Just over three years ago, I wrote up an article on how to import Canon C300 footage into various NLEs. The C300 Mark II has been out for some time now, but it's just recently that all the major software applications have supported it.

One of the most popular blog posts I've written was a guide to Applying LUTs to Log Footage in various NLEs. Since I posted it, a lot has changed in the popular NLEs; the tools used to apply Look Up Tables are now included in many of them, and they are generally better than ever. Here is a break down of how to apply LUTs to Log footage (or any footage) in Final Cut Pro X, Adobe Premiere Pro CC, Avid Media Composer 7, and Resolve 10

One of the more interesting features of the Sony F55 is its ability to record in 4K XAVC video while simultaneously recording in HD. This gives you the option of editing right away in the Sony MPEG2 HD format as a proxy, and then linking back to the 4K XAVC compression for finishing. Sounds great right?

Sony recently released firmware version 1.2 for the F5 & F55 cameras, which is a pretty big update that adds many features and fixes like Wi-Fi remote control support and SR Codec recording.

With every new camera, come many new questions about workflow. The term "workflow" can be fairly broad, but today I am looking at importing Sony F5/F55 footage into various non-linear editing systems (NLEs). Both the F5 & F55 can record in MPEG2 (XDCAM), XAVC and HDCAM SR formats internally. With the addition of the AXS-R5 recorder, they can also record in Sony Raw. This article is focused on MPEG2 and XAVC, but be sure to keep an eye out for future blogs on working with Sony Raw and HDCAM SR.

In this third part of my series on the Sony F65 Workflow, I go over how to use Sony's SR Compression format. In the latest firmware revision, the F65 is able to record in the SStP (Simple Studio Profile) video format, also known as the SR Compression format. This is the same format found in the F35 and other HDCAM SR recording cameras. Right now, the F65 can record in the SQ Mode (at 440 Mbps) to the SR Memory cards, with HQ and Lite options available in the future.

With every new camera, comes many new questions about workflow. The term 'workflow' can be fairly broad, but today I am looking at importing C300 footage into various non-linear editing systems (NLE). The C300 uses the same workflow as the Canon XF series of cameras (which includes the XF305, XF300, XF105 and XF100), because it records in the same format. However, the tools for importing the footage have been updated by Canon. Below, I outline how to ingest footage onto a hard drive, and how to import into Avid Media Composer, Final Cut Pro 7, Premiere 5.5 and Final Cut Pro X. Keep reading for a brief how-to on each process.