbdrive, DVD, or YouTube. 99.9% of all jobs don't require distribution, as that's handled by the client.



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Jon DoughtieRe: Where's your footage coming from?
by on Jul 20, 2016 at 1:35:21 pm

[Tim Wilson] "Are you shooting it yourself?
Mostly. Two other staffers also shoot some.


Are clients bringing it to you?
Rarely.


Are you part of an editorial team on the post side of a production, production company, etc?
Yes, local TV station. Doing pre-production, production, and post. Mostly short form, with the occasional long form project.


What cameras/formats are you shooting/receiving?"
We still shoot primarily with a Panasonic HPX370 onto P2. Really an ENG camera (company likes to make large bulk purchases) and lensed as such, but we strive to use good shooting technique and camera settings to make it give us the look we want.

System:
Dell Precision T7600 (x2)
Win 7 64-bit
32GB RAM
Adobe CC 2015.02 (as of 6/2016)
256GB SSD system drive
4 internal media drives RAID 5
Typically cutting short form from HD MP4 and P2 MXF.


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Bill DavisRe: Where's your footage coming from?
by on Jul 20, 2016 at 4:19:42 pm

Self-employed preditor/shooter for 20 years plus.

Today, I mostly produce, but I also shoot for long time clients and edit everything for internal and external stakeholders.

I hire crews (that typically include shooters, along with sound, light and grip) but it's rare that I'm on a production where I'm exclusively directing during the acquisition phase. I direct the interviews and set pieces - but for all the B-roll, I tend to let the crew do the primary coverage (mostly shooting Canon C-100/300 these days. Whatever format the crew is used to is usually fine with me and floats up and down the camera class, depending on the project budget.

So typically MXF field acquisition by the A crew. But It's rare I'm not also shooting B-cam on something weird - which might include a DSLR on a Steadicam or my iPhone 6 on a handheld gimbal - so format wise, that stuff could easily be h-264, h-265 or Mpeg 4. My goal is to expand the b-roll pool and try unusual shots that might not work out - while my A crew is getting the base coverage.

I mostly produce and shoot my own stuff, but have clients that send in everything.

I've had projects over the past year ranging from r3d to Alexa to GoPro Cineform.

It's my new normal.

FWIW.

Creator of XinTwo - http://www.xintwo.com
The shortest path to FCP X mastery.


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Herb SevushRe: Where's your footage coming from?
by on Jul 20, 2016 at 5:47:13 pm

[Tim Wilson] "Are you shooting it yourself?

Heaven forbid.

[Tim Wilson] "Are clients bringing it to you?"

Used to be the case. For the past 10 years or so I'm mostly editing Broadcast shows that I've directed.

[Tim Wilson] "Are you part of an editorial team on the post side of a production, production company, etc? (This would cover episodics and features for sure, but also in-house corporate, worship, etc.)"

Yes.

[Tim Wilson] "What cameras/formats are you shooting/receiving?"

FS55 for studio work, recorded onto KiPros as ProRes 422. Canon 300 and various DSLR for field segments. I generally conform all my source material to ProRes before cutting - old hobbits die hard.

Herb Sevush
Zebra Productions
---------------------------
nothin' attached to nothin'
"Deciding the spine is the process of editing" F. Bieberkopf


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Walter SoykaRe: Where's your footage coming from?
by on Jul 20, 2016 at 6:25:29 pm

[Tim Wilson] "Are you shooting it yourself?"

What's this "shooting" you speak of? Most of our footage is synthetic, coming from Ae/C4D.


[Tim Wilson] "Are clients bringing it to you?"

Yes.


[Tim Wilson] "Are you part of an editorial team on the post side of a production, production company, etc? (This would cover episodics and features for sure, but also in-house corporate, worship, etc.)"

We're a design studio, largely working for agencies/production companies. We're not doing a lot of editorial per se, but almost everything we do flows through an NLE or two at some point before we deliver.


[Tim Wilson] "What cameras/formats are you shooting/receiving?"

Real footage from clients has been almost exclusively C100/C300/C500 lately.

Our own intermediate renders are usually half-float OpenEXR.

Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive [twitter]   |   RenderBreak [blog]   |   Profile [LinkedIn]


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Michael GissingRe: Where's your footage coming from?
by on Jul 23, 2016 at 1:31:55 am

Yes I shoot but mostly I get footage from clients to grade in Resolve. Current project is a combo of r3d, XAVC from Sony A7s, CGI, RAW still images from Sony A7s and some overseas interviews shot on Canon (C300 I think).

My own doco production I am shooting is a combo of Blackmagics - the 4k and the Ursa Mini 4.6. That is giving me a combo of 4k ProRes HQ and 4.6 cDNG 4:1. At some stage I will also have other camera crews mostly shooting r3d. There is a concert shoot at the end and I can get more REDs than Ursa Minis at the moment so four or five cameras will be REDs and two or three BMs.

Working mostly on docos means almost every job is a combo of two to three different camera codecs and archive footage (mostly ProRes flavours) plus stills. To be honest I would love to avoid quicktime as that is rapidly becoming a weak link in Windows Resolve (thanks Apple for discontinuing Win support) although Blackmagic must write their own QT encode/decode handler for Win & Linux. Adobe has so it is a logical step to avoid the minefield.


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Todd TerryRe: Where's your footage coming from?
by on Jul 23, 2016 at 8:37:20 pm
Last Edited By Todd Terry on Jul 23, 2016 at 8:39:28 pm

I just saw this... wildly interesting to see what other people are doing/using.

We shoot probably 95% of all footage we use. The other 5% is stock that we purchase. Rarely if ever are we given footage by a client or other source.

I shoot almost exclusively with the Canon C300, PL mount version, with Leitz/Panavision superspeed primes. I have a vintage Russian Foton zoom for the times I need a zoom lens, but shoot almost exclusively with primes. We will probably trade up to the C300 Mark II, the camera we us now is the "original" C300. We have completely retired 35mm film shooting, although strangely enough there are still bunches of cans of filmstock in the fridge.

Probably 90-95% of our work is broadcast television commercials. The remaining small amount is corporate/industrial stuff.

About 95% of what we produce winds up on broadcast television. The rest winds up on the web.

We're an all-PC house, each suite editing with Premiere and the other toys in the Adobe suite, on PCs with Matrox guts (three machines are Matrox MX02, one older one is Matrox AXIO LE).

About half of our clients are advertising agencies, the other half are clients we work directly for.

With direct clients we virtually always do all of the creative on their projects, from concept to delivery. With the ad agencies it's about half and half.... for about half of them we do the creative, for the other half (one ones that either know television, or more likely think they know television) we are handed scripts and we go from there.

We're a tiny company, only three of us full time. I'm the company Creative Director and I direct all of our shoots. I also DP and am always my own camera op, so shoots are busy for me. My biz partner is the General Manager, doing all the bean counting and he also serves as producer on most of our projects. Either he or I will handle all the writing duties. We have an editor who handles the majority of our post jobs, but I will edit as well. We have an Art Director (coincidentally, my better half) who works as needed... she is hired when we need extra art direction, production design for bigger jobs, things like that.

I appreciate Tim for posing these questions, very interesting.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com



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Tim WilsonRe: Where's your footage coming from?
by on Jul 24, 2016 at 6:20:30 am

Ha! I meant to write you and ask where the heck your reply is. LOL

I think you may have been regularly shooting film longer than just about anyone here. Do you remember when your last film project was?

And out of curiosity, which film camera(s) were you using?

The Leitz/Panavision primes, iirc yes?

And something like 8 or 9 years ago, you wrote an article for us on Depth of Field converters. Any use for them anymore?

Thanks!


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Todd TerryRe: Where's your footage coming from?
by on Jul 25, 2016 at 1:34:46 am

[Tim Wilson] " I meant to write you and ask where the heck your reply is."

Somehow I just overlooked this post and it's 893 replies. Dunno why, just didn't see it... but glad I found it, very cool to read.

Last real film project... hmm oh gosh, memory fails me. I literally can't even remember what the project might have been. It was probably 5+ years ago now, maybe even more. Just no need for it anymore, which does make me a little sad. Film was fun.

I primarily shot 35mm with a Russian Konvas 1KCP-7M, Arri 535B, and Moviecam SuperAmerica. I used the same glass I still use today on those, except the Konvas on which I used Russian LOMO lenses. The LOMOs were unbelievably great lenses, and you used to be able to get them for a song. But then with the advent first of DoF converters and then big-sensor cameras, the demand for 35mm cine primes took off and the prices skyrocketed (and the once-plentiful availability dried up big time). On rare occasions I would shoot 16mm, with my Bolex 16 Pro (a very cool camera that almost no one, even veteran cinematographers, had ever seen... they only made 300 of them).

My primes are sort of a funky hybrid. They started life as Leitz medium format still camera lenses, and then someone somehow got them "Panavised" by a Panavision tech and they were rebarreled and remounted as proper cine lenses. I have 18mm, 35mm, 50mm, and 80mm, all at f/1.3. I sure wish I had a 28mm and maybe a 100mm or 120mm, but alas, I don't. They are very sharp and contrastly, slightly on the cool side... the pretty much look exactly like Cookes to me (although they are faster, and were a fair bit cheaper than a new set of $100K Cooke S4/I primes). I bought them off a Hollywood DP of some note quite a few years ago. Like everything else in our business equipment depreciates and starts falling like a rock the second you buy it. But semi-interestingly enough, high-end glass is the one exception to the rule... these lenses are probably worth a fair bit more today than when I bought them. Nothing else here is.

And yes, DoF converters were an amazing thing back in their day, they certainly changed the way we did things, for sure. Any use for them anymore? Well, as doorstops, but that's about it. When we bought the C300 we didn't have any use for ours any more, so I thought I'd sell it. Ours was (and still is) the Rolls Royce of converters, the P+S Technik Mini35. It was a bit disheartening to see them on eBay for a few hundred bucks (I paid $13,000 for it new). So... it's still on a shelf behind the studio cyc, gathering dust.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com



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Phil SheldonRe: Where's your footage coming from?
by on Jul 25, 2016 at 3:03:41 pm

heyup

i'm a one man band based within the media dept of my company. I shoot everything except for a few RF lifestyle clips we get from pond5, and i edit on a mac pro and FCPX

incidentally, also the company photographer. i have canon 60D and 1Dx which i use for both and a jvc camcorder

cheers

Phil

SATRA Technology Centre


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Bob WoodheadRe: Where's your footage coming from?
by on Jul 26, 2016 at 12:12:00 am

[Tim Wilson] "Are you shooting it yourself?"

Usually.

[Tim Wilson] "Are clients bringing it to you?"

Clients bring us graphics projects to execute, beyond the standard production pipeline.

[Tim Wilson] "Are you part of an editorial team on the post side of a production, production company, etc? (This would cover episodics and features for sure, but also in-house corporate, worship, etc.)"

We're 2 partners that are 80% cross-functional. We produce/shoot/edit our own projects, together, individually, often using freelancers to support us when we're on different projects at the same time.

[Tim Wilson] "What cameras/formats are you shooting/receiving?"

Majority is C300MKII, using a variety of lenses, and loving our new(ish) set of Xeen primes. Also use a 5D on a variety of motion mounts, a GH4 on a Defy gimbal, an Inspire 4K drone, C300MKII on Steadicam, C100 as B/C cam, GoPros. For other jobs, older cams that still function perfectly well where appropriate; Panasonic AC-130, AF-100, HPX-500.


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Joshua JacksonRe: Where's your footage coming from?
by on Jul 29, 2016 at 12:39:53 am

Hehehe...
I record my own footage.
Mostly, it's from multiple phones and action cameras.
It's amazing that you can get pretty good quality video from a 3-4 smartphone setup.
Of course, decent lighting helps.
Modern-day phone cameras (especially Nokia Lumias) are getting quite nice.
JJ


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Dean NealRe: Where's your footage coming from?
by on Jul 29, 2016 at 11:42:56 am

I run a small Freelance Production House that delivers a variety of sporting content for National Broadcast.

FCPX has made that process quite sound - particularly since the software included MXF (Op1a) file export capabilities.

Most shoots we ISO record and then deliver, long form (Episodic content) on pretty quick turnaround.

Most shoots contain over 1000 media files in over 1TB of raw data per FCPX library, per shoot.

We use:
Sony FS5, Sony PDW700/800 XDCAM, Sony FS7, Sony FS700, Sony NX5, Go Pro & Replay XD cameras.

We will Multicam various components up to a dozen angles and these shots are the only items we will transcode. Everything else - we edit Native footage.

Example here:
Night Thunder Promo Edit

Dean Neal...


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Bill DavisRe: Where's your footage coming from?
by on Jul 30, 2016 at 9:25:29 pm

Dude, that stuff was AWESOME.
This was always the promise of pushing great tools into more places.
One short generation ago, a video like yours would be something seen only on Network-level sports broadcasts.
Now your niche gets the same access to quality... and guys like me can get a direct view of a culture and passion that lives in a place I've missed since a family friend took me to the quarter midget track in the 1060s! It's awesome to see how the racing world below NASCAR and Sprint level has also grown.
The people who are fans of your work are lucky that it will document their lives in a way their grandparents couldn't imagine. And this is just one infinite fraction of the interesting stuff out there.
Well done.

Creator of XinTwo - http://www.xintwo.com
The shortest path to FCP X mastery.


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Dean NealRe: Where's your footage coming from?
by on Jul 31, 2016 at 4:24:13 am

Thanks Bill!

I am Senior Producer for a number of sporting products including some show jumping events as well as starting to do some small VT packages as Producer here for Australia's version of NASCAR - Supercars...

An example of one of our full Night Thunder shows is attached here. This show is quite popular, aired around Australia around Noon Saturdays on a free-to-air Network.

If you watch the show closely, a number of familiar FCPX plugins will become apparent - SliceX/TrackX, Ripple Callouts etc.

Click THIS LINK to view Night Thunder Episode.



Dean Neal...


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Dean NealRe: Where's your footage coming from?
by on Jul 31, 2016 at 4:31:52 am

Two more good example of FCPX and popular plugins in use:


Late Model Tech Story from Dean Neal on Vimeo.



The above Late Model Tech Story piece we released on Social Media and had hundreds of thousands of views, as well as being aired on Television here.


Perth Drag Racing from Dean Neal on Vimeo.



Drag Racing promo edit above - which also included some sweet Phantom Flex 4k imagery!



We also produce a Long Form show from a horse eventing/showjumping event in Perth City here in Western Australia. This one is delivered on Channel 7 and rates very well - well over a million cumulative viewers. All edited on FCPX.

Dean Neal...


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Bill DavisRe: Where's your footage coming from?
by on Jul 31, 2016 at 5:18:50 pm

Particularly impressive since as so many I see online STILL believe - X is only good for (insert low end niche use example here.)

Of course you all are "down under", so obviously you didn't get the widely circulated US memos that X was too different for pros to use effectively in a collaborative situation and what you actually really needed was something more like FCP Legacy so as to not upset yourselves too much.

Shame on you for being so flexible.



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Dean NealRe: Where's your footage coming from?
by on Aug 1, 2016 at 4:24:32 am

Well Bill,

I will say in Australia there are echoes of what's going on in the USA.

I saw the potential of FCPX at the start, but I agree within the broader community that its implementation within the FCP7 ecosystem at the time was far from perfect...

A lot of FCP 7 users here have moved to Premiere Pro. The first two years of 'X' did a lot of credibility damage here.

Some criticisms were fair, some maybe unfair.

That said, I have seen a steady increase of FCPX users for Television and high-end work here over the past two years.

The deceptively simple UI of 'X' hides a deep vertical interface and software paradigm. Lots of Disclosure triangles, Keyboard Shortcuts, options and settings at your disposal ;-).

There's been some amazing content delivered using it in Australia for sure... but FCPX is seen as a distant third at best behind PPro and Avid MC in the TV broadcast space here.

I love the media handling of FCPX and multicam implementation particularly...

If people could just see the non-destructive, Databased way that FCPX stores media files and the flexibility of keywords, keyword collections in particular... it would gain a lot of momentum I believe.

Now...if we can just get a roles based mixer, and more UI layout flexibility and better handle waveform generation in relation to 'growing' EVS files - then I would be pretty happy in its entirety with it and I could probably lobby others to adopt it with more vim and vigour. ;-)

Hopefully the next update of the software will further entice and excite people.

Dean Neal...


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Michael CarterRe: Where's your footage coming from?
by on Aug 19, 2016 at 5:47:02 pm

I shoot and edit for most of my clients, but lately I've been getting footage for one of my big medical-center clients from some company that specializes in social+medical stuff, PR type things for big medical centers, etc.

And it's almost all crap. "Set the microphone on the table" (while the kids play with coloring books... on the same table. With auto gain on). Shoot everything on Canon DSLRs at 1.8 with AF on. Shoot it all handheld. Wow, nice interview - her eyes are out of focus but I can really read that neck tattoo, nice & sharp. Argh.

Another thing I'm seeing is "drone guys" ending up getting all of a client's event business. Same thing, and at events, the 1.8 with AF? Just amateur-hour. Everything oversaturated, nothing in focus for long. And... drum roll... they deliver their edits in 60p. Since that's what the drone shoots. When I have to pull footage for projects where the client wants a really good edit, I've got to transcode, re-time, add motion blur, replace skies... freaking mess.

(I actually shoot a lot of projects with an NX1 and Nikkor glass - many of my budgets are small enough to avoid rentals. Shoot that NX properly and it's damn nice footage. And I'm getting to love it with 1960's Canon FL lenses, though I'd save that for more beauty or esoteric projects. For dirt-cheap lenses, they're pretty special with the right subject. Need an 85 next...)


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Todd TerryRe: Where's your footage coming from?
by on Aug 19, 2016 at 6:09:04 pm

Just a quick addendum to my previous answer to Tim's question....

We still primarily shoot with the Canon C300 and will continue to do so.... however we've just picked up the DJI Osmo stabilizer with the Zenmuse X5 camera (actually we don't have it in hand yet, it's due for delivery next Tuesday). We bought it for one special and specific job, but if all goes well I can foresee using it a good bit.

I've been practicing and blocking shots with a friend's Osmo (his has the X3 camera), and it's pretty phenomenal... so I'm expecting even better things from the X5 and I think it will likely be what we always use for stabilized shots in the future.

Anyone want to buy a full-size Steadicam rig, cheap? :)

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com



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