Importing P2 card footage.

Hi.
I shot some footage on an HVX camera onto P2 cards.
I offloaded the data straight onto my external drive through my mac by dragging the info.
I am having trouble importing the file into final cut.
I am new to final cut so any help would be great. Thank you

I have a tutorial. I you have ZERO experience with P2, you should watch it.
P2 Workflow with FCP 6
Shane

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How do I import p2 card footage to FCP7 without the card.

I've been given a hard drive full of footage to start editing using Final Cut Pro 7. They dumped all the p2 contents on the drive. Each p2 folder's contents include 6 folders... AUDIO, CLIP, ICON, PROXY, VIDEO, VOICE. The audio and video folders contain .mxf files. Final Cut Pro is not allowing me to import these files through log and transfer. What would be the correct step by step procedure to import the content into final cut pro? Does each p2 folder need to be mounted like a drive somehow? If so, I don't know how to do that. Any help would be greatly appreciated. Thank you.

First off...watch this:
http://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1
I always import from the drive with backed up media, not the card.
First off, the CONTENTS folder should be named CONTENTS. Not CONTENTS #1, CONTENTS #2. And the folder named CONTENTS is what has all those subfolders. If the folder with the subfolder isn't named CONTENTS, then that is your problem.
What needs to happen is a folder is created and named...a uniqu name akin to a REEL number for a tape. Then, the contents of the P2 card are copied into that folder. The CONTENTS folder and LASTCLIP.txt file. THAT is the proper way to back up a card.

Method for IMPORTING mystery HD FOOTAGE?

Hi all...
After recently sorting out how to import my P2 card footage into fcp, I now have a client who has dropped a folder of HD footage on a drive and asked me to load 'er up.
I don't know what camera the footage was shot with so I can't really ask the proper question.
Maybe someone out there can help me determine which type of camera it is based on the following info:
Within the main folder there are three folders,each with the project title followed by _card1, _card2 and _card3. Within those is a folder called BPAV. Within that is a folder called TAKR and a MEDIAPRO.XML file and a CUEUP.XML file.
(any of this sound familiar?)
Included in the TAKR folder are two folders, one called TAKR the other CLPR.
Withing the TAKR folder there's a folder called HM1_2395UO1 which contains an .XML file of the same name and a document called HM1_2395U01.SMI.
Sorry for all the gory details. Based on the above jiberish, anyone know what the source of this material might be, and what the proper protocol for importing it is?
Thanks,
Mark

Hi -
I don't know the answer to the question of which version of FCP supports it. I have run it successfully on FCP6 and FCP7. You will need the XDCam codecs, won't you?
The transfer app you want is Sony XDCam Transfer Version 2.1.0. It will transfer XDCAM and XDCAM EX.
You can run it as a stand alone app., or within FCP from the menu Import>Sony XDCam . . . , the advantage of running it from within your project is it will add the clips to the bin automatically.
Set the destination folder for your media in Sony XDcam Transfer preferences.
Point the app to the folder with the media in it, by clicking ADD in the lower left corner of the app, and then navigating to the folder ONE LEVEL ABOVE the BPAV folder.
Click Open and you should see all your clips. They may take a while to load. The app fetches the info of the clip.
Select the ones you want to import and click import on the lower right of the app. They will now be imported for editing. If you go menu Window>Activity a display will open up so you can see the progress of the import.
Once that is done, whether the media will be useable under your version of FCP, I do not know, but you might be able (just guessing) to take the imported files and use compressor?
Hope this helps.
Message was edited by: Meg The Dog

Porblems importing Canon C300 footage into Premiere Pro CC 2014: only import 30 seconds

Hi! I'm having problems importing Canon C300 footage into Adobe Premiere Pro 2014. I'm taking the files directly from the media browser to I can only import the first 30 seconds of each clip.
Why can be that? Do I need a specific plugin?
Thaks for your help
Begoña
editor

Since you did not perform the copy process yourself, my thinking is that maybe something went wrong when it was done. Far too many people don't understand or follow the process that works.
My recommendation would be to get your hands on the cards and do it again, making sure to use only Explorer or Finder for the task.

Need desperate help on importing Sony SR11 footage

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I tried the archive and the files are on my Desktop now. And of course the same thing happens here too.
What am I doing wrong? And I also tried a new USB cable.
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I called Apple Support and they sent me some important information. You can not mix the formats to import into iMovie. I continually saw the SD footage but not the HD or AVCHD files. It was suggested that I remove the footage and format the HD in the camera. Sooooooo what about the footage on the camera which could not be replaced.
Thank goodness for PCs.
I had an old version of the Sony PMB program on my HP laptop which is very slow. This program allows you to import both HD and SD files so I connected the SR11 to the PC and imported both formats into the PC in separate folders on the Desktop for easy locating. All appeared OK in the PC so I then formatted the SR11 erasing everything including stills (very important) on the card and HD and checked the camera to be sure it was clean. I then exported the HD files back into the camera and then checked to be sure all was there and then disconnected the USB cable from the PC. This took forever because I had 40+ Gigs of data on the camera which had to go both ways, import and export.
I forgot to turn iMovie off on the iMac but as soon as I plugged the camera USB cable into the iMac the import window popped open and walla, all the HD footage was there so I spent the rest of the evening importing it into the iMac as MOV files. The SD footage was already in the iMac because iMovie saw it initially when I tried to import everything. The still files were copied to the iMac via the network.
I will say that this was the first time the iMovie Import window had ever opened on its own. Just like the instructions say.
I reformatted the SR11's HD and I am now ready to start afresh.
KEEP THAT PC in the closet you just never know when it might come in handy!
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Using Bars and Tone When Importing From Cards?

I edited video for decades, and for years on an Avid, and quit before we started recording onto cards and entirely digital material. I'm used to importing, let's say Digibeta tape, and using the color bars and tone to set-up the picture and audio using the bars and tone the cameraman recorded before shooting. I've been asked to work on some projects shot on cards, not analog or digital tape, and many video editors stare at me when I mention setting up using bars and tone as if that is not necessary any more.
Every camera is going to lay down video with slightly different color and exposure characteristics and I would imagine that footage would need to be adjusted using color bars. Otherwise, wouldn't the colors and exposure from different cameras be inconsistent when cut together?
I understand that waveform monitors are still used to make sure shots are "broadcast legal" if the show is going to be broadcast, but are the waveform monitor and vectorscope not used when importing footage any more? I know that color hue is used by shifting the phase, which doesn't exist on digital, but there still must be a need to tweak the color coming from different cards and cameras. Please help me out on this...
Thanks, from an old analog hacker
Greg

I'm the OP and I'd like to get back to my original inquiry, and thank you all for reminding me that I'm not alone in trying getting blank stares when I ask for bars and tone at the top of the footage. But I'd really like to know how one sets up FCP to run the footage from the digital tape or chip and tweak the video signal before importing, so that all the footage I capture comes in with the video properly set.
For example, today I shot with some fellows rather new to video, but they put down bars and tone. When we went to import the footage (some from tape, some from chip) we couldn't figure out how to run the incoming signal through FCP, see it on the waveform and vectorscope, and access the controls to tweak the exposure and color BEFORE importing a single frame. Is that possible in FCP, would you please tell me how to do it?
We could tweak footage after we imported it into FCP, but when we wanted to tweak it before importing, when we tried to capture we got a dialog box that basically said "Capture" or "Cancel". Is there a Preference or setting to choose so that we can do what I want prior to importing, or am I stuck tweaking each shot after I've imported all the footage?
Thanks,
Greg

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Today for the first time I tried to use the Digital 8 camcorder to import into FCE footage that was recorded on Hi-8 tapes with a non-digital camcorder. Obviously it didn't work or I wouldn't be here crying about it.
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Can anyone provide suggestions?

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I'm running Mavericks 10.9.4 and iMovie 10.0.4.
I tried it in Final Cut X 10.1.2 too.
They'll play back fine in VLC.
But when I go to burn them to a DVD, the audio magically goes away again.
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Hi
How do You go from iMovie'13 (v.10) to
- QuickTime
- iDVD
I would:
- Share as file and as 480p (NO OTHER)
- This file should both play and import OK in QT and in iDVD
How was it recorded in Your Camera ?
- SP-mode 16-bit audio - or -
- SP-mode 12-bit audio - or -
- LP-mode 12-bit audio (90 minutes onto a 60 minutes tape)
To work OK with iMovie - audio must be in 16-bit mode
If tape is recorded in LP-mode - Then You need to use exactly the same Camera when making the Import to iMovie - not even same brand and type no: will work securely. Tolerances are too narrow.
(There are works around - but to do that I use analog-out and an A/D-box with TimeBase correction - to get the best SP 16-bit version to work with)
Yours Bengt W

I have imported some studio footage to my timeline and when i play it back the playback screen is green, even the footage in the timeline is green. anybody have a solution? thanks!

I have imported some studio footage to my timeline and when i play it back the playback screen is green, even the footage in the timeline is green. anybody have a solution? thanks!

Exactly WHAT did you import?
Exactly what is INSIDE the video you are editing?
Codec & Format information, with 2 links inside for you to read http://forums.adobe.com/thread/1270588
Report back with the codec details of your file, use the programs below... A screen shot works well to SHOW people what you are doing
https://forums.adobe.com/thread/1070933 for screen shot instructions
Free programs to get file information for PC/Mac http://mediaarea.net/en/MediaInfo/Download
More information needed for someone to help... please click below and provide the requested information
-Premiere Pro Video Editing Information FAQ http://forums.adobe.com/message/4200840
•What is your exact brand/model graphics adapter (ATI or nVidia or ???)
•What is your exact graphics adapter driver version?
•Have you gone to the vendor web site to check for a newer driver?
•For Windows, do NOT rely on Windows Update to have current driver information
•-you need to go direct to the vendor web site and check updates for yourself
•ATI Driver Autodetect http://support.amd.com/en-us/download/auto-detect-tool
•nVidia Driver Downloads http://www.nvidia.com/Download/index.aspx?lang=en-us

Need Help Importing p2 Cards - Anyone Have A Video Tutorial?

We have a HPX 170.
How do we import p2 cards into FCP 6.0.6?
Any video tutorials?

Not sure if this applies to that camera, but Shane had one (and it was very good for when I had to P2)
http://library.creativecow.net/articles/ross_shane/p2fcp6.php

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Hi guy's the question is pretty much in the title.
Is it possible to import HD (AVCHD) footage into Premiere (with or without aditional software)?
Thanks.

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http://en.wikipedia.org/wiki/AVCHD
This is a format that has been adopted by Sony and Panasonic and is compatible with most blue-ray players and even the Play Station 3. So why would so many of the small software companies, in competition with Adobe, have recognized the importance of the format and come up with solutions to read and edit the format when Adobe has not?
http://kb.adobe.com/selfservice/viewContent.do?externalId=kb403297&sliceId=2
I've been coming back to Adobe's web site for months hoping to find they are working on a solution and I have found nothing. I have been a huge fan of Adobe software for years and have pumped many a pay check in keeping my Adobe software current, the most recent being the purchase of the CS3 Master Suite. I'm not trying to bash the company but Adobe if your listening I really want to know want to know what the real story is. This goes beyond the "we are just busy and will get to it when can" statements I have been seeing on the adobe sites. It looks to me as though some other deal has been made and Adobe does not want to talk about why they are not incorporating the AVCHD format into Premiere CS3.

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Thanks in advance.

Sorry, for some reason I thought I was in the FCE forum. I think my brain is sizzling trying to learn FCE!
I did try the anamorphic setting but all it seemed to do was add bars at top and bottom of screen (in grey?!).
Let me try the FCE Forum!
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Importing Canon 5D footage: No video input available

System: MacBook Pro (Snow Leopard), Production Premium CS5
When I import or open footage from my Canon 5D (1080 25p) within OnLocation CS5 I get the message "No video input available" below the clip monitor. However, the audio plays. Footage that I take with a Sony EX3 (1080 25p) plays correctly.
Any suggestions?
Regards,
Andreas

Hi Mark,
Thanks for your answer.
Being able to add and merge metadata with 5D/7D clips is exactly how I use OnLocation; not for live recording or live logging. I typically have assignments where I shoot about 200-400 clips in a day or two, covering an event from multiple angles and in various shot sizes. I exclusively work with DSLRs and have no immediate plans to switch to other formats. I chose CS5 because of native DSLR workflow support without the need for transcoding. So you would expect all parts of the suite to embrace it, including OL. Initially, it appeared to be that way, but now you call video playback of DSLR footage inside OL "a bug"!?
With the original installment of OL 5.0 I could quickly review a clip and start adding metadata to the clips (for easy reference) and then import them in PPro using the media browser (PPro does have a tendency to have incredible long save times/crashes when you keep the media browser open). After importing, by dragging the Description field right next to the name of the clip in the project panel, I can easily find the material I need for editing purposes (although a search box would help).
I guess now with 5.0.1 I have to have both Bridge (or some other video player) open to be able to view the files and then add metadata to the corresponding clip in OnLocation. Where else could I add meaning to my footage?
Just how strange is that!? Luckily Windows 7 now offers a side-by-side sticky viewing option, but surely there must be a way for OnLocation to do video playback natively... Come on, it's just a video player, right? If Bridge and PPro and most other parts of the CS5 suite can play this footage back (you can even do matte painting inside Photoshop, right?), then why can't OnLocation? Why is it so difficult to "support" playback of these H.264 files?
The only thing I can imagine is that it may be a technical challenge to read out vectorscope info from compressed footage. So for now (CS5), you could grey out the ability to set in and outpoints inside OnLocation (rough cutting), and disable read-out of all the vectorscopes for DSLR footage... and then provide full native DSLR support in CS6. I just need video and audio playback, to be able to add metadata efficiently and keep my workflow going.
For a DSLR workflow, OnLocation can be a VERY valuable relational database tool that reads and adds metadata from/to associated footage files and creates an XML project-reference file which can then be imported in PPro. IF it works, of course...
I am more than happy to beta-test this for you guys and provide feedback.
Richard
Message was edited by: BrandedChannels

Importing .MOD SD Footage (Panasonic)

Hi,
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Rgds.

Hi Liamo:
What camera do you have?
I believe this is the only way you will get your footage to work.
http://www.squared5.com/svideo/mpeg-streamclip-mac.html
Export to DV Stream and import into iMovie.
Sue

Importing P2 card footage.

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