fcp.co: Canon post latest 1.2 update of EOS Movie Plug-in-E1 for Final Cut Pro
“Go to download page for EOS MOVIE Plugin-E1 for Final Cut Pro Ver1.2
Select OSX from the “Choose Operating System” menu in the middle of the page and the disk image should be third in the list.”
Step 1:
Step 2:
download & install … done! … i will test it today!
UPDATE:
it works just fine with FCP 7.0.3 on Mac OS 10.6.7 … even with files not in the EOS_DIGITAL folder!
more infos: provideocoalition.com
Well back in the days (in April 2010) Mario Feil asked on twitter how do keep FCP from crashing (from time to time it does that)
well a lot of tweeps answered … and now after a while using these hint’s i can re-post them with a clear conscience … guess what, they really work 
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as well as these answers (might be repetitions):
from @TejBabra:
I always keep only 1 sequence open in the timeline. Especially with multiple cuts. I also like to keep media VERY organized!
FCP dose not like to have multiple seq. Opened…especially if you are cutting several projects at once.
from @RJWeditor
I came across that problem assisting last year. I ultimately had to break the 90min Doc special into 8 different project files
Also, FCP gets a little clunky with project files larger than 100MB.
Yes, I nested the locked & colored segments into one “assembly” sequence and watched it down.
7 different segments, 1 project file just dedicated to assembling the show
It was a very large Documentary series for PBS.
from @WillRamirez
it helps to turn off audio waveforms on seq’s ur not working on.
from @NateOrloff
I try separating my proj files as much as possible.,
I use #fcp files like I use Bins in Avid. Don’t try to put it all in 1 proj file like u wouldn’t do that to 1 bin
I keep dailies in 1, current cut in it’s own (only if the proj is really complicated), and old cuts in another
fcp project files should never go above 100MB. That’s my rule-of-thumb. Any bigger than that and I separate it.
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So thats that … you FCP should work more stable using this “rules” … I also noticed that sometimes Motion projects in the Timeline can crash FCP … so i export a Quicktime ProRes file in MOTION and use these instead.
There are also some issues with files coming from mixed sources like Firewire or USB drives. Another issue are pictures in CMYK, more the 96 dpi and 3k resolution…
So there you go … some nice lil tricks to keep your FCP working nice & properly
oh one more thing … some say to “save as” FCP projects (new filename) not only it can save your ass if something gets wrong with you project … doing that FCP “cleans” the file up in a way so that can help get your project file ”healthy” as well
if you have another trick plz let me know 
A few day’s ago two things “happened”
fist: Scott from Rocked Rentals posted/shared a bunch of RED ONE (Mysterium X) low light test R3D’s over twitter … so we all could have a try … that’s one of the kinda things with this great twitter/film community. anyway, i tried build 99 of REDCINE-X … that was fun and nice to play with some RED ONE footage.
UPDATE: REDCINE X Built 104 MAC Pre-Release is out now
Apple Color REDCODE plugin 4.0 beta is out now too
second thing: Tom Guilmette posted some test footage on his blog post about the new little Casio EX FC150 Camera which can shoot 120 fps and more in video-mode. so i played with this footage too … after a “few minutes” an lil intercut-test cam to my mind…
how good is this footage in a regular or typical project / workflow … which is 1080p or 720p HD footage for a SD DVD delivery?
so in the end i put a bunch of “flavors” in one timeline. in this first edition i used a 720p HQ (1280×720, 29,97fps) FCP preset.
in that timeline i dropped the original Casio AVI’s (no trancoding), some XH-A1 ( 50i, HDV 1440×1080 and ProResLT 1920×1080 transcoded), one 7D clip i got from Scott Simmons (editblog) ( i did an basic h264 to ProResLT – 1920×1080 transcode with MPEGStreamclip ) … and some RED ONE (Mysterium X) clips shared (R3D’s) by Scott. in this case i did some lil adjustments in REDCINE-X (nothing too fancy … you could do a lot more with RED footage … but that is not the point this time) so i did a basic 1920×1080 ProResHQ transcode / export and dropped these RED clips in my 720p timeline as well …)
UPDATE: NOW all clips 29,97fps conformed
Thanks to Genus Products on twitter. we discussed a few off many options to do this frame-rate conforming one is to do it with cinema tools: Genus Products: “Change the time base in Cinema tools. But only do on copies of files” but this doesn’t work for native HDV files (interframe issue ) so you have to transcode to PreRes (recommendation anyway)
another way – use compressor - Genus Products: ”While it won’t be fast use motion compensated settings in Compressor which make use of optical flow technology found in Shake.” (a nice link i’ve got – Genus Products:“While a little out of date read this article might be helpful: converting_frame_rates_compressor“)
i tested another solution: just a transcode in MPEGStreamclip to 29,97 fps… but i’ve had some flickering / quality issues in some details in the shots (in trees and so on)
satisfied ? … not yet ! PAL footage isn’t “faltering” as much as before but stillnot quite as good as in a PAL 25p/50i Timeline … working on that.
so i will try the slow compressor way… 20h + to render though for 4 clips …
so that’s it … i tried the “easy” way fist … so no advanced scaling and/or transcoding with all the footage … i just used it straight away
of course i had some trouble with all that 25p / 50i footage in a 29,97 timeline … but i’m more a PAL 25p kinda guy … so give me some time to do a better version in the next few days
so in the end (in my opinion) its stunning how good this DVX100 footage still is and you can see how much shaper the RED footage is … in relation to the “cloudy” HDV stuff … the 7D footage is as expected … quit good … but i will try (have to) some more of that flavor too. Casio EX FC150 is good too (at this pice point) but it’s not made for more than 720p and web usage … but still great to have a “cheap” SloMo-Cam at your service (if needed)
Ok that’s it so far … some more to come.
if the vimeo version is offline (for update reasons) the 1st edition is on exposureroom too:exposureroom.com
now some “BTS” pictures & facts:
RED ONE Footage in REDCINE-X in there you can to quit a lot color-grade stuff
it’s a nice free tool form RED
in addition to make this more fun to watch i did add some kind of sound design and music
i used LogicPro 9.1 (32 bit mode) and used my Euphonix MC Control & MC Mix to handle the 33 Tracks
for mastering the mix i used (my loved) Ozone3 PlugIn.
