Log and Transfer error message, Canon EOS plug-in not working?

[Tina Hedegaard]

You nede to make sure that you have the whole folderstructure. Reel/DCIM/MISC/eos(something) and then your .mov and.thm.
Google your camera-folderstructure to get the right one.
I’ve never used FCP6, so I don’t know if the log and transfer supports canon.
Good luck

Yours Sincerely

Tina Hedegaard
Editor | Final Cut Pro 7 | Media Composer 5.0 -5.5
Mac OS 10.6.7

[Lauren Swain]

Thank you, Tina. That makes sense. I’ve switched over to using MPEG Streamclip and it’s doing a great job of converting those H.264s to ProRes quickly.

Does it work faster in Log and Transfer, though? Any disadvantages to doing it this way since I don’t have the original camera folders?

[Michael Gissing]

It is all explained in this excellent tutorial from Shane Ross –

https://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1

That said, FCP 6 is too old for the EOS plugin so you would be better off using Grinder if you want to keep timecode. Compressor and MPEGStreamclip do not read the thm files and so each clip has neither timecode nor reel number metadata so later on using Media Manager or generating and EDL becomes difficult.

Too often people just jump in and start editing without realising the corner you might be painting yourself into further down the post path. Less haste, more research can make it much easier and eventually faster and cheaper. There are lots of excellent tutorials and previous threads so remember to search this amazing resource called Creative Cow.

[Lauren Swain]

Excellent points. I will definitely bear them in mind if by some miracle I ever have a chance to prepare for these things.

I haven’t been using Media Manager or EDLs very often, so we’ll be in good shape, I think. It’s a small project.

If we do end up needing time code, any reason we can’t just export the material we need from the timeline and create new files with new time code? There won’t be any need to refer back to the original material or know the sequence of it for this particular project.

I’ve been using FCP since 2000, but these SD card files are a new game for me.

[Michael Gissing]

To media manage or make an EDL you need reel numbers. This plus the ability to re capture in case a drive fails or you want an offline/online process means Log & Transfer plus full card file structure is vital.

[Lauren Swain]

Can I have my videographer (in another city) upload the material in the proper folder format?

Can he send me the proper folder on hard drive or flash drive for my use?

Can he send me the material on an SD card that I can read, log and transfer on a card reader without having the camera present?

[Michael Gissing]

I never use the camera and certainly do not use Canon’s camera software to get files off the camera. I use a CF card reader and use Disk Utility to make an image file of the card. This is my master backup. Your camera people can do this and send you the image files on hard drive. You should L&T from this or a copy. They should have a 2nd master backup hard drive before sending the disk to you or erasing the CF cards.

Never capture L&T directly from the CF card as if you need to recapture, L&T wants that card again. not your hard drive copy. So backup each card using a card reader, keep a safety copy and capture from the drive you will have available for the project.

Think of the vards as a master tape that needs to be backed up before erasing. Having two copies makes sense. Many people recommend using software that does a proper check sum to make sure the data integrity is absolutely maintained when copying from the card. I trust Disk Utility to make the image file.