EOS Movie Plugin-E1 details

Canon is now hosting a full page in its digital learning center about the FCP E1 Plugin that we previously talked about.

Canon also used the opportunity to send a quick jab to Nikon when talking about H.264: This is an ideal file type for video capture in an SLR camera, delivering relatively compact file sizes with image quality noticably superior to alternate video compressions (such as Motion JPEG).

From what I have been able to gather from the various screenshots, there is not much new. On the contrary, some of the wished for features (lens & exposure metadata) are not present.

As I predicted, the sentence ‘start editing right form the CF card‘ wasnt really true. The plugin converts the clips to ProRes (you can pick any variations) before you can do anything with them. Canon talks about a 3x speed gain over the standard Compressor transcoding. That is nice but that is about the same thing you can get by using MPEGstream clip. Actually, I wonder if that is what they are using under the hood!

For who is this for?

Log and transfer is a workflow tool. It is near useless for 95% of the 5D users, but, for those who are going to use it, it is incredibly useful at helping them to organize their files and automating their backup strategy. Oh, there is also that Timecode thing that would be so useful if there was an easy way to synchronize the date/time on multiple camera at once.

While there is no harm in installing the plugin once it is available (March), unless you are shooting against a script, the organizing features of the plugin will be overkill.

BTW, thanks to David Guset for the link to the Canon page.

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  • jimagine

    How can it possibly considered overkill? It literally transforms the current awkward, space and time consuming workflow and makes it fast, professional and requires a fraction of the storage space.takes.

    Right now you have to Ingest every second of every clip into your system. Then make edits and then convert that footage to Pro Res now requiring two folders of footage.

    This software brings us back to the traditional log and capture used by virtually every producer/editor I’ve ever known of. You decide how much of any clip in the CF you need and simply ingest it while at the same time converting it to Pro Res for editing.

    No offense but your article is totally backward. For 95% of film/video producers this is a huge thing. For people who shoot a few clips here and there and aren’t professional users it might not mean much.

    • admin

      Jim: 95% of 5D users are NOT film/video producers. That is why I said it would not be a big thing for most people.

      Log & Trans was build with the idea that you keep your original footage while only ingesting the parts you need. If you are reusing CF cards, I recommend to backup the whole card every time. Even if you just plan to use a single scene because you never know if you have to change something up later. Only destroy unused left overs once the project is delivered.

      When it was created, the Log and Trans feature was a big thing for tape users because they could only ingest the clips they needed. At that time ingesting was sequential and #$%#$% long. Now that we have random file access and faster than real time ingestion/transcoding, this part of the feature is not that important any more. People use Log & Trans mostly for its organizational/meta data features and because it can create an automatic workflow, not because of the random ingesting access.

      Finally, we will have to test the supposed speed gain in transcoding Canon is talking about, I am curious to see how well it fares vs MPEG Streamclip.

  • Paul Golden

    Just downloaded the Plugin and will test it. Having used Log and Transfer, I’m excited. I checked the manual and in order to maintain the metadata, you need to maintain the original card/folder structure. Canon suggests making a DMG file of each card. This is good back up practice anyway, because at a shoot, if you’re the Data Wrangler, you need to dump the card, reformat and hand it back to the DP as soon as possible. By making a DMG of the card, you keep a clone of what was shot intact. This is similar to how it should be done for P2 footage from an HVX200, for example. If you just drag the .mov files into a folder and discard the other card data, you lose a lot of meta data. I think it’s great that Canon is recognizing FCP as the way to deal with their footage. And if the plug-in is free, why does Admin care how it does compared to MPEG Streamclip?

    • admin

      Mpeg stream clip is free too. O just wanted to compare it’s performance vs the plugin because it is much faster than compressor and I was wondering if they just cut & pasted the app code in the plugin.

  • I LOOOOVE this plug in, jimagine is right – this is huge.

    HOWEVER – is there anyway I can use this to bring in footage from my external hard-drive? To save me bringing it into compressor? I’m trekking for weeks at a time and need to dump off the cards so I can re-use them.

    Any ideas?

    Thanks heaps. (but yeah, for home this is a great advance in technology and post workflow)

  • Johnny Barnstorm

    When you log and transfer, the imported transcoded files will be generated wherever your capture scratch disk is located. So set that in FCP to your external drive, and Robert is your father’s brother.