Join Frank Rohmer for an in-depth discussion in this video Transferring and importing into FCP, part of Photography Video Workflow: Final Cut Pro + Canon 5D Mark II.
So of course after you've recorded your high-definition video files utilizing…your Canon 5D Mark II, is you are going to want to bring those files into Final…Cut Pro, so you can start to edit your movies. As a matter of fact, you may…even want to bring in those 21- megapixel still images that you also shot with…that camera as well and of course, Final Cut Pro will accommodate both of those…formats quite nicely.…So in this lesson I want to show you how to quickly and efficiently bring those…files into your computer edit system and properly import them into Final Cut…Pro. So first things first is, of course, you want to take that Compact Flash…card out of the camera and I suggest you plug it into a Compact Flash Card…reader, and when you put that card into the card reader, an icon on your…desktop will appear, as you can see here in my Desktop, the EOS Digital icon…did appear, and it represents the Compact Flash Card.…
No if you have installed the EOS Utility software that came with your Canon…
Photography Video Workflow: Final Cut Pro + Canon 5D Mark II was created and produced by Frank Rohmer. We are honored to host his material in the lynda.com library.
- Preparing system hardware for editing HD footage
- Creating a Canon 5D Mark II project preset for HD video
- Transferring and importing Canon HD video files into Final Cut Pro
- Editing with three-point edits, drag and drop, and automated techniques
- Understanding transitions and filters for HD video
- Converting non-drop frame to drop frame for broadcasting
- Finishing a project out to DVD, Windows Media, Flash, or QuickTime
Skill Level Intermediate
Q: In the sequence in the "Auto sequence setup" chapter, the QuickTime video setting is set to H.264, after the instructor prompts us to import the movie into ProRes422 or similar. Therefore, my movie will be 422 and my QuickTime video compressor sequence setting is H.264. Shouldn’t the sequence be set to the same codec as the movie that has been imported?
A: The general rule is that you should edit your footage in the same codec that it was shot in unless you are shooting with a codec like H.264 (Canon, HDSLR cameras). Outside of the HDSLR circle, professional videographers will select a video camera that they believe has the best codec to shoot in. Once that selection has been made they'll typically leave the codec alone while editing.
In the case of Canon HDSLRs, the codec is very challenging to work with, hence the reason for transcoding to ProRes 422. Because H.264 is extremely tough for all editing systems, Canon recommends transcoding their H.264 native codec to ProRes 422. You don't have to do this. Final Cut Pro will edit either way.
Even if the sequence settings are different then the codec used, Final Cut Pro will allow you to go either way. You always have a choice. That's one of many reasons to use Final Cut Pro.