#5dtorgb vs adobe media encoder movie#
#5dtorgb vs adobe media encoder code#
#5dtorgb vs adobe media encoder tv#
#5dtorgb vs adobe media encoder mac#

#5dtorgb vs adobe media encoder code#

I’m not a big fan of TOD code and, as I mentioned, the THM files have posed some problems. QtChange will embed the folder name (like SF01A001) into the file as the reel number when it writes the timecode track. I will do this one folder at a time, using the folder name as the reel number.

#5dtorgb vs adobe media encoder movie#

I use QtChange to add timecode to the movie files. Create a folder for each card’s contents using this scheme and make sure the converted ProRes files end up in the corresponding folders. These card ID numbers are consistent with standard EDL conventions for numbering videotape reels. For example, if you shoot for several days in San Francisco with two cameras, then Day 1, Camera 1, Card 1 would be SF01A001 (cameras are designated as A, B, C, etc.) Day 1, Cam 2, Card 1 would be SF01B001 Day 2, Cam 1, Card 3 would be SF02A003 and so on. You may use any scheme you like, but I recommend a simple abbreviation for location/day/camera/card. This designator will become the reel ID number, which will make it easy to trace back to the origin of the footage months later. It is important to settle on a naming strategy for the cards. My converted ProRes files end up in separate folders that simply contain the movie files and nothing else. In my workflow, I generally never use these THM files. In theory, this means that consecutive clips should not have any timecode overlap, but unfortunately I have not found that to be universally true. The EOS plug-in, as well as some applications, use this to derive timecode that more-or-less corresponds to TOD (time-of-day) code. There is a THM file (thumbnail file) that contains a data/time stamp. The Canon camera movie files contain little or no metadata, such as a timecode track. The real strength of MPEG Streamclip is that it doesn’t require FCP, so data conversion can start on location on an available laptop, if you are really in that sort of rush. The same conversion runs about 1.5x real-time (slower) using the EOS plug-in.

#5dtorgb vs adobe media encoder mac#

MPEG Streamclip allows you to initiate four processes in the batch at one time, which means that on a 4, 8 or 12-core Mac Pro, your conversion will be approximately real-time. 32GB CF cards will hold about 90-96 minutes of Canon video, so a shoot that generates 4-8 cards in a day means quite a lot of file conversion and you need to allow for that. So, in my experience, MPEG Streamclip has not only been the fastest encoder, but will easily gobble a large batch without crashing and delivers equal quality to most other methods. I have also had unreliable results using the FCP Log and Transfer EOS plug-in.

#5dtorgb vs adobe media encoder tv#

I haven’t tried 5DtoRGB yet, because it is supposed to be a very slow conversion and most TV projects don’t warrant the added quality it may offer. I have tried the various encoders, like Compressor or Grinder, but in the end have come back to MPEG Streamclip. Avid editors may choose to use an Avid DNxHD codec instead. Generally, I will use ProResLT, however, if there is really a quality concern, because the project may go through more heavy post, then use standard ProRes or ProResHQ. I prefer to organize these files outside of the NLE and get them into a codec that’s easy to deal with using just about any editing or compositing application. Yes, various NLEs can natively work with the camera’s H.264 movie files, but I still find this native performance to be sluggish.

Once that’s out of the way, the first thing I do with files from a Canon 5D or 7D is convert them to the Apple ProRes codec. This is your “negative” and you ALWAYS want to preserve it in its original and UNALTERED form. One application to consider for this purpose is Videotoolshed’s Offloader. Here is a step-by-step strategy for working with HDSLR footage, specifically from Canon 5D/7D/1D HDLSR cameras.īefore doing anything with the camera files, it is IMPERATIVE that you clone the camera cards. Many of the early post issues, like the need to convert frame rates, are now behind us. To date, I have edited about 40 spots and short-form videos that were all shot using the Canon EOS 5D Mark II. In six months, the post workflows might once again change. Nikon is coming on strong with its D7000 and Panasonic has made a serious entry into the large-format-sensor video camera market with its Micro 4/3” AG-AF100. The Canon cameras are the dominant choice, but that’s for today. To some extend this is a “refresh” of the Round II article, given the things I’ve learned since then. Although some of this information will seem redundant with earlier articles ( here and here), I decided it was a good time to set down a working recipe of how I like to deal with these files. The interest in HDSLR production and post shows no sign of waning.