![]() ![]() 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.
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