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Logging already converted files?
Hello, my resident heroes.
I’m trying to work around FCP Log & Transfer’s need to have the “media in an acceptable format” (or some similar message).
My purpose: We are shooting on a 7D. We are converting using Adobe Media Encoder CS5 to ProRes 422 (HQ)(yes, we know about the Canon plug-in, but it has been determined by our DP (who also is heavily involved in professional DI work) that the conversion to ProRes 422 (HQ) is superior using this pipeline and we are ALL about the pixels here).
Now the problem… I would like to use L&T for its logging ability, but I can’t get it to read my files since they are not in an approved “card structure”. They import & play just fine using normal “Import” pathway, but I would really like the ease that L&T logging provides.
So, is there a “secret button”, or a hack, or a fakey file structure that I can trick L&T into accepting my files just for logging purposes?
Thanks in advance.
Gray
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6 Replies
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[Gray Marshall] “and we are ALL about the pixels here). “
You should probably stop shooting video with a still camera then. 😉 Sorry, couldn’t help myself.
[Gray Marshall] “So, is there a “secret button”, or a hack, or a fakey file structure that I can trick L&T into accepting my files just for logging purposes?”
You need the entire card stucture. DCIM folder with THM files and all for log and transfer.
Also, even if you did have the proper file structure, that logging information is stored in the FCP project only, the logging doesn’t stay with the raw footage, so logging in L&T then transcoding the files with something else will not yield easy to reconnect results. L&T adds a rell number and tc, I am sure Adobe Media Encoder probably doesn’t.
Jeremy
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Log and Transfer ONLY works with files from their original shooting format…the original card structure. Once the files have been converted to ProRes HQ…you can’t use log and transfer. You already converted.
In the future, use Log and Transfer to do the converting from the cards. It offers the ProRes HQ option…and so you get that and all the logging info you like.
Once the files have been converted, you can’t get things like the proper TIme of Day code or Reel number. You can add the REEL number…but the code? nope.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Yeah, not sure what your DP is thinking he’s getting by going through CS5, but both apps just call Quicktime to do the conversion, so there isn’t any quality difference.
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Thank you, gentlemen.
hehe… Good one, Jeremy (I agree, but ours is not to question why…).
Zak: I’m going to try it both ways. The DP’s understanding (and he’s pretty good at this stuff) is that the Media Encoder does NOT use the regular QT engine, but a comparison (using Shake to look closely) thru both engines might be revealing, but even if there IS a difference, how would one know which is “better”?
I’ll try to fake a card-like structure, but if the files are already in ProRes, will the L&T function try to re-convert or just pass it thru? Stay tuned…
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[Gray Marshall] “So, is there a “secret button”, or a hack, or a fakey file structure that I can trick L&T into accepting my files”
duplicate your mov files and replace the file extension to thm
You still need to make a complete file structure the the CF card makes.
Steve Eisen
Eisen Video Productions
Vice President
Chicago Final Cut Pro Users Group -
I have a really hard time believing that would work.
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