It works quite well for more footage, but it is extremely render intensive. We use Re:Vision Effects’ Twixtor plug-in to convert our 30p clips to 24p, with true motion compensated frame blending. As Shane previously mentioned, the simplest solution requires that you edit in Avid, and online with Twixtor in AE and Premiere Pro CS4. By which I always mean 23.976p – a much more complicated challenge with 5D footage. Intercutting with film on the other hand usually requires editing and finishing in 24p. DNxHD will be the format of choice for Avid, with ProRes for FCP, and a couple other options like Motion-JPEG, MPEG2-IF, or Cineform for Premiere Pro. This choice of formats will probably be dictated by your NLE options. In almost all cases it will be easier and more efficient to convert the footage into an intermediate editing format before editorial. While high bit rate H.264 files preserve a tremendous amount of detail into a relatively small file size, that level of compression makes it difficult to playback the native files in any editing program. This is saved into Quicktime files, encoded with H.264 compression at about 40Mb/s, with 44.1khz audio.
#5DTORGB CRASHES CONVERT FULL#
In the case of Canon DSLR footage, we have full raster HD footage in YUV 4:2:0 with a full range (0-255) of 8bit color values at a variety of frame rates. The first thing we need to understand about a work flow, is what we are starting with. The tools available have developed during the past year from a relative hack job to a reasonably well-supported workflow. Here at Bandito Brothers, we have handled the post aspect of Shane’s DSLR-based projects since the first Terminiator Webisodes. DSLR Post-Production Workflows with Mike McCarthy
#5DTORGB CRASHES CONVERT HOW TO#
In Part 1, Mike provides crucial details about Canon DSLR workflow, how to backup your footage for best results, and best practices for sorting and logging your footage. If you haven’t done so already, be sure to read Part 1 of DSLR Media Management with Mike McCarthy. Visit HD4PC for even more in-depth technical information on the post-production workflow process. Then, he discusses frame rates, editorial options, and finishing. In the second part of DSLR Media Management with Mike McCarthy, Mike delves into the file format of the post-production workflow.
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