By Elliot M
Hoping someone can help with this edit workflow question:
I currently shoot video on Canon DSLRs (in H264 MOV format), and edit on a late 2009 iMac (2.8ghz i7 processor, 16gb memory).
The films I make are mainly for web rather than TV broadcast, and beyond basic colour grade / tidying up, have minimal effects added (no CGI).
Until recently, I used Final Cut Pro 7, using FCP's Log & Transfer function to import and edit footage in Pro Res 422 format.
Having just moved to Premiere Pro CC 2017, I'm trying to figure out the most efficient workflow with the best resulting image.
Should I import and edit in native H264 MOV? Or ingest and edit as either Pro Res or DNxHD?
If Pro Res or DNxHD, what's the best way to ingest (or import / transcode)?
I've been reading mixed things via Google; mainly Adobe-related articles explaining a native workflow, vs various articles sponsored by transcoding software companies, saying that transcoding will have a better result.
Any thoughts would be much appreciated.
Hi guys! I'm an anamorphic newbie and just bought the SLR Magic Anamorphot. I'm planning on using it with my BMCC, BMPCC and also for timelapse shooting with my Canon 5D Mark II.
I would like to know the details on how to stretch images and setup the correct aspect/pixel ratio on AE CS6.
My normal workflow for timelapse editing is as follows:
Shoot RAW images with Canon 5DII
Deflicker on LRTimelapse
Color correct on Adobe Camera RAW
Import to Adobe After Effects CS6 to reframe, pan, zoom
Export Pro Res HQ 1920x1080
Edit on FCP7
I would like to take full advantage of the 5D full frame and stills aspect ratio and output 2.5k and Full HD (horizontally) footage. I will probably edit the timelapses directly on Adobe After Effects.
Thanks in advance for your help!