Changing 5D footage from LT to HQ in FCP?

[Jeremy Garchow]

[David Roth Weiss] “You’ve heard me say it before Jeremy, careers are lost for less. Anyone on a deadline would be out of a job.”

Except when the problem isn’t your fault. This broken plug in is to blame. There is no other log and transfer function that “works” this way. They all work, even from shitty consumer based AVCHD cameras.

The DSLR revolution will not be televised.

[Paul Alba]

Hi All,
I am in the same trouble. The canon E1 plug in is a natural disaster in big project.
It’s impossible to move the DSLR Footage around the disk. There’s any workaround?
May I re capture manually….
Thank in advance
Paul
PS A DSLR can’t shot a movie!

[Jeremy Garchow]

[PaUL Alba] “May I re capture manually….”

That’s what I ended up doing. Capturing all the files again with the default file names, then using FcpReconnect to move and rename the files, then reconnected FCP to those files.

Contact Bouke @ VideoToolShed.

Jeremy

[Paul Alba]

Hi Jeremy,
could you explain well the workaround?
Here i have this scenario:
5 discs with hundreads of ex CF from canon 5D/7D.
I’ve exported my editing creating a batch list then?
Many thanks in advance!!
All the best
Paul

[Jeremy Garchow]

[PaUL Alba] “I’ve exported my editing creating a batch list then?”

Is your edit complete (finished)?

[Paul Alba]

Hi Jeremy,
Yes the editing is finished. Now I have to recapture all the used footage in higher resoltution.
I’ve tried FCPreconnect but it seems to look just the name of the footage.
Final cut instead sees the original clip names.
Thanks a lot
Paul

[Jeremy Garchow]

That is correct and how Fcp reconnect works.

What i did first and foremost, was to recapture all of my footage with the default file names at the codec I want. That means I’ll have a bunch Clips named just like they are off of the CF cards. Those were just in one bin in my project.

The reel and tc matched between the new ProRes files and the older Proxy files. This part is crucial.

I then exported a batch list. In your case, you can media manage your final timeline using the create offline option, then export that batch list from the folder that is created in your new offline project. You then run Fcp reconnect. You should see that the files should now match to the new captures. You can then choose to rename the new captures or move them. You then go back to Fcp and reconnect, as the name, reel, and tc should now match. Your mileage may vary as there’s a lot of variables and Fcp has a hard time reconnecting if everything isn’t lined up just right. While not perfect, this should get you close, though. If you have clips that were used a couple
of times, media manager names those files differently, so you might have to manually reconnect those, but it shouldnt be too hard to find. Hope that makes sense.

Jeremy

Hope that helps

[Sean Kapleton]

Hello friends,

I just did a search for this topic and came across this thread as being the most recent. I have a very similar problem on a music video I was just passed for grading. I have some technical questions about workflow for setting this up correcting before grading in Color (shot on 5D).

I was given the project on small lacie drive with all of the RAW footage shot as well as the ProRes(LT) footage it was edited with (100GB total). I have yet to copy it over to my internal RAID since its only a 4 minute song and obviously only uses a fraction of that footage – i want to copy over only what I need and in the proper format for grading. Since its 5D I would like to make sure I have the best to work with (HQ versions) of a 4 minute media managed edit i assume (w/ a little handles of course).

I am thinking because it was 5D transcoded to ProRes(LT) it would make more sense for me to open the project off the drive and media manage only the final locked fcp sequence and make sure its at ProRes HQ from the RAW card folders. I have not gotten in touch with the editor yet but already just looking at the project I see that there is no timecode nor any Reel #’s, also i see a few multi clips in the timeline mixed in so i am beginning to get a little worried about this whole project. I assume maybe the editor did not know about the plugin for FCP and that he just used MPEGstreamclip or compressor to transcoder to ProRes(LT). How would you guys recommend uprezzing and media managing the locked edit for correct prepping before sending to Color?

Any help for workflow would be much appreciated.
best
sean

[Jeremy Garchow]

[Sean Kapleton] “How would you guys recommend uprezzing and media managing the locked edit for correct prepping before sending to Color?
“

Honestly, just use the LT files in Color and render out ProRes (not even HQ). You will gain zero from trying to online to HQ first and save yourself some grief. ProRes LT is still 10 bit.

Jeremy

[Sean Kapleton]

thanks for the reply

just a couple questions.

If I wanted to copy over the necessary media from the locked edit and not the entire 100GB how best would you recommend going about this – media manager copy (w/ handles) off of lacie drive onto my RAID or something else?

I honestly would like to start with HQ instead of (LT) its pretty darking footage and there already seems to be some information loss so I want to at least TRY to start with better footage before grading in color.

any thoughts on best way to get this project off my drive with best quality and only necessary media?
cheers
sean