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The Mentoring Room - Ask the Working Pros

This is a Public Topic geared towards first-time filmmakers. Professional members of The D-Word will come by and answer your questions about documentary filmmaking.

Doug Block
Wed 19 Jan 2011Link

Ashley, first of all, welcome to The D-Word. And bravo for leaping right in with a post. You did it fine, except that the Mentoring Room is mainly for those we call Enthusiasts and the professional members rarely hang out here.

We don't encourage double-posting but in this case we'll make an exception. You should post this again in the Documentary Film topic and you'll probably get a good deal more feedback.

Also want to encourage you to tell us a bit more about yourself in the Introduce Yourself topic.

Ashley Hillis
Fri 28 Jan 2011Link

Hi Doug,
Thank you so much for responding. I will make my way over to the Documentary Film area and see about posting there.
Thank you for your help.

Martin Carel
Sun 30 Jan 2011Link

We're about to go into the editing phase for our indie documentary. For the post-workflow process (using a Mac Book Pro 2.4GHz 4GB), we're about to transcode the (Canon t2i) H264 files into APR422 files using MPEG Streamclip. This seemed to be the best practice at the beginning of year 2010.

2 questions:

  • is it still the best practice today?
  • while editing in FCP, is it realistic to source the video files from an external FireWire800 HD? I was hosting my video files on an external USB 2.0 HD on a previous project, and it's just too slow. So I'm wondering if FireWire800 would do it or if I need to have the video files on my local MBP drive.

Thanks in advance,


Laura Moire Paglin
Sun 30 Jan 2011Link

Martin – I'm not the tech geek that some of the filmmakers are (so perhaps other will have something to add)- but there are some other options besides MPEG stream clip. EOS Plugin allows you to use FCP 'log and capture settings' to transcode files.This is supposed to be faster and also allows you to imbed timecode onto your footage. Some have had problems with it however. Magic Bullet Grinder allows you to simultaneously create both ProRes Proxy files and higher ProrRes files simultaneously and creates timecode. Oh but I just noticed that you're transcoding to something called APR422. I've never heard of that. Just about everyone I've talked to uses Prores. Yes FireWire800 should be fine. FYI – you need FCP 7 to convert to Prores Proxy (which takes up a lot less space). I think the timecode option offered by EOS plugin and Grinder is a huge advantage over MPEG streamclip.

Edited Sun 30 Jan 2011 by Laura Moire Paglin

Errol Webber
Sun 30 Jan 2011Link

Laura, APR422 = "Apple ProRes 422"

Laura Moire Paglin
Sun 30 Jan 2011Link

Oh! Well that's good – I'm glad to know it's not some new codec.

Randy Lee
Mon 31 Jan 2011Link

I think the MPEG streamclip option works fine, especially if you then copy your THM files into the folder that the new files are in and use the free version of QTChange (search for QTChange 0.7) to add timecode and reel numbers. The EOS plugin has me plenty of issues, and I'm not the only one who has run into them – I've spent plenty of time with other filmmakers in the Madison area trying to solve their issues with it.

You're definitely better off keeping your footage on an external FW800 drive (make sure the drive is 7200rpm not 5400) than on the internal. Also, backup, backup, backup. When that drive fails, what do you do?

Linda Wasson
Mon 31 Jan 2011Link


first q – you should always be editing off a firewire drive for many reasons, much of what has to do w/how FCP operates. also it doesn't have to be a 5400; I have 2 of those and 1 7200 drive; they all work pretty much the same. However, if you are editing HD, then you will probably see a difference w/the 7200 but your processing speed will likely be the limit rather than the external.

you can actually run into some problems with a USB drive so please do stay away from those when running FCP.

your backup files should be on your hard drive; it's called the Autosave vault and you should find it in your documents dir which is the default when you loaded FCP unless you changed it. you can set it in your system preferences in FCP.

next q about transcoding files – didn't really understand what you were referring to until someone mentioned App Prores 422; I export all my files in this codec even if I've imported into FC as another such as H.264. just import the files and change it in your settings; you can also click on the timeline, then go to your settings for your sequence (go to Sequence, settings, you have to be in the timeline or it will be grayed out) and set your codec there for prores or whatever.

fyi, if you join D-word as a member you can post over in the FCP section as well as editing.

Linda Wasson
Mon 31 Jan 2011Link

In reply to Randy Lee's post on Mon 31 Jan 2011 :

your backup is in Autosave vault which is on your hard drive; you set it in your FCP preferences so yes, you do have a b/u on a different drive.

Errol Webber
Tue 1 Feb 2011Link

Your opinion guys. I know some production people in the film industry may not take well to unsolicited contact about video work, but if you were to stumble upon a production company of which you like their work and would like to shoot for them on their upcoming projects, what is a good way (notice I said "good" way, because there's probably no "best" way) to approach them so they aren't initially turned off by your unsolicited contact? A phone call first? An email first? Both consecutively? A phone call to set up a meeting (if they are in the same city/state?) I have an approach I've used for years, which works out fine most times, but I want to know your opinions.

Ever since I started doing video in '03, I've worked mainly from referrals, so my former clients usually do the trumpet-blowing for me when it came to future projects with other directors/producers. But every once in a while I will find a project that I'm interested in and would like to work on, and I sometimes scratch my head, thinking of how to approach this particular person/production company.

What are your thoughts? If you ran a decent-sized production company that's been around for years or was a producer of a newly conceived film, how would YOU prefer potential shooters contacting you? Would you even mind them contacting you? And if you WOULD mind, what was the turn-off?

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