Hey guys, well... I own a GoPro2. Im super stoked about this great little camera!
I've been dealing with mostly my GH2 (hacked) and just acquired D7000, so i have pretty much every conversion tool under the sun... and played around with various transcoding flows.
Anyhow, I am throwing together some GoPro Vids, and just cant believe the huge files GoPro CineForm Studio gives me.
I realize this is one of the "top level" codecs and its able to handle some of the higher end cameras (RED).
But this little camera is only outputting 15mbit data... at (4:2:0 or 4:2:2? i was never sure, and didn't find any solid data on this)
My question is, am I loosing any data from the original GoPro2 files? Is there a benefit in using CineForm over ProRes Proxy/Normal/HQ/or even 4444?
So my current workflow is as follows:
1. Importing and cataloguing my files in Lightroom.
2. Adding all the GoPro2 Vids into Compressor and/or MPEG Streamclip (Batching)
3. Encoding ProRes Proxy
4. Editing in FCP7
5. Transcoding the RAW (again) into ProRes (standard).
6. Relinking in FCP7 to the new ProRes files.
7. Rendering and Exporting.
As I've read, Proxy seems to already be more then what the GoPro2 is outputting. But these HUGE CineForm files and all the color options are throwing me off.
Final Cut Pro 7 Professional Formats and Workflows: Apple ProRes Format Specifications
To top it all off, there is this new upgrade for the GoPro2 coming out... giving it 35Mbps. (Protune)
GoPro Partners with Technicolor to Incorporate CineStyle™ into GoPro’s new Protune™ Firmware for HD HERO2 at NAB 2012
What should my encoding be set at currently, while maintining top quality and smallest size?
And will that change any with this new update? (Of course it shoulds like "Protune" will be somehow "unlocked/enabled" within CineForm, so probably thats what ill have to use for those "Protune" features to transfer over to FCP... i guess ill cross that bridge once its released)
Thread: GoPro Workflow
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04-19-2012 08:16 AM
- Join Date
- Mar 2011
04-19-2012 10:25 AM
Plain and simple, you want all your footage to be the same before you edit. So, whatever you do with your footage from your GH2 and D7000, do the same with the footage from the GoPro.
Also, there's really no reason to use ProRes Proxy. ProRes LT is perfectly good, and it eliminates the added steps of re-converting and relinking.Formerly known as C2V
Nobody notices audio... until it's not there.
04-19-2012 03:44 PM
- Join Date
- Mar 2011
Yea, I figured as much. Basically wanted to know, "if" i was to get the most out of my GoPro files... im not missing something in ProRes that CineForm can give me?
Statically speaking, LT fits the needs of the GoPro bit rates.
Proxy actually, was the original workflow I use for my normal editing flow with the GH2. Re-encoding back up to Normal or HQ upon export (depending on patch im using), so I followed the same rule with my GoPro... but your right in just using LT... if its all only GoPro footy.