This will be a pain, as the last version of FCP was released in 2009, and the last update for FCP (to make it 7.0.3) was released Sept 2010. And that camera is new. And with every new AVCHD camera, comes a slightly different AVCHD format. And with new tweaks, you need to tweak the software to match. For example, the Sony NX5U cameras didn't work with FCP 7.0.2. There were major issues...if a clip was over 5 minutes long, it would take 3-4 hours to import. ClipWrap was the solution...as they found the issue (I pointed it out to them) and they came out with a fix two days later. And then the release of 7.0.3 two months later made it work for FCP.
But FCP 7 is End Of Line. Dead in the water. No further updates. It won't deal with the newer camera formats all that well. It might be wise to look at other NLE solutions if you are going to get current camera tech.
Or...look at ClipWrap2. DivergentMedia.com seems to be very current with formats, and if you point out issues, they tend to resolve them in days. So if you want to stick with FCP...then you pretty much need to rely on ClipWrap2.
Appreciate the very quick reply. If we do decide to go with the Sony I'll for sure look into ClipWrap2. Would you know if Final Cut Pro X resolve some of these issues with AVCHD codec and it it worth the overall investment? I've heard both positive and negative on FCP X and I've been holding out on the upgrade.
Just shot with this on Saturday and brought the material into fcp7 with log and transfer. Copied the entire card structure to a local hard drive and then mounted the folder in log and transfer and brought the material in as prores422. Been working with the material without a problem.
fwiw, the material was 1080 24p.
Hey there, You may just want to hold off buying the NEX FS100 Sony have just said they will be releasing the new NEX FS700 at the end of June, it will be 4k ready, it can shoot in ultra slo/mo up 960fps, 300fps in full 1920x1080 and unlike the FS100 it has four nutrual densitiy filters built in and is swappable between PAL and NTSC. hope this helps.
The first 4K-ready Super35mm camcorder in its class – providing an assured upgrade path to 4K acquisition and delivery – with full HD 1080p for today.The camcorder will also have the capability to produce 4K RAW 3G-SDI output via a future upgrade.
Super slow motion at 10x at full HD or 40x at lower resolutions
Incredible super slow motion capability of up to 10x slow motion at full HD resolution or up to 40x slow motion at a reduced resolution, giving you creative options that were once only available with specialist high-end equipment.
E-mount interchangeable lenses offer a wide choice of lenses
The E-mount interchangeable lens system utilises an extremely short flange back distance allowing you to use a huge array of lenses via a range of adaptors giving you almost unlimited creative options.
Additional A-mount lenses available
The Sony LA-EA2 A-mount lens adaptor allows you to use the wide range of high quality alpha lenses and take advantage of the auto focus function for quicker, more convenient operation.
Built-in HD filters
The NEX-FS700E features built-in, ultra-thin ND filters, offering exceptional shallow depth-of-field on highlights. It also means less accessories to manage as no external ND filters are required.
3G-SDI interface and HDMI
A 3G-SDI output enables easy integration with highest quality recording formats.
Switchable 50 Hz and 60 Hz shooting
Really appreciate all the input.
Micheal - glad to hear it hasn't been a problem. It's been one of the issues I've been weighing with regards to a new camera purchase and I've been hoping for some good news.
Rlc32 - I had a friend send me a link to the FS700 just the other day. Looks awesome and 4k for $9,000 is what I think the price will be.
The built in ND filter is a big selling point and, I felt, it was one of the biggest cons with the FS100. We're replacing a Canon XL2 and it was nice to be able to just rotate a ND filter dial on the lens for outdoor shots. Also, the lack of support for our all ready existing Canon lenses we use on our XL2 is more than a little frustrating.
Unfortunately, we need the upgrade before June and, for us, even the $5,600 price tag on the FS100 is pushing it. For what we do, I'm really hoping it's a good choice and I was completely sold on the image quality (especially at high gain settings) and nice, shallow dof that we just can't get with our current camera.
For what it's worth, we picked up the FS100 and was able to edit by copying the entire card structure and then Log and Transfer to ProRes 422 (as Michael pointed out above). No problems - worked perfectly. The ProRes transcode made it a little contrasty, but otherwise the files all look great and I'm really impressed with how painless it was.