I have also had unreliable results using the FCP Log and Transfer EOS plug-in.
#5dtorgb crashes convert 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.
![5dtorgb crashes convert 5dtorgb crashes convert](https://mac-cdn.softpedia.com/screenshots/5DtoRGB-Batch_1.jpg)
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.
#5dtorgb crashes convert movie#
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.
![5dtorgb crashes convert 5dtorgb crashes convert](http://xaserexpert.weebly.com/uploads/1/3/4/7/134743899/187953604_orig.png)
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.
![5dtorgb crashes convert 5dtorgb crashes convert](https://imag.malavida.com/mvimgbig/download-fs/amv-convert-tool-11063-6.jpg)
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.