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550D workflow improvements

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Matthias Duyck
550D workflow improvements
on Jun 15, 2014 at 5:23:14 pm


First of, these forums have been a superb source for information in the past but this is my first time posting, I'm pretty sure someone will be able to help me thanks to all the bright people here.(sorry if this is in the wrong section of the forums)

I have been shooting video for a little while now and I am pretty happy with what I get but I still see quite a lot of things that could improve. As a student my budget is very limited but I managed to get some nice second hand stuff to work with. Oh, and usually I am looking for a smooth not too contrasty film look.

This is my essential video gear:
550D with magic lantern and cinestyle
kit 18-55III
50 f1.8
polaroid vario ND (which I successfully avoid to use if I can get away with it)

My workflow:
Capture 1080 30p or 24p 180° usually between f4-f11
convert the h264 with mpeg streamclip to prores 422 proxy
use the proxy in premiere pro cs5 to edit
reencode the original h264 to prores 4444 of the clips I use in the edit
grade the 4444 files with resolve lite (best free software in the world :o)
export the graded footage as 4444 out of resolve
'replace footage' the proxy files with graded 4444's in premiere
render and export to either h264 for web (or something less compressed for local)

I really like this workflow as it is (relatively) cheap and gives me the power and simplicity of resolve and premiere without the crazy xml roundtrip jazz.
I do however have a few questions that I could not figure out on my own after extensive web searching:

I know my lens and especially my camera is the biggest bottleneck in producing great footage but since I effectively transcode my footage at least 3 times would it be a good idea to switch to a lossless codec for the intermediates instead of prores 4444? If so which one do you recommend on a mac with my workflow in mind?

I am having a really hard time with moiré and a bit with aliasing. I know of a crazy expensive filter made by a company called mosaic engineering to solve this, but are there other solutions you know of? Maybe a lens screw on filter or a plugin that I can use in my workflow? I also found out about Marvels DSLR Moire Filter but it appears to be FCP only... I could try to find a second hand copy of final cut and add it to my workflow, but another encoding might be a bit too much... Any alternatives?

General tips on improving quality would also be useful. Thank you very much in advance!

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Stephen Smith
Re: 550D workflow improvements
on Jun 20, 2014 at 3:39:46 pm

I think 444 is overkill. I use 422 (hq). Also, you can import the Cannon's RAW files straight into DaVinici so you don't have to convert them to ProRess. This video: was shot on a 5D and I worked with the RAW files in Premiere then made an XML and imported it into Resolve. When I was done I exported out ProRes 422 HQ files. Because I work with the Sony F3 which Resolve doesn't support I edit the RAW files in Premiere then export out the whole video and then do a Scene Detection in Resolve Hope this helps.

Stephen Smith

Utah Video Productions

Check out my Vimeo page

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