The present and future of post production business and technology | Philip Hodgetts

Jul/09

3

What about the hidden metadata in Final Cut Pro?

We’ve been working with a few people previewing, and getting feedback on, a new addition to our First Cuts assisted editing tool – basically checking some areas of Final Cut Pro that I haven’t explored for years and I had the most interesting conversation with Jerry Hofman.

Before I get to that though, let me ask (beg) for feedback on any of our software products. We want to keep making them better and love feedback, feature requests and especially problems. We respond quickly – this particular feature request was received on Friday 26th, discussed briefly during a Hollywood Bowl concert on Saturday night and was a preliminary feature by Wednesday!

Anyhow, in discussing this particular tool with Jerry (you’ll find out what it is soon enough!) I asked how much metadata from RED is imported to Final Cut Pro via Log and Transfer. Jerry, who uses RED a whole lot more than me (i.e. he uses it!) said “not very much”, which pretty much matched my understanding working with a whole bunch of RED clips with Sync-N-Link and never seen any of the color temperature, date or other information that’s in the RED metadata.

In sharing this conversation with my smart partner, and our main code writer, Greg Clarke, he commented “Oh, I do think Mr Hofman is mistaken!” (or words to that effect). Turns out Greg has been scrolling past this metadata for most of the last year. The difference is that Greg works with FCP XML exports, while Jerry and I were looking through the Final Cut Pro interface.

OMG! What a treasure-trove of metadata there is. And why didn’t we know of this? Surely someone from all the conversations we’ve had with people developing Sync-N-Link must know about this? (You’ll all come out of the woodwork into the comments and let me know you’ve known about it for years!)

So this morning Greg’s built me a tool for exploring this hidden (I prefer “secret” because it makes it seem more mysterious) metadata, turning it into an excel spreadsheet. I already had XDCAM EX media and P2 media along with RED clips and I was able to download some AVCCAM media shot with Panasonic’s HMC-150 camera.

There’s an enormous amount of Source metadata there. A lot of fields that seems to be unused even in the camera. Clearly, the current version of Final Cut Pro doesn’t have the flexibility to display items like ‘whiteBalanceTint’ or ‘digitalGainBlue’ settings in the original file. I guess this type of metadata is going to be challenging for Apple and Avid to deal with, as they don’t (currently) have displays in their application for the enormous amount of metadata that are generated with tapeless cameras. I’m just very thankful that it’s being retained, and that it’s available via XML (and associated with a Final Cut Pro clip ID).

There’s definitely metadata already  being produced that we can use to improve First Cuts – at least for non-tape media sources. But it’s also interesting to explore fields that are available but not being used.

Show all columns and you'll be surprised at what's available, or going to become available.

Show all columns and you'll be surprised at what's available, or going to become available.

BTW, you can explore yourself using Log and Transfer. Open any type of media that Log and Transfer supports and then, right click on the column header (like you would in Final Cut Pro) and select “Show all Columns”. The columns displayed will change according to the type of media selected.

So far, Sony’s XDCAM EX has the least amount of metadata and the least interesting metadata – barely more than the basic video requirements and information on the device: model and serial number.  RED footage has a lot of metadata, although most is focused on the technical aspects of the shot as you would expect for a digital cinema camera.

But take a peak at the source metadata from P2 Media! All the goodness like the date of the shoot (which FCP otherwise does not export) and time (as does RED) but also fields for ‘Reporter Name’ (awesome for a First Cuts – News product) and Latitude and Longitude. While they’ve been blank in every instance because I don’t think Panasonic are shipping any cameras with GPS built in yet, it does suggest that future Panasonic cameras are likely to contain GPS and store that data in with the media file. Anyone who’s a regular reader will know that means Derived Metadata! There are also fields for ‘Location Source’, ‘Location Name’, ‘Program Name’, ‘Reporter’, ‘Purpose’and ‘Object’ (??).

AVCCAM carries all the fields of P2, more or less, with the addition of a “memo” and “memo creator” fields.

It’s been fun exploring this ‘secret’ metadata. Now to find a way to make some use of it, or make it practical. Would anyone be interested in a tool that would not only read and explore this metadata, but allow some of it to be mapped to existing Final Cut Pro fields?

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