GlueTools D-SLR Log & Transfer Plugin for Final Cut Pro

[Chris Hurd]

I haven't seen this anywhere else on the Web yet, so I think we've got another scoop:

"The product is a log and transfer plug-in allowing ingest of High Definition video recorded with Canon D-SLR cameras directly into Final Cut Pro. The plug-in easily and quickly ingests footage directly into Final Cut Pro, maintaining the original quality and expediting production. Along with the imagery and audio, EXIF data is also ingested and added to the project file."

Read the full article at Canon D-SLR Log & Transfer Plugin for Final Cut Pro DV Info Net
-- this is the discussion thread for any feedback, comments or responses.

[John Benton]

Chris thanks for the scoop.
I wonder when it will be available,
but I already do a similar thing pretty easily with mPegStreamclip > ProRes.
But it sounds like this will not use as much HD Space and might be faster
(though mPeg Streamclip is faster than Compressor)

Can't wait to see...

availability & cost?

[Chris Hurd]

Should be able to provide a hands-on review next week, after the dust settles at CineGear.

[John Benton]

Thank you, Chris !

[Chris Hurd]

Availability supposedly is mid-June (this month), with pricing to be determined.

I'll provide an update on this info as soon as it gets confirmed.

[Nigel Barker]

This sounds really useful & will help take out the complicated manual steps currently necessary plus enforcing a more formalised approach to ingesting & logging. The discipline of the latter will do us all good:-)

Chris, do we have any ideas on a ball park figure for cost? Hopefully it will be nearer to $50 than $500.

[Chris Hurd]

Hi Nigel, I can't imagine it costing more than $100 to $150. What's it worth to an FCS person? That's the real question.

[Nigel Barker]

Originally Posted by Chris Hurd

Hi Nigel, I can't imagine it costing more than $100 to $150. What's it worth to an FCS person? That's the real question.

That sounds OK. In fact compared to the cost of some FCP plug-ins it could be seen as good value at that sort of price. After all you would be using it every day with every clip filmed rather than some exotic filter that you only used for a special effect once in a blue moon.

[James Miller]

Originally Posted by Chris Hurd
"Hi Nigel, I can't imagine it costing more than $100 to $150. What's it worth to an FCS person? That's the real question."
-------------------------------------

Going by their other plugins prices they range from $400 - $1000.

I think I'll wait and see what the next FCP release will bring, if the rumors are correct and we have native H.264 support that would be great. You could still use intermediate format if desired but have the ability to do quick cut on the fly using the cameras native format.

[Jim Giberti]

This sounds great Chris. We currently round trip everything to Color to get 422 but only after a rough cut in native .264. The exif tag looks good too.

[Nigel Barker]

Originally Posted by James Miller

Going by their other plugins prices they range from $400 - $1000.

That is a bit worrying although their current product would be classed as top-end specialist professional (ARRIRAW anyone?) so perhaps they will be looking for a higher volume & lower priced prodcut for the 5DII

Originally Posted by James Miller

I think I'll wait and see what the next FCP release will bring, if the rumors are correct and we have native H.264 support that would be great. You could still use intermediate format if desired but have the ability to do quick cut on the fly using the cameras native format.

You already can edit the files straight off the camera. Even iMovie handles the files. It's just that it's a bit easier not having to render all the time & it's a bit smoother for playback to convert to ProRes before editing.

[James Miller]

Originally Posted by Nigel Barker

You already can edit the files straight off the camera. Even iMovie handles the files. It's just that it's a bit easier not having to render all the time & it's a bit smoother for playback to convert to ProRes before editing.

Even on an 8core Mac Pro, editing H.264 straight from the camera is slower and buggy especially when you have multiple layers. I used do rough cuts with long handles and send to Apple Color but I find it quicker to batch convert using a compressor droplet to ProRes.

iMovie transcodes the H.264 into Apple Intermediate Format (AIC).

[Jay Connor]

I am trying to find iso, shutter speed, and aperture data on movie clips and cant figure it out

I did forum search and didnt find the answer

I tried viewing clips in Photoshop and Photomechanic but no luck

Can anyone help me out


Thanks
Jay

[Jon Fairhurst]

I don't believe that it's captured. The best solution for now is to get in the habit of quickly saying your settings for the internal mic at the start of each clip.

[Jonathan Ferber]

You could also take a picture during movie mode, though i'm not sure if the picture captured will exactly reflect the current settings in the live view.