Installing Canon’s 7D log and transfer plug in

[Shane Ross]

Could be the PowerPC. The Canon plugin offers options to convert to various PRORES flavors. You can’t convert to ProRes within FCP with a PowerMac…the encoding power isn’t there. You will have to use MPEG STREAMCLIP and watch it take a while.

Shane

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

[Michael Sacci]

Plugin is Intel only or at least Snow Leopard only which is Intel only.

Mac OS X 10.6.4 or later is also required

[Dave Farrants]

I’ve successfully installed the latest 7D L&T plugin on a G5 Quad (non Intel) running 6.0.6 and 10.5.8 and it quite happily encodes to ProRes.

[David Keslick]

You may want to check out DVFilm EPIC for Mac. It is a real time workflow tool that allows you to edit DSLR H.264 Quicktime files in real time in Final Cut Pro using FCP’s RT Extreme features, but without the tedious transcoding methods of the past that slow down your workflow.

https://dvfilm.com/epic/mac/index.htm

Hope this is helpful.

Dave Keslick
DVFilm.com

[Mikaela Shwer]

Hi Shane, I watched the tutorial you suggested for online/offline with apple pro res proxy (which we are using) to 422. We are doing a small film, all on laptops and drives and so I don’t think the log and transfer option will work for us – we have been doing it through MPEG Streamclip. What is the option to up-res then since we can’t log and transfer through the media manager way in this tutorial? Or once we are done, should we download that plugin and do the up-res on a larger system?

[Shane Ross]

[Mikaela Shwer] “We are doing a small film, all on laptops and drives and so I don’t think the log and transfer option will work for us”

Why not? It will still work fine. I do a lot of my work on my laptop, and it works fine.

[Mikaela Shwer] “we have been doing it through MPEG Streamclip.”

Bad idea for offline/online workflow. #1, it doesn’t add REEL NUMBERS, so you can’t really track what footage came from what backed up card. #2, you cannot batch capture ONLY what is in your cut. You will have to convert ALL of the footage again, to full res, and then reconnect. Pretty much negating any advantage to this workflow.

[Mikaela Shwer] “What is the option to up-res then since we can’t log and transfer through the media manager way in this tutorial?”

Manually give reel numbers to your already captured footage. Then Re-transferring ALL of the footage at full resolution. Manually adding Reel Numbers to them…making sure it matches what you have in the offline resolution footage. Then reconnecting. As you will have guessed, the imported files…all the full sized ones…will take up a LOT of space and take a LONG time to do, and the manual adding of reel numbers and making sure they are good will take more time. It is a messed up workflow.

[Mikaela Shwer] “Or once we are done, should we download that plugin and do the up-res on a larger system?”

Nope…too late. If you convert with MPEG STREAMCLIP FCP assumes the files are QT files…not tapeless media. Because you brought them into FCP as QT files. FCP cannot batch capture and then look for tapeless files because it doesn’t know these are from tapeless media. It only knows this if you do the initial transfer via Log and Transfer in FCP. Your workflow is flawed…and flawed from the start. So you either need to start over and do it the proper way in FCP…prepare yourself for a VERY long and arduous task of manual online…or start over and bring in the footage full res with MPEG STREAMCLIP.

I suggest using Log and Transfer and doing it right to begin with. Warning with DSLR…once you log and transfer the footage, keep the source on the EXACT SAME FILE PATH. Don’t copy them anywhere, don’t rename anything. FCP seems to lose track of them if you do that.

Shane

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

[Mikaela Shwer]

thanks for the insight, the person that set it up synced the h264 to the audio and batch exported, so we were trying to find a work around. i think we’ll just work with pro res 422 and save the worry on a short turn around of the up res later.