Is it possible with the 1DC to record uncompressed 4K on a shogun for example ?

Best,

Mike

Chad, We loved the Lexar 1000 speed 64GB

dhaval ganbote, That camera will make you shine bright. I love the look and feel of the IDC. No problem with the splitting of the files. I never had any problems on The Ticket or on Need For Speed. You should be all good to go, their is a program that Canon supplies now to thread them together.

I am from Pune,India. I watch all your videos on net and they are always very helpful.

I am shooting my first feature film as a cinematographer. Its a complete out door shoot in a village environment in a bright sunny day.(temperature around 38 degrees).

I am planning to shoot on canon 1 dc because our film budget is low and entire film demands a small size camera. so I am not opting from red epic or alexa. We have some long sequences in our film which goes up than 1 minute.

Now my concern is 1dc splits file into 2 after 1 min of recording. I think this is causing a frame lag when it splits the file. This frame lag happens when the camera is not static. I want to know your view on this issue.

Awaiting your reply.

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Thanks and Regards,

Alex Cameron- Thank you for your comments and questions. The use of proxies is to create files that are a more manageable file size. If you look at our example in this post the 1DC footage used came in at 4.08GB and after the transcoding process was reduce to 1.43GB.

High compression and high data rate can effect the playback in Premiere Pro. By setting playback resolution to a lower value it should be smooth playback. You can also set the pause resolution to Full. This way you can check your details like focus etc. Use this method when reframing.

Adobe offers excellent online help and I would recommend this section on relinking in Premiere Pro: http://helpx.adobe.com/premiere-pro/using/relinking-media.html

As a professional DP, I would like to add- while being able to reframe a 4K image in a 1080p timeline is an option, you are putting in a lot of work to throw away a huge portion of your image. Composition is a key skill for any filmmaker/photographer and I feel it is something you should create in that moment of capturing your image. It can be slippery slope to shoot knowing you can reframe everything in post…just my two cents.

Mick Finn- Interesting question, I think the 1DC does this very well but yes, it is not an inexpensive investment. Australian Filmmaker Abraham Joffe captures stills from video with this camera – this link offers insight on that process: http://bit.ly/1hm4WZS

I personally do not worry about what the bit depth of a camera is. We used the 1DC on “Need for Speed” and we had beautiful results.

Aside from that I think Sony has some great cameras in a variety of price ranges – the video is Full HD. These cameras perform very well in natural light, as you mentioned you liked. Look at their Alpha mirrorless camera lines such as the a7 or the new 7s w/4K output.

You could explore the Blackmagic Pocket Camera since it records DNG. With the use of the ACR filter feature in Adobe Lightroom 5 and Photoshop CC and video support – there are possibilities there.

frank T – Thanks for your question. This comment was specific to the camera and not the 4K format in general. Different cameras that can record 4K produce the format differently and those variations can directly effect your workflow. Since this blog post was written almost a year ago there have been both camera firmware and Adobe Creative Cloud software updates and improvements.

Chad, LEXAR proved to be very successful

Geko, I light off of the back LCD screen with View assist on, the only way I have found to work well, the view assist is way too contrasty on a monitor. No LUT, so sorry

Thanks, great article as usual.

Anyway – for indie filmaker woh is on a budget – would be really nice to have one camera that could be used for cover quality photos and also cinema quality film.

1D is a little pricey (just under cost of bare bones equipped Scarlet X) – did you find 8bit 4:2:2 was enough to get cinema results? I have found 8bit and 4:2:2 provide very narrow range of cinema quality exposure – and I like natural light when possible.

So maybe in an upcoming post you can compare different combinations for rich color and high frame rates. Right now I rent an Epic if I want great color (of course I can still screw it up ;). I have doen some shots with hacked 5DMk3 and it is nice, just not 4K (and lots of CF cards to DIT).
Seems 1D would not be big improvement (educate me), maybe same for BMCC.
Thx

Great post. It’s taken me ages to find a good post on workflow for the 1DC and this is really helpful. Thank you. I have a couple of quick questions as I still cannot get my head around proxies and how to achieve this workflow.

So I film in 4K and end up with lots of 4K MJPEG files ready to go to edit. Ultimately I will be delivering in 1080p but want to be able to use the 4K to produce a great 1080p image and also keep the ability to reframe/compose the shot using the 4K resolution. I am editing in Premiere Pro CC on a well powered MacPro (Mid 2012 12 core; 32 GB Ram; Internal HDD Raid; Nvidia GEForce GTX680 with 2GB) as well.

Previously, I have transcoded to ProRes 422 HQ maintaing resolution of 4K then imported this into my NLE and put into 1080p timeline and scaled to 50%. This does not play back that smooth without me rendering it first. I suppose if I dropped the playback resolution to 1/2 speed then this would essentially be 1080? Anyway, is a proxy basically a smaller version of the original media that fits the capabilities of the system I am editing on? Should I maintain the resolution where possible if I do want to reframe so perhaps opt for a 4K ProRes LT proxy to edit with? When it comes to relinking the media to the original 4K MJPEG media, do I simply offline the clips in the timeline and then get Premiere to relink to original media? I have heard that this can cause issues with in and out points created in the edit.

Apologies for all the questions any advice would be really gratefully received. BTW, loved your work on Act of Valor!

Best wishes

Frank Suero, that is so great to hear. Keep killing it and look forward to you sharing what you are up to. Thanks again for all the support

thanks a lot for your work man, we really appreciate it, you just help me decide to get the 1DC for my next project. I will share our experiences with you here.

God Bless You

Mrinmoy Nandi, I shot Need for Speed which will be in 12,000 theaters on March 2014 with this camera. I think it will hold up my friend

Dear Shane,
It was really a nice help in context of preparing myself for 1DC shoot.
I tried 4K Motion jpeg (native) in DaVinci Resolve (4K compatible). But it was not very successful. Images are not performing smoothly where as the Red Epic 5K files performs perfect in same DaVinci console. Then I converted the 1DC 4K files to ProRes4444 keeping resolution as 4K. Still it was not a happy situation in DaVinci Resolve. Do you suggest me to go for ProRes422 HQ for the solution? Please keep in mind that I’m planning to shoot a feature film with this camera.