POST PRODUCTION NOTES + DOWNLOADS

Canon C300Mk3 + C70 Files

IMPORT
For most projects, files will be shot for a 25p PAL delivery. Please conform all shots to 25p playback before placing on timeline, unless project has a specified 23.98p, 24p, or 29.97p project framerate.

AUDIO
The camera records 4 tracks of 24 bit audio, 1+2 are XLR channels used for on-camera shotgun or separate booms, 3 and 4 are either separate wireless lapel mics or occasionally internal scratch mics.

GRADING
Most shoots will use C-Log 2 gamma, which offers the widest dynamic range. As a base, one or several custom looks are applied upstream of a 709 conversion LUT, and are preset into the log files delivered. The advantage of this is that it allows the use various profiles for maximum image quality and consistency throughout a shoot, while requiring the same single 709 LUT for conversion by the editor. For example, most footage will use a standard profile, some may require one for extreme HDR scenarios, and others may benefit from a preset made for low-light. Altering the footage at the Log-level, all tailored to the same 709 LUT, yields far more consistent results with less room for interpretation.

The Canon C-log2 to Rec709 WideDR LUT is DOWNLOADABLE HERE as part of a LUT pack (includes LUTs for other cameras below). These LUTS are full range to full range, please compensate accordingly for legal range broadcast.

NOTES
I will often ‘black frame’ during a shoot. This is where I deliberately shoot a few seconds of black with the iris closed. Typically this is done to speed the editing process; whenever there is a black frame, it signals either the end of a certain scene/location/setup, or that the previous shot was particularly noteworthy.

Canon R5 Video Files

DJI Mavic 3 Drone Files

IMPORT
These files will typically be shot in 5.1K 25p, in H.264 .mov format. These files will be in 10-bit D-Log @ 200Mb/s, except for telephoto lens shots (different camera) or scenes in low-light-mode where the shots will be baked in UHD 709. There is a D-Log to 709 LUT included in the LUT pack linked above.

The files will likely need to be transcoded into your preferred intermediary codec before editing. I recommend EditReady, which can output ProRes and Avid DNxHD formats in batches.

EDITING
Often drone footage could do with being a little bit faster, whether due to editing style or the physical speed limitations of the drone itself. I typically shoot with a shutter speed slower than 1/50 in order that editors can increase playback speed to 120-150% without excessive sharp-shutter motion cadence.

IMPORT
These files will typically be shot in UHD 25p, in H.264 .mov format. These files will be in 10-bit D-Cinelike @ 100Mb/s, except for scenes in low-light-mode where the shots will be baked in 709. D-Cinelike is a low-contrast 709 profile requiring no LUT, only adjust contrast and saturation to taste.

GoPro Hero 6+ Files

GoPro Hero6 cameras and onwards have the ability to shoot in HEVC h.265, however not at all framerates. Please check that all files are conformed and transcoded if necessary prior to editing. Often UHD 25p footage will be shot in h.264 structure, but 50p footage will be shot in h.265, due to the internal datarate limitations of those cameras. I advise transcoding via EditReady.