HD DSLR cameras are an exciting new tool for photographers and videographers. As with so many technical or professional tools, there’s usually some learning curve involved – not to mention a mental adjustment of our thinking and creative style. (Remember how we responded when digital photography first arrived on the scene? There were “yeas and nays,” and a range of opinions in the middle.) Continue reading »
The Season Finale of HOUSE was shot entirely on the Canon EOS 5D Mark II and Canon EF lenses
(Lake Success, New York–May 17, 2010) Canon U.S.A., Inc., a leader in digital imaging, would like to congratulate the cast and crew from the hit series HOUSE on filming the entire season finale episode on the Canon EOS 5D Mark II. This crowning achievement marks the first network television prime time drama episode to be shot entirely on a Digital SLR camera, making it an industry-first. Continue reading »
After Canon PR jumped the gun a bit on the release of the EOS Movie Plugin-E1 for Final Cut Pro, they have finally released the tool here in the back half of March. If you haven’t heard about the EOS Movie Plugin-E1 for Final Cut Pro it’s adds an option to the FCP Log and Transfer tool to import Canon 1D, 5D Mark II and 7D H.264 Quicktime files and transcode to any of the ProRes flavors (or Apple Intermediate Codec) in the process. Continue reading »
The Editblog on PVC by Scott Simmons
Use the FCP Log and Transfer tool to directly transcode and import into FCP
We all know this fact: The Canon DSLRs (5D, 7D, 1D) use the H.264 codec for the video they shoot and wrap that into a .mov QuickTime. While Final Cut Pro does work with .movs, these H.264 versions are clunky to edit requiring much rendering when in a FCP timeline. H.264 wasn’t designed to be a robust edit format anyway so the files need to be transcoded into something more edit friendly. Continue reading »
