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Activity Forums Apple Final Cut Pro Legacy FCP logging 5D MKII footage to prores

  • FCP logging 5D MKII footage to prores

    Posted by Kazumi Hatori on May 15, 2010 at 11:11 am

    Hi all,

    I’m dealing with footage from 5D MKII, and I just installed Canon’s FCP E1 plugin,
    and found out from the forum that the plugin can only deal with the original CF card image.

    In my case I got plenty of hours footage from the 5D’s files (only), and seems no way I can get the folders back, so my question is:

    1) is using compressor the only way to go? and just wondering, L&T with plugin is much faster than compressor on 5D clips?

    2) I’m going to transfer the H264 to ProRes Proxy, and how can I manage to transfer the finished edit to ProRes 422 at the end? I’m just too new the FCP and would appreciate to have the right instruction on that

    thanks all of you!

    John Fishback replied 16 years ago 5 Members · 7 Replies
  • 7 Replies
  • Michael Sacci

    May 15, 2010 at 1:38 pm

    #2) I would never do this, drives are so cheap, just convert to the ProRes you need for final output. It is not like going from Proxy to Uncompressed. IMO

    #1) Using Log and Transfer adds TC from the meta data, uses time of day. You are able to set In and Outs to trim media as well as adding logging notes. But using Compressor should not add time to the conversion, it is just not so automated. It is not the folders that is the issue, L&T need the info file that is written along side each movie file.

  • Shane Ross

    May 15, 2010 at 1:58 pm

    [Kazumi Hatori] “1) is using compressor the only way to go?”

    At this point, yes. In the future, if you want to L&T, keep the full card structure.

    [Kazumi Hatori] “and just wondering, L&T with plugin is much faster than compressor on 5D clips? “

    Compressor can be faster, if you turn on QMASTER and use all the processors (if you have a multi-processor mac). But the timecode all starts at 00;00;00 for every clip. L&T allows you to make custom names and bring in time of day code, like Michael said.

    [Kazumi Hatori] “2) I’m going to transfer the H264 to ProRes Proxy, and how can I manage to transfer the finished edit to ProRes 422 at the end?”

    If you kept the full structure and were able to use L&T, this would be possible. But now it isn’t. So bring in as ProRes 422 and edit at that res.

    Shane

    GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
    Read my blog, Little Frog in High Def

  • Kazumi Hatori

    May 15, 2010 at 2:05 pm

    oh, and may I also ask if there is significant difference between 422 and 422HQ, which transcoded from 5D’s H264?

    And Log and Transfer just don’t allow me to import the quicktime files alone(said “unsupported media or an invalid directory structure”)…
    nor others footage of various formats (some mp4s), god!

  • Kazumi Hatori

    May 15, 2010 at 2:09 pm

    oh I get it now

    quite a shock but I should have done more research on this before that,
    thanks anyway!

  • Bouke Vahl

    May 15, 2010 at 2:13 pm

    You can keep original timecode, using QTchange:
    https://www.videotoolshed.com/product/42/qtchange/2

    First set the TC on the original clips, then transcode.
    Compressor should keep the TC.

    If you have kept the original THM files, QTchange can take the TC info from there. It’s way more accurate than the Log and Transfer does.
    (That rounds to whole seconds, while QTchange uses the fractional seconds in the THM.)

    If you have not kept the THM, you can use the file creation date.
    Should give you the same values as Log and Transfer.

    hth,

    Bouke

    https://www.videotoolshed.com/
    smart tools for video pros

  • Shane Ross

    May 15, 2010 at 2:33 pm

    The H.264 QTs are 8bit, so use ProRes 422. HQ is for 10-bit formats like AVCIntra, RED…

    Shane

    GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
    Read my blog, Little Frog in High Def

  • John Fishback

    May 16, 2010 at 6:27 pm

    This is slightly off-topic, but I was under the impression that every version of ProRes is 10 bit. If true, IMHO, that doesn’t change any of the above recommendations.

    John

    MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.8 QT7.6.4 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor, ATTO ExpressSAS R380 RAID Adapter, PDE enclosure with 8-drive 6TB RAID 5
    FCS 3 (FCP 7.0.2, Motion 4.0.2, Comp 3.5.2, DVDSP 4.2.2, Color 1.5.2)

    Pro Tools HD w SYNC IO & 192 Digital I/O, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

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