Regarding storage, assume that a 20-day shoot is going to generate about 20-30 hours of media. If they shoot two cameras for everything, that could double. So figure your storage needs accordingly. Make sure the camera media is copied to duplicate hard drives for back-up, in addition to the drives you are working with. This should include the high-res media you transcoded the footage to, since this is now the functional camera original media.
The best camera settings I've found are the "Prolost Flat" profile.
I've been happier grading 5D footage when this was used rather than one of the CineStyle profiles.
You can transcode the footage with several tools:
MPEG Streamclip
DaVince Resolve (LITE - free)
5DtoRGB (http://rarevision.com/5dtorgb/)
Resolve has the advantage of creating MXF media. 5DtoRGB is supposed to give you the best results, but is the slowest.
My typical approach so far has been:
MPEG Streamclip to transcode to DNxHD QT MOVs
VideoToolshed's QtChange to add TC and Reel numbers
Better Renamer to append unique names
Then "fast import" the DNxHD files into Media Composer, which generates the MXF. You should be able to work at the high resolution on most machines, but could also transcode again to DNxHD36 if there's a performance issue for the offline edit. In either case, you have the high-res DNxHD QTs to go back to if needed.
- Oliver
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