5D to FCP conversion issues

[Jeremy Garchow]

Thanks for the link.

OK, that’s way different than duplicating and renaming the MOV file. Like, light years different. Plus, this is for ‘hacking’ t2i files, not 5D or 7D.

Further, he is basically fudging the metadata file with a working metadata file. If you notice and look closely, it’s still not right. The metadata (specifically, the timecode) for each clip should be the same in both of his examples. If you look closely, the tc is off. While this is an interesting method to trick FCP in to seeing the proper file structure, it’s not right.

I could edit all the clips in my p2 folders and totally change all the timecode, metadata and everything with a working XML file, but that doesn’t mean I would end up with the data I needed, in fact it would be completely wrong, even though I could get the footage in to FCP.

[C. Kauffman]

Shane and co.
Just started playing around with the E1 plug in, for the last year I’ve just done MPEGStreamclip with my 5D footage. Let me see if I got this right:
On set: Drag and drop the card directory; DCIM and MISC folders, into a new folder on your desktop. This is your archival master. Card can be re-formatted and shot on again.
In FCP, bring the file created on set into E1, Log and Transfer to whatever codec, ie ProRes, add log notes etc TC will be created from date/time stamp in the THM file and match the reel # back to on set file/master file name.
The ProRes or whatever files will live in the Capture Scratch folder, but can be moved into another location, just need to reconnect media in FCP?
That file you initially created on set is your Master.
Bueno?
Also, I have tons of shot footage imported through Bridge CS4 so the THM files came in with the video files. Can I just dump these into DCIM>100EOS5D to use in E1?
Also, anyway to do a data check on incoming files from CF cards similar to the the CRC function in XDCAM software?
Thanks guys

Sony EX1
Canon 5d mark 2
FCP 6.06

[Jeremy Garchow]

Your workflow sounds good. As far as moving the files, yes, you can move and then reconnect if that’s what you need.

[Chandler Kauffman] “Also, anyway to do a data check on incoming files from CF cards similar to the the CRC function in XDCAM software?”

I don’t know what this is, but if you are talking about offloading, I would use ShotPut Pro. It verifies that offload and sends to multiple drives.

Jeremy

[C. Kauffman]

Thanks Jeremy, yeah I like to keep footage, raw and transcoded, in one master file based on the project, and then duplicate that on at least 2 drives.
Don’t know what CRC stands for but basically it double scans the incoming data from the card to the hardrive and detects/repairs any data corruption. I’ll check out Shotput
Also in shooting in a run and gun doc situation with two cameras, I suppose I could set the TC generator on my EX1 to use time of day and as long as the Canon and EX clocks are (relatively) in synch that would at least provide a rough reference for synching in case PluralEyes is having trouble with a clip.
It would be awesome if there were a way to set the Zoom H4N to use time of day….

Sony EX1
Canon 5d mark 2
FCP 6.06

[Jeremy Garchow]

[Chandler Kauffman] “Also in shooting in a run and gun doc situation with two cameras, I suppose I could set the TC generator on my EX1 to use time of day and as long as the Canon and EX clocks are (relatively) in synch that would at least provide a rough reference for synching in case PluralEyes is having trouble with a clip.”

You will get close, but with these still cameras, they just aren’t video cameras and you have to adjust your workflow to make up for any deficiencies.

[Chandler Kauffman] “It would be awesome if there were a way to set the Zoom H4N to use time of day….”

If you’re doing this a lot, I’d recommend getting an audio recorder that does take/generate tc. The sound devices 702t or 744t recorders are nothing short of amazing. It’s not cheap, but with the money you ‘saved’ by going to HDSLR, you can afford it! Ha! 😉

Jeremy

[C. Kauffman]

Exactly, sooo much money saved buying endless workarounds.
A lot of my clients want to shoot on the 5D, which is fine, as for my own doc I stick with the EX1 whihc is just a work horse and looks great. people always ask if the footage from it is the 5D and seem annoyed when the answer’s no.
I use the Zoom with the EX to get extra audio tracks when needed. SO far Plural eyes has done well enough synching this stuff although it has trouble with the 5D from time to time because of the crappy on board mic picking up so much ambient.
I suppose I could always shoot the LCD display on the Zoom for “time code reference” a la the good old days of film and a proper smart slate

Sony EX1
Canon 5d mark 2
FCP 6.06

[Jeremy Garchow]

[Chandler Kauffman] “people always ask if the footage from it is the 5D and seem annoyed when the answer’s no.”

Isn’t that amazing? That’s so tragically funny how a buzzword can influence how people see pictures. Nevermind they think what they are seeing looks good, but when they find out it WASN’T shot on a 5D, they think lesser of it. Totally boggles my brain cells.

[Chandler Kauffman] “I suppose I could always shoot the LCD display on the Zoom for “time code reference” a la the good old days of film and a proper smart slate”

That’s a way to do it, or use one of those iPhone smart slate thingy’s. If you go the 702t route, at least your EX1 and external audio from that device will be in perfect sync.

[Chandler Kauffman] “SO far Plural eyes has done well enough synching this stuff although it has trouble with the 5D from time to time because of the crappy on board mic picking up so much ambient.”

You might want to think about a cheaper hot shoe mic to mount on top of the 5D camera. at least it will be better than the on board for Plural Eyes. Something like this:

https://www.bhphotovideo.com/c/product/534023-REG/Sennheiser_MKE_400_MKE_400_Compact_Video.html

Jeremy