MPEG Streamclip for Mac or Windows is a CHAMP at converting the H.264 footage! And it's FREE.
One of the most common questions that I get from people regarding the new breed of HD-DSLR cameras is “What’s your post-workflow?”
Truth be told - most of it is actually extremely straightforward. It does get fancy when you try to do some high end stuff- but that workflow applies to maybe one percent of people - so here is the simple workflow:
Simply put - all you need to do is to convert the native footage from the Canon 5D / 7D / 1D MKIV from the AVC H.264 format to a format that your computer and software will support.
For me it’s simple given that I work with Final Cut Studio - I work with Apple’s ProRes codec. What this means is that I simply convert the H.264 footage to the higher quality (and less compressed) ProRes format. (Avid supposedly supports the H.264 format natively according to some post houses that I’ve worked with - but I admit to not being an Avid or Adobe Premier expert by any means.)
Why do you need to do this? Well simply put - most software does not support the editing of H.264 footage natively - some do. Final Cut Pro doesn’t - you’ll find that it can crash every few minutes - or worst - every few seconds. You’ll find that the video is extremely choppy - and that it can be close to impossible to do frame-accurate edits. The reason is simple: the computer has to decompress this (compressed) footage on the fly. And that takes a lot of GPU (Graphic card) power. Older MacBook Pros and even the top end Mac Pro tower with the most expensive graphics card can choke on this task… ironically you’ll find that the new MacBook Pros do much better than the top-end Mac Pros… and that’s just plain silly. Why? Well the MacBook Pros have a H.264 chip built onto their graphics card! This helps play all of the iTunes m4v files (movie files) more smoothly.
So how do YOU do it?
Well, there are MANY ways to do this. You can use Final Cut Studio’s Compressor software - I create droplets and drop my files onto them. Very very easy.
Compressor "Droplets" allow you to simply drag and drop your Canon files onto the icons... the software does all of the rest.
I’ve also converted the file within Final Cut Pro using either the Batch Export feature - or even the media manager menu.
Compressor is good - and easy. But some of you may not own Final Cut Studio… so what do you do?
Well I recommend you look into the utility that has quickly become my absolute favorite way of converting my footage: Squared 5’s MPEG Streamclip. Not only is it extremely easy to use (see Chris Fenwick’s most excellent video tutorial here) but it’s also often faster than Compressor and is much cheaper…
Much cheaper!
It’s FREE. And frankly I don’t know why. Because I would gladly shell out $100 bucks or more for this app. It’s that good.
I’ve found that the app is extremely fast (faster than compressor!) - it allows me to point it to folders and it will ignore all of the THM files and CR2s in the folder - and off it goes. You can pause it in the middle of a re-compression batch should you need to shut down your laptop or unplug your external hard drive. Basically it’s a dream.
Lately I find myself using two codecs most often - Apple ProRes 422 has always been my gold standard, and recently w/ the new FCP Studio I find myself using Apple ProRes Proxy - to do quick edits on my laptop.
Obviously - the size of the de-compressed files will depend on what codec (fancy word for video format) that you chose. ProRes 444 will be much bigger than ProRes 422 or ProRes Proxy obviously. Apple details the sizes somewhere on the web if you’re real curious. (OK HERE it is…) and in even more detail HERE.
Basically - to keep it simple - if you’re just getting started - just follow Chris Fenwick’s tutorial above - or decompress you H.264 footage into ProRes 422. And you’ll be all set to get going in all of this. Remember to always keep the ORIGINAL footage somewhere safe in case some incredible new technology comes out years from now - but work off of the ProRes files from that point on.
Good luck!
78 Comments so far
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Vincent, thanks for this! I just got a 5dmkII and was starting to research video post workflow and saw this in my feed reader. Thanks for helping the beginners figure this stuff out!
Comment by Jeff Claeson 11.02.09 @ 3:10 amHello Vincent!
I have been also looking for the best / quickest solution for this new work flow. Thanks for the valuable information and reducing my time researching / testing applications.
Comment by Justin 11.02.09 @ 3:57 amthanks vincent,
MPEG streamclip looks great!
any recommendations on a codec for PC users? I’m running a PC laptop with Premiere Pro CS4 and i’ve been lumbering through by just editing the h264 files directly.
a faster format would be awesome.. but which one?
Comment by john lewis 11.02.09 @ 6:52 amHi Vincent,
thank you very much for posting this but I have one more question: How can I use this program to convert 30P to 25P or 24P? Thank you for your help.
Rolf.
Rolf 11.02.09 @ 7:23 amSocial comments and analytics for this post…
This post was mentioned on Twitter by photofeeds: MPEG Streamclip for Mac or Windows is a CHAMP at converting the H.264 footage! One of the most common question.. http://bit.ly/mbB3Y...
Trackback by uberVU - social comments 11.02.09 @ 7:30 amI am just starting to get involved with video editing and this info was very helpful. Thanks for the links to the apple pages and the info on the free software.
Comment by MWynne 11.02.09 @ 8:15 am[...] using my Canon 5D Mark II to build first YouTube videos and eventually a DVD. As such, I found this quick tip to create droplets to convert to Apple’s 422 format [...]
Pingback by Building YouTube Videos, DVDs from Canon 5D Mark II | NSLog(); 11.02.09 @ 8:53 amWorking with Premiere, all you need to do is drop the raw H.264 footage on the timeline, hit render entire work area, and you’re good.
Or if you want Premiere (or Sony Vegas) to handle H.264 natievely, you can use the GPU Decoder plugin by Divide Frame.
Comment by Sean Duran 11.02.09 @ 10:27 amI was wondering if anyone has had experience with combining footage in FCP from different cameras. I am shooting with both a 5D MKII and a Panasonic HVX200. The HVX shoots DVCPRO 720p (we aren’t shooting full HD) and the Canon obviously h264. I converted the h264 to DV/NTSC and was able to edit in the same timeline without rendering one or the other… but I don’t know if that is the right move.
marty Reply:
February 12th, 2010 at 5:14 pm
@Chris Holme, I use Adobe After Effects CS4 for converting mixed frame rates and image sizes to get them to all work together. I output ProRes 422 HQ for use in Final Cut.
Hi,
which codec should i use for editing in iMovie?
THank you
Vincent Laforet Reply:
November 3rd, 2009 at 4:16 am
@Flo, As far as I know iMovie will not do any conversions 
If you CAN convert it in some other way - ProRes 422 will work.
One workflow that works natively (without having to convert) is using Adobe Premiere Pro CS4. It can be a bit slow on older computers. If you have a newer Mac Pro, Macbook Pro or PC with an Intel i7 processor, it works nicely.
Comment by Brian 11.02.09 @ 1:20 pmI’ve been using Cineform’s NeoScene to convert to .avi for PPro CS4. So far so good!
Cheers,
Jeff
I can say that Avid does have native support for the H264 format. I use both Avid and Final Cut at my day job and Avid handles the files much better than Final Cut.
Comment by M.D. Welch 11.02.09 @ 2:14 pmMpeg Streamclip is awesome, but it is worth noting that you need to own Final Cut Pro to have the Apple Prores codecs. So if you don’t have FCP don’t expect to see the prores codecs when you download Mpeg Streamclip. Although is Prores even useful if you don’t have FCP?
Vincent Laforet Reply:
November 3rd, 2009 at 4:17 am
@Josh, True - my bad. I haven’t owned a computer that hasn’t had FCP installed on it. Therefore you should chose a codec that your computer does support - and work with that. ProRes is a great standard if you can get it converted to that format.
Michel Reply:
May 21st, 2010 at 1:42 pm
@Vincent Laforet,
Hey Vincent, what is a good alternative if you are using final cut express?
thanks,
Michel
good tip, thanks for sharing. this is one step that you can beat your head on the wall, figuring out what codec to use. aloha.
Comment by bradyo 11.02.09 @ 3:55 pmThough not a pro program I recently purchased Pinnacle studio 14 software and it edits 5d files
perfectly well. Thank goodness I’ve been trying to find somthing for a year!!
stan Reply:
April 22nd, 2010 at 7:28 am
do you need to convert the H264 format ? or all woks well as is ?
Thanks for your great article. There is so much junk on the internet it is hard to find good quality information when you really need it. I just came across your site and have bookmarked it. Look forward to reading more in the future keep us posted.
Comment by Andy Light 11.02.09 @ 7:43 pmThese methods are great and thank you for the tips BUT…..do any of these methods maintain the orignal 0-255 values that the camera captures?
Vincent Laforet Reply:
November 3rd, 2009 at 4:18 am
@Andrew Clark, It should come close - as close as one can. Definitely better than the pre Quicktime 7.6 conversion which cut the top and bottom 10 points… that was close to a year ago.
Will this also work with Final Cut Express, or only FCP??
Vincent Laforet Reply:
November 3rd, 2009 at 4:18 am
@PJ Heller, Saddly only FCP - Express is a big let down I’m sorry to say…
Greg Reply:
November 3rd, 2009 at 12:17 pm
@Vincent Laforet,
So what should we use for Express/iMovie?
I’ve seen AIC (Apple Intermediate Codec) mentioned before. Any advice on that?
Geoff Bardot Reply:
November 4th, 2009 at 12:12 am
@Greg, AIC is a good alternative. It is not the best solution but only solution for use with Final Cut Express. The investment into Pro is worth it. Just like Vincent has said compressor and droplets make the workflow with this camera so simple. I could not edit this footage without Pro Res. It also allows you to color correct in ways we could only dream of two years ago. It allows editing color in a 10bit color space even though you are 8 bit “floating” in 10. Sound confusing but it means easy color correction with Apple’s Color. AIC is a “lossless” codec so quality loss is not visible to the normal eye and will make it editable for you in Final Cut Express. If you want a large amount of output options FCP and Compressor give you that. Final Cut Express is limited in compression and output options. H.264, AIC, DV and DVD are about your only options. So look at what you are trying to do and look at the software that will get you there.
The Avid solution:
Here’s how to import from a Canon EOS 5D Mark II and how to change frame rates by keeping all frames. The following procedure has been done on a Media Composer 3.5 Nitris DX Windows.
The Canon EOS 5D Mark II is a Digital SLR camera which is able to shoot video in full HD 1080p30. The footage is stored in Quicktime Container compressed in H264 40 mbit/s. You can import the footage in 1080p30 project (As of 03/2009 only available on Media Composer with Nitris DX) and work either in DNxDH or uncompressed in its progressive flavor. The colorlevel of the Canon camera is RGB which should be chosen as the import setting.
You can also import the .mov files into a 1080p25 project and the Media Composer will drop out 5 of the 30 frames per second. Depending on the motion in the picture there may be some visible jitter. The best way is to import and use the footage in a 1080p30 project (if available) and do all the editing in this project. If you need a 25p version of your timeline, the following steps are suggested:
1. Export a QT Reference file video only (709 color space) of your timeline.
2. Export the Audio as a Wave file.
3. Open a 1080p25 project.
4. Open the console and type in “IgnoreQTRate 1″.
5. Set your Import settings to “Image sized for current format” and “601 SD or 709 HD”.
6. Import the QT Ref movie (should be a fast import).
7. Import the Audio.
8. Video will be around 20% longer than the Audio.
9. Edit Audio and video into the timeline. Video at the same length as Audio.
10. Add a timewarp FX to the video and set the speed to 120%.
11. Render the effect by using the FluidMotion option.
12. Video and Audio should be synced up again in a much better quality than by using the direct import.
Comment by Jason Felmingham 11.03.09 @ 9:20 pm[...] (y bajando a 720) he encontrado la forma de trabajar fluidamente con el premiere en pc. Converting that H.264 footage…
Pingback by V 11.04.09 @ 3:30 pmThanks for the informative article. I like MPEG Streamclip too but the UI really needs polish- it reminds me a bit of Debabelizer 1.0. Further…RE” It’s FREE. And frankly I don’t know why. Because I would gladly shell out $100 bucks or more for this app. It’s that good.”
Soon you may have to pay but my hunch is they want to sell the code to Apple or Adobe instead 
Prores is pretty great for mac workflows, but on the PC I swear by cineform: that codec works miracles on 5DmkII footage. neoscene is worth every penny.
I absoltuely disagree with the folks here who claim that PremeireCS4 solves all the h.264 problems. The bitrate on the 5DmkII is just way too high, you’re not going to get realtime playback with effects out of premiere. And rendering the timeline is really just the same thing as the covnersion that Vincent suggests.
Also: there are a lot of problems with the Chris Fenwick video that is linked here. The 5D shoot 30fps, for one. not 29.97, so streamclip is having to re-interpret a frame here and there for that worklow, even if it is just a slight adjustmet.
Comment by Eric Ferguson 11.05.09 @ 4:09 pmMy 7D workflow…
The Canon EOS 7D records video natively in the h264 codec which is not optimized for video editing. So before importing 7D footage into Final Cut Pro I need to convert it into something FCP can handle natively.
……
Trackback by _mxr blog 11.06.09 @ 4:19 amhey Vincent,
how did you come up with all those fine ideas
I have found I can also use PreRes LT and XDCAM EX. With ProRes LT the final converted file is about 2.5 times bigger. With XDCAM EX it has roughly the same size (even a bit less). Using both on the Mac I cannot see any perceivable difference. As we are not able (at present) to burn HD Blue Ray disk but only DVD, I think I can better use XDCAM EX. What is your opinion? Thanks.
Comment by Claudio 11.06.09 @ 9:12 amI am particularly interested in Eric Ferguson’s comments about Cineform Neoscene. I am just an entry-level user of video on the 5D Mk II, so I wonder has anyone converted to avi using Cineform Neoscene and then edited the avi’s in Sony Vegas Movie Studio Platinum Edition?
I have already used the trial version of Neoscene and found it easy to use.
Thanks
Des
Dave Rilstone Reply:
November 14th, 2009 at 1:16 pm
@Des, I use Cineform’s Neoscene for both Sony Vegas Movie Studio Platinum and Premiere Pro CS4. Works well with both — preserves the quality, colour, and detail of the original MOV files of my 5DMK2. One caution: the Neoscene-generated AVI files are huge; 2 - 3 times the size of the original MOV files.
Hi Vincent,
I’m editing ProRes 422 5D footage in FCP, but I still get choppiness and long render times. Any advice?
Thanks,
Nil
jason baffa films Reply:
November 16th, 2009 at 5:35 pm
@Nil, you may need more RAM to process the large files - also, make sure media is on your hard drive and not an external - that might help.
[...] on transcoding (changing the CODEC) on the 5DII footage so that FC can read it, but then I saw that Vince Laforet does a very good job of explaining it. The difference is that I use Compressor, rather than [...]
Pingback by How To:Transcoding | blog1.dhstewart.com 11.11.09 @ 9:47 pmIf you have shake… after seeing this video http://www.youtube.com/watch?v=Uy9XBIpGBpg
I would never use Mpeg StreamClip for something important.
Comment by Kieran Barrett 11.15.09 @ 8:56 pmI’m editing 7d footage, with premiere pro. But the option to compress the files into ProRes 422 isn’t available. Is that because I haven’t installed final cut? What other compression can I use, because the one I’m using, DVCPRO50-PAL causes premiere pro to quit without any warning.
Hope to hear from you!
Comment by Stijn 11.30.09 @ 10:07 amOn PC, Adobe Premiere Pro with MainConcept MPEG Pro HD 4 plugin is a killer. Native 5D files are popped into the timeline and edited and exported at very fast speeds, all on a mid-end CPU with consumer external hdd via USB.
i’ve seen the performance with my own eyes and found it disbelieving. One can also export as 25p or 24p direct from Premiere’s export fps settings and no visible dropping of frames.
it’s a pain to do a conversion with streamclip when one is pressed for time. I’m a FCP user myself, and i wonder why there ain’t any plugin for FCP to work natively with canon clips.
having mentioned that, i wonder if anyone has favorable experience working with FCP7? does the new version eliminate the conversion process?
regards
Paolo Reply:
July 17th, 2010 at 8:03 am
@brinsley,
hi,..following your suggestion.. I downloaded MainConcept MPGEG Pro HD 4trial ver… well, AP CS3 offers lots of MainConcept possible projects, which project I have to open in order to edit native videos by Canon Eos 5D Mark II ?
thankyou..
FCP does actually support H.264 natively - it’s just quite slow that’s all.
Seriously, try it, you can drag a file straight from a memory card into an FCP timeline.
Comment by Lawrence Dudley 12.10.09 @ 9:42 am[...] Converting 5dMk11 H:264 footage to Apple ProRes [...]
Pingback by Converting 5dMk11 video footage « BLOG 12.16.09 @ 4:45 pmI tried this and works well. Im interested to see why so many people would use Cineform Neoscene over something like this? Is Cineform that much better?
Comment by Kenny 12.16.09 @ 7:31 pmPlease excuse my ignorance in these matters, but would “MPEG streamclip” be the solution to my problem?
I have a Sanyo VPC-FH1 camcorder and like to record to its best quality, 1080p @ 60fps. I have bought a copy of Nero9 Reloaded as it seems ideally placed to work on my 64bit Win7 i5 PC and claims to handle the H.264 AVCHD files generated by my camcorder. All I am trying to do is to edit a series of clips into single files. I don’t want to change the file format at all. I can load and trim the clips, and I can add the transitions etc - but I couldn’t see how I set the output as to not downgrade the recordings from 60fps progressive to 25fps interlaced. I contacted Nero support - they have told me the product (Nero9 Reloaded ) can’t export in progressive, let alone 60fps. Of the two I guess the progressive is the more important - I could live with 25FPS. Thank you in advance.
CLICK HERE TO VIEW GREAT HOW TO VIDEO—(in article above too)
http://chrisfenwick.squarespace.com/converting-5d-movies/
Comment by bone 01.04.10 @ 10:45 pmwhat cables do you to download to an editing software package. The format the movies when I download is XXXX.MOV which is a quicktime format.
Doug
Comment by Doug Macomber 01.10.10 @ 4:28 amHi Vincent
I’d really like to know how I can edit a Prores Proxy version of my footage and then apply my edits and effects to a higher quality version of the footage - i.e. a Prores 422 or Prores 422 HQ version. That would enable me to quickly edit my stuff and then apply the edits to better quality files and have it render out overnight.
I can’t seem to find any information on how to do this. Can you help? Maybe something about using FCP XML - but that points to the original media, right. So I’d have to reconnect to media in another folder with the same filenames?
Any help would be highly appreciated.
br,
Kim
Robert Scheer Reply:
July 15th, 2010 at 3:52 pm
@Kim,
This is a question from a few months ago, but I’ve been messing with doing the same thing. I’ve done the same thing. I do the work with an LT version, then right before I export, I move the LT files out of their original folder, and when FCP wants me to reconnect media, I point it toward a folder with HQ or 4444 versions. Booyah!
“It does get fancy when you try to do some high end stuff- but that workflow applies to maybe one percent of people”
-I am pretty curious what is meant with this sentence? Compositing?
Comment by Carsten 01.20.10 @ 1:54 amthat’s quality software! and free is always a plus. i’m not sure i’d pay $100 for it but it’s def. worth at least $50
[...] de huit processeurs pour éditer les fichiers d’une minuscule caméra… En suivant les conseils de Vincent Laforet, j’ai utilisé MPEG Streamclip. La vidéo de Chris Fenwick donne des précisions sur [...]
Pingback by Speed flying et GoPro HD Hero 01.27.10 @ 3:57 amThank you so much. Keep up the great work and all the help you offer to your fans.
Comment by Alex Brizuela 03.01.10 @ 12:56 amHow do I convert 30P to 25P keeping all the frames. I saw “the Avid solution” above - is there a FCP/Compressor solution?
Comment by Anna 03.02.10 @ 5:49 amhi Vincent,
After all your editing is done, do you export as ProRes with QT or Compressor or before you do that, do you change it out of ProRes?
Thanks
Comment by Mark 03.09.10 @ 12:53 pmi mistakenly came across your blog while searching for something else.but found this post useful hence decided to drop a line.very well done.i dont completely agree with you but still a good agrument.
Murk Reply:
March 14th, 2010 at 11:58 am
I was trying to decide if this was spam or not for my website - and found the exact comment word for word here - thanks google!
Am removing from my site.
(To webmaster - you may want to remove the above comment - and this comment - neither has relevance to the post)
Can you refer me to an ideal workflow, for exporting to h264 video. I am editing Canon7D footage, ProResHQ timeline, now I want to make a video ideal for online uploading (youtube/facebook) I’ve made a few with H264/1280×1080 HD, and the framerate is choppy.
Turtorial for export settings available?
Please help!
Thanks for a wonderful post, l ve been looking for such information, I will join jour rss feed now.
Comment by Mike 03.22.10 @ 9:00 amI downloaded the StreamClip app. It is great. But I’m not sure why I don’t get the same codec options as you show on your video? I have HD footage and would like to use DVCPro HD 720 - if it works. The original footage was given to me H.264 960×540. Argh! This is awful in FCP. I understand it isn’t a ‘production codec’ it is not editable in FCP. I have Mac X 10.6 - Snow Leopard and FCP 5. I can’t imagine why there would be a problem with the OS, but I didn’t see it supported on the Squared 5 site. Thanks so much in advance for any insights. I’ve spent HOURS on this little issue.
Comment by sandhya 03.30.10 @ 5:53 pmforgot to add a word of thanks for the great info to you both (Vincent and Chris)… it is much appreciated.
Comment by sandhya 03.30.10 @ 5:53 pmYour blog is really awesome Vincent!
I’m not sure if this is correct, but I heard that there is a way to bypass the H.264 codec problem. So that you with a 7D and 5D (although you get 480p size from the 5D, because of the HDMI limitation) can extract some form of “raw files”?
Taking h.264 files and just saving them as something else doesn’t really remove the compression artefacts. It only makes it possible to edit them.
I might be totally wrong here. Anyone know?
Thanks for sharing, just got my 7D and want to start making HD movies, super excited, but don’t have a clue on how to get started with this new video format. you have cleared it up for me a little, much mahalo’s
Comment by Hawaii Wedding Photographer 04.22.10 @ 4:54 amIn simple words, How do i convert the H 264 to work in the windows platform ? I am using corel pro x3 . Every time my pro x3 crashes….. which is a good software to handle H264 format on the wondows xp platform for editing , like avid ?
Comment by stan 04.22.10 @ 7:27 amHey guys/girls. I’ve got a question about the workflow with emphasis on color-quality.
Here’s the problem. I’m working on a personal project filming a clock-commercial and ran into some roadbumps along the road. In Color (Apple Color) everything looks sexy, in FCP it looks okey but when i output the file, H.264, 5000kbps, 720p. I’ve been filming with a Canon 5D Mk II and converted the photage with MPEG Streamclip to Apple Prores 442HQ, native size.
In Color the film is crispy, nice contrast and a little subtle touch of yellorange in the highlights. QT kills the look by making it all neutral and VLC tends to put some greenish look to it.
I would like to get the same feeling from color to the final product.
Anyone? Help 
Thanks in advance!
/Christian
Wow, great work! I’ve been using mpeg streamclip for other applications but this is fantastic.
one important question though: the project I am trying to convert has been shot with 24, 30, and 60 frame rates and has many many clips, should i convert them all individually? or is there a way for me to convert them all into a single type that wouldn’t look weird?
Comment by Sivan Geyra 06.08.10 @ 5:00 pmCan the PRORes 422 be used for converting media from the Red camera?
ron kalish Reply:
July 15th, 2010 at 3:42 pm
@ron kalish,
Can the PRORes 422 be used for converting media from the Red camera?
I am using FCP version 6.0.6.
What are other workflows?
Vincent,
As I read your blog, I find it to be so far over my head that I just shake in total confusion! My problem is as follows, I am trying to convert H264 (taken with a Canon Vixia HF M30 video camera )to a format that I can edit on my Mac G5. I have FC Express loaded along with Motion.As well as QT7 Pro. I know almost nothing about how to go about converting the 264 to a format that can be used in the Mac. Can you help??
Thanks, Larry
I’ve followed various post workflows all claiming to remove the need to render clips in FCX - i’m transcoding to the apple intermediate codec - i still have to render the clips in FCX, should this be happening or am i still doing something wrong.
i wona get this worked out as im currently spending far too much time converting / rendering / waiting for stuff to happen
cheers
rich
I’ve followed various post workflows all claiming to remove the need to render clips in FCX - i’m transcoding to the apple intermediate codec - i still have to render the clips in FCX, should this be happening or am i still doing something wrong.
i wona get this worked out as im currently spending far too much time converting / rendering / waiting for stuff to happen
cheers
rich
Hi Vincent.
Thank you for this. I have an additional question I hope you can help me sorting out. We shot a movie in Ecuador on a Canon 7D and are going to make a blow up to film. Whats the best to make the blowup from? Should we make an offline of the prores sequence and reconnect to the original H264 files?
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Vincent Laforet Reply:
November 3rd, 2009 at 4:15 am
@Rolf, Different deal altogether - I’ll post on that in a bit.
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