Mixing RED and Cannon 5D into the same timeline

[arturo]

Hi;

Is there anyone here cutting RED mixed with Canon MarkII 5D footage under the same timeline in FCP? I'm starting to use a MKII as a second camera and wondering what's the best workflow in this situation... for HD output. Maybe exporting the R3Ds to ProRes 1920x1080 and exporting the H.264s to ProRes at 23.976 fps? So far, my editing doesn't include sound, but someone out there must have some good tricks to share in all situations;-)
Thanks for any input; I'll share my findings!

Arturo

 

[mikeburton]

GlueTools has come out with a Log and Transfer utility in FCP for taking the native files from the MarkII 5D and converting the files to ProRes. Its not for purchase quite yet but its advertised on the front page of their site so its probably not too far off. http://www.gluetools.com/
However, sounds like converting the h.264's to ProResHQ workflow would be best to cut with RED.

 

[Edouard PERCHET]

I think you'll find a beginning of an answer there : http://philipbloom.co.uk/2009/05/30/how-to-convert-canon-5dmk2-footage-from-30p-to-24p/

 

[Elvis Ripley]

I have done this and I did r3d to 1920x1080 ProRES files in rushes and then 5D files to ProRES and used compressor to change the framerate form 30 to 23.98. It worked great and I didn't have any dialog to sync up so having slight slow motion was just fine.

 

[Diego Querzoli]

i guess you had a great solution already... congrats my friend... I'll do some tests to see if i can help you further and ill get back to you


jajaja

dq

 

[CraigDavidson]

NeoScene from CineForm will convert the 5D files to either CineForm or ProRes. If you convert to CineForm, you can keep the full dynamic range as well. The Canon records the luma (Y) as 0-255 instead of the standard 16-235. Most conversions attempt to re-map the values to the correct range, and the histogram will show drop outs caused by rounding errors. If you convert to CineForm 422, the full (8-bit) range is mapped into the 10-bit Y on encode.

 

[Brandon Kraemer]

NeoScene from CineForm will convert the 5D files to either CineForm or ProRes. If you convert to CineForm, you can keep the full dynamic range as well. The Canon records the luma (Y) as 0-255 instead of the standard 16-235. Most conversions attempt to re-map the values to the correct range, and the histogram will show drop outs caused by rounding errors. If you convert to CineForm 422, the full (8-bit) range is mapped into the 10-bit Y on encode.

Neo4K is a nice package and will support the same workflow, and if your interested, you can convert Redcode to Cineform as well so your working with a single codec on the timeline. Bit of a learning curve (and the tech support is hard to get a hold of), but a pretty nice solution.

 

[Adil Lahoulou]

does fcp 7 support varying formats on the same timeline? I know Vegas 9 does...

 

[Brandon Kraemer]

yes it does, always has to my knowledge. However editing H.264 files is not the way to go, if your considering that. The 5D shoots to that format, which is why you would want to transcode first.