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How to import P2 Metadata into Final Cut Pro 6
P2 METADATA NOTES:
I went to a seminar on P2 & Metadata recently and learned how valuable metadata really is. We all know that P2 removes the capturing step and thus saves us time, but I didn’t realize that metadata can cut out the logging time and help me get to editing much faster.
Today (Oct 2009) I started researching how to get my P2 files into Final Cut Pro with my new metadata. If you don’t know already, FCP will not import metadata and you will need a third party software to hold its hand. As I started researching I discovered two other things. First when importing P2 with FCP, I actually have to “transcode” it thus making a Quicktime file out of the MXF files. However, there is some great software out there that will allow you to natively edit your P2 card media, thus saving yet another step… transcoding. And Second, and most frustrating, there is not much info out here to help us newbies. I had to call companies, friends, read websites, and test software in an attempt to understand the basics of this new workflow.
Because of the lack of info online, I thought I would try to help, so here is my research and notes on the best software for importing P2 metadata into Final Cut Pro. And I hope it helps the rest of you newbies.
Calibrated{Q} MXF Import
https://www.calibratedsoftware.com
$74.95
This software allows you to import the native P2 files without having to transcode them. However it only works on Intel computers, and not on PowerPCs. Once it is installed you can drag the video files directly into FCP and start editing. However, it does not deal with your metadata so you will still have to log… BUT you won’t have to transcode.P2 Log Pro
https://www.imagineproducts.com/P2log.htm
$199
This software (along with HD Log) is primarily for logging footage. However it will let you export an XML text file (which maps the metadata info to FCP fields) and transcodes the P2 Media into self-contained Quicktime files. This XML file can then be imported into FCP for editing. The two things that it cannot do is offload the P2 cards in the field (verify the copy process), nor can you export XMLs with reference Quicktimes. There is a good comparison chart on the website (under the compare link) that compares P2 Log Pro, and the three versions of HD Log.HD Log (Bronze)
https://www.imagineproducts.com/hdlog.htm
$299
This software is a step up from P2 Log Pro. Again, it is primarily a logging program, but really is the full package. You can use it at the shoot to offload your cards onto your hard drives and verify that the copy happened as you expected. You can then log your data and change your metadata if needed, then save your logs as text files for future reference, in effect creating a library of all footage the you have shot. However the limitation of this Bronze version, is that you can only search one log file at a time. If you move up to Silver, you can search an entire folder of log files (such as when you remember the shot, but not the project or tape it is on). Finally with HD Log, you can save out an XML file with transcoded Quicktime files, or you can skip the transcoding and save out the XML with reference or pointer/shortcut Quicktimes that allow you to play the native P2 media without taking up extra space on your drives.Raylight
https://www.dvfilm.com/raylight/mac/index.htm
$195
This software allows you to play your P2 files natively without having to transcode them. It does this by creating a reference Quicktime. There are two things that put it above the program Calibrated{Q} MXF Import: 1] you can add the USER CLIP NAME from the metadata to the file name. But this is the only part of the metadata that can be mapped to a Final Cut field; 2] you can have all of the metadata made into a slate that overwrites the first frame of your clip. This at least gives you access to all your info even if it can’t be mapped to a field.My choice:
After spending about 5 hours researching this info and playing with the demos, I think I would buy HD Log Bronze because it does everything from the beginning to the end. In my mind HD Log Bronze give me the most bang for my buck.My second choice would be Raylight. It is much simpler to operate, and is $5 cheeper than P2 Log Pro. If you only care about getting the USER CLIP NAME info then this is a nice way to go. And it will work on all Macs unlike Calibrated{Q} MXF Import which only works on Intels.
I hope this helps you get started. If you see something wrong with my research, please respond, and please be kind. P2 & Metadata is new for me, and this is based on 5 hours of research. There that is my disclaimer.
Chad Greene Mahoney Media Group Minneapolis, Minnesota 2x3GHz Quad-Core, 4GB Ram, OS 10.4 FCP 6, Kona-LH
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19 Replies
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You should also check out MXF4Mac
Jeremy
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I recommend HD LOG. Because it imports the Metadata into columns in FCP thus making them sortable and searchable. Raylight only makes a slate on the second frame…semi useful. Plus HD log with that XML export option means you don’t have to spend a lot of time waiting for the footage to convert to QT files. This is my now preferred method of import of P2 into FCP.
However, Avid has this all built in and the Avid P2 workflow is BY FAR the best I have seen.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
[Shane Ross] “However, Avid has this all built in and the Avid P2 workflow is BY FAR the best I have seen. “
Then you really should check out MXF4Mac.
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Shane, why should we consider MXF4Mac? How does it handle all the metadata fields? How does it handle transcoding?
Chad Greene Mahoney Media Group Minneapolis, Minnesota 2x3GHz Quad-Core, 4GB Ram, OS 10.4 FCP 6, Kona-LH
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[Chad Greene] “Shane, why should we consider MXF4Mac? How does it handle all the metadata fields? How does it handle transcoding? “
It doesn’t transcode. You can import native DVCPro HD files with all metadata in tact (if it’s there) and no transcoding. It also handles spanned files, proper frame for frame timecode and audio.
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HDLOG Bronze is cheaper than MXF4QT. And it offers the card offloading capabilities of SHOTPUT P2 (that was a product gleened from HDLOG). And playback capabilities for instant on set playback. AND…you can ADD metadata to the clips with HDLOG. Say you forgot to add the location or the subject name, HDLog allows you to add that and modify the metadata of that clip. IT does a lot. A P2 Swiss Army knife
Sure, there are some antics involved in getting the information into FCP, but the tools it offers, I find, are worth it.
I can’t buy all the tools, not when they are expensive, so I choose the one with more options…ones that I need.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Jeremy,
I’m with you, even though the mxf4mac seems to be a bit pricey it’s a real good solution.
The main feature is that it allows total QT control without transcoding.That way I was able to build a complete workflow for a customer to combine P2 video with external BWAVs in sync.
With my workflow and mxf4mac it now takes seconds (or a real few minutes) instead of many minutes or even hours to get the files into FCP with all metadata and external audio in sync (assuming the AV is in sync).It’s definitively worth to have a look at it.
Andreas
Spherico
https://www.spherico.com/filmtools -
[Shane Ross] ” can’t buy all the tools, not when they are expensive, so I choose the one with more options…ones that I need.”
I totally hear that. Believe you me.
I use P2CMS to do my logging and metadata upload (it’s free).
I also use Shotput p2 out in the field, man is that the most useful piece of software.
Then with MXF4Mac I know that the metadata will be in tact (including timecode, or Color work or restoring an older project that has been taken off the system, and also very importantly User Clip Name). With MXF4Mac, you can actually share the EXACT SAME media with Avid and FCP, that’s right, share the media from the orig. MXF files (a first, I think).
I know it seems like you aren’t paying for much as there’s not much of an interface to it, but it does some really good work behind the scenes. Also the P2 Flow Contextual Menu is the bees knees.
[Andreas Kiel] “I’m with you, even though the mxf4mac seems to be a bit pricey it’s a real good solution.
The main feature is that it allows total QT control without transcoding. “Yes, for DVCPro HD there’s no transcoding. It is very nice. And like you said, if you work with separate audio, it really starts to become a necessity almost.
The ONLY holdout for now is AVC-Intra, but that is due to the AVC-I codec itself. Apple has not taken control of the codec and therefore we cannot edit AVC-I natively. You can import the media, but it does not play in real time. Also FCP interprets the AVC-I footage as 8 bit RGB and gets knocked down to SMPTE range from full range if you put it in a timeline and try to edit with it. Hopefully this will change if Apple decides to implement the AVC-I codec someday. I have definitely sent feedback on that one a couple of times.
The good thing though, is that you can use MXF4Mac to send your media batch exported straight from the browser in FCP (which bypasses the 8bitRGB limitation) with the User Clip Name and do you transcoding to whatever file format you want (with timecode following you along on the whole process). You can also use this technique for DVCPro HD if you need to do an online of sorts with DVCPro HD P2 footage or combine a mixed format timeline into one codec and then send that uniform codec timeline to Color. It allows for very easy transcoding of P2 media to any codec (say 10bit Uncompressed or ProRes 422 HQ of which Compressor does a very nice job of handling). AND it doesn’t work with just P2, it works with all kinds of MXF media natively.
If AVC-Intra becomes an accepted codec with broadcasters, we will have relatively low bandwidth 10 bit native broadcasting, which would be able to be exported with MXF4Mac Export if AVC-I catches on.
MXF4Mac is very cool and worth the dough. Also, the products that are in development right now according to their website sound really nice. They are really thinking this whole MXF media management all the way through from ingest to broadcast.
Jeremy
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[Jeremy Garchow] “with MXF4Mac I know that the metadata will be in tact (including timecode…”
[Jeremy Garchow] “…for DVCPro HD there’s no transcoding. It is very nice. And like you said, if you work with separate audio, it really starts to become a necessity almost. “
Jeremy, can you explain two things for me? In your post you commented about keeping timecode intact, and about working with separate audio. If I am reading between the lines correctly, it sounds like there is a chance I can loose my P2 timecode and that my audio will not sinc up properly. Can you explain this problem and how it pertains to HDLog vs. MXF4Mac?
I am starting a project shot on P2 with DVCPro HD at 60 frames. It is interviews and broll with audio.
Chad Greene Mahoney Media Group Minneapolis, Minnesota 2x3GHz Quad-Core, 4GB Ram, OS 10.4 FCP 6, Kona-LH
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[Chad Greene] “Can you explain this problem and how it pertains to HDLog vs. MXF4Mac? “
Sure.
Well, if you use HD Log, the files get wrapped to Quicktime. The timecode, video and audio get passed to this new quicktime file and eveything is in one self contained file and then an XML gets passed with the metadata via XMl to FCP, so you are fine if you use HD Log, you jsut have to wait for the trasncoding process.
With MXF4Mac, there is no transcoding. Thie MXF files are sent to FCP with video, audio, tc and metadata married together in FCP so it looks like one file, but really it’s the MXF4Mac software that pulls them all together and access the MXF media within the original P2 structure. No transcoding.
AS far as the spearate audio, what I am talking about there is sync sound audio, or recording audio to a spearate device such as the 744T from Sound Devices or other boradcast wave recorders that will embed timnecode into the audio signal. MXF4Mac can help marry your P2 Video to the sync sound via timecode.
Does that make more sense to you?
Sorry for any confusion.
Jeremy
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