Fcp forces me to render Apple Pro Res 4444 files when i drop on timeline

i shoot with the canon 5d mark ii and i have been having problems making my videos easy to edit. I convert them from h.264 to the apple pro res 4444. when i take the files and then attempt to drag them into the project timeline, i am prompted to change the settings to match that of the video format. when i select no, all of the files require me to render before playback. when i select yes, i always get dropped frames and the video stalls and fails to play. selecting no and rendering is not time efficient at all and i know there is a better way to do this. any help or suggestions? i'm clearly doing something wrong.

Hi -
While it may seem counterintuitive, transcoding to a ultra-high quality, specialized format like ProRes 4444 actually, in most cases, counter productive.
Converting your h.264 files to ProRes 4444 is like buying size 26 shoes for size 9 feet. Apple ProRes 4444 is there for specialized use by people editing large frame size images +WITH an alpha channel for each frame+. To properly play it back will require both a high horsepower computer and high speed disk drive array to support the data rate involved in that format.
May I make a suggestion? I would be to convert your h.264 material to Pro Res 422. Even ProRes HQ is beyond what you need to handle your material correctly.
When you convert your files to ProRes 422, and allow FCP to set the sequence to the same settings, you will find that you will be able to edit without rendering. And don't worry - the quality of your image is set by the h.264 compression, the conversion to Pro Res 422 will not degrade it.
A frequent example given on these boards: if you take a can of beer, and pour it in a keg, you still have just a can of beer, but it is harder to carry around - and the keg certainly takes up more space.
There is a very useful White Paper written by Apple that describes the various flavors of ProRes and their correct application at:
http://images.apple.com/finalcutstudio/docs/AppleProRes_White_Paper_July2009.pdf
Hope this helps.
MtD

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Apple pro res 4444 info?

COuld someone tell me the data rate for apple pro res 4444 codec? how many megabytes per second does it demand? Will I be able to run it from a 7200 rpm firewire 800 single mobile drive?
Thanks!

http://www.apple.com/finalcutstudio/finalcutpro/apple-prores.html

Target codec say Apple Pro Res 4444

I just downloaded Canon's EOS Movie Plug in, why does my target codec say Apple Pro res 4444? Thanks in advance.

NEVERMIND! I found it!

Apple pro res 422 file consuming more space than usual

hi everyone!
I've been working with FCP 7 since 2008 and at the same time I started working with Canon T2 from 2 years ago and I haven't had any problems with my FCP workflow files, editing and output used to be H. 264 based files until I started to have problems with my hd DSRL projects. Recently when editing the audio went out of sync and I was suggested to change the Quicktime video settings from FCP 7 to imovie (which is th application I commonly use to create chapters and share to iDVD) this worked perfectly. It was the first time I which I had to change the Quictime Settings to Apple Pro Res 422 The Out of sync problem was resolved but the space consumed by the file was enourmosly ncreased instead. ie. A 5 min project usually would take like a 500 mbs quicktime file and now using the Apple Pro Res 422 this 5 min project went up to 5.3 Ggs!! And also the exporting process is taking forever!! For instance I'm working with a 30 min project and the Quicktime conversion never ends. It's taking about 12 hrs and is not taking more than the 20% of the process. Is there something I'm doing wrong? I need help in a extremely urgent way! Thank you all guys! And best regards from Mexico!!
Mac Pro early 2008
Processor 2.8 GHz Quad-Core Intel Xeon
Memory 10 GB 800 MHz DDR2 FB-DIMM
Graphics ATI Radeon HD 2600 XT 256 MB
Software OS X 10.8.4 (12E55)

>using the Apple Pro Res 422 this 5 min project went up to 5.3 Ggs
That's about right for a ProRes 422 file. High quality video takes a lot of space. It's sufficient to use the lighter ProRes LT for the footage from your T2 by the way. Your MacPro can also have up to 4 hard drives for plenty of storage.
Why are you using QuickTime Conversion?
Exporting to QuickTime with current settings and self contained is the better way. Then you use Compressor to make your delivery format from that master. Compressor is faster because it can take advantage of multiple cores - FCP doesn't. It will also give you far more control and choice over the encoding.

Apple pro res HQ files

Hi
I have Premiere Pro CC 2014 latest update.
When I add a Pro res HQ file (.mov) into my project, premiere cannot display it either on the timeline or in the preview window
I am just starting to use this format with my Atomos Ninja- Star and Samurai Blade devices.
What do I need to do to get premiere to work with these formats
Thanks
Chris Anderson

Hi Ann
At the start when I did import the file, the icon showed as a grey square. Couldn't view in the source monitor or program monitor.
Since then when I dumped trat project and tried again, I cant import getting: 'the importer reported a generic error' no more info
No problem with CS6
Chris

Apple Pro Res 4444, does it work with FCP 6?

Does ProRes 4444 work with FCP 6? I don't think so but wanted to check before I had the film lab telecine my film. I'm stuck with FCP 6. Might have to go with ProRes 422 (HQ) ?

Jon Chappell wrote:
Are you 100% sure that you can write to ProRes 4444 files in QT 7.6.2? I would have thought you'd need FCS3 for that.
See, I knew the editing gods would humble me.
I just re-tested this on a separate FCS 2 partition and it turns out my memory was failing. While you can read and import the new ProRes codecs, you can cannot render out to them in the FCP 6 + QT 7.6.2 universe. So yeah, getting all ProRes4444 files would be a hassle on an FCP 6 setup.
Ugh, sorry for the bad steer.

Converting a mov /apple pro res 422 file into a an avi, what codec?

I need to convert a mov 422 pro res file into an avi, how can i do it? with what codec? and application ?

Hello, this problem is not very difficult to solve a lot of the software now can be converted, but guarantee quality conversion software rarely, I've been using this software to convert Bros MOV Converter effect is very good, very high quality,you can try, and hope to be able to help you.
More useful information, please visit the official website：
https://www.google.com/#hl=en&tbo=d&sclient=psy-ab&q=http:%2F%2Fwww.brosvideo.co m%2Fmov-converter.html&oq=http:%2F%2Fwww.brosvideo.com%2Fmov-converter.html&gs_l =hp.12...50980.50980.3.52457.1.1.0.0.0.0.0.0..0.0.les%3B..0.0...1c.1.SF3e8pTKjco &psj=1&bav=on.2,or.r_gc.r_pw.r_cp.r_qf.&fp=bd7d840902e4c1f5&bpcl=38093640&biw=14 28&bih=651

Apple Pro Res "Render at Maximum Depth"

From my understanding, Apple Pro Res maxes out at 12 bit with DSLR cameras in movie mode not even reaching that. Yet, the setting for "Render at Maximum Depth" offers 24 to 64 bit. Anyone know what the story is with this setting?
And does anyone know the settings for Apple Pro Res 4444 at its highest quality when coming from H.264?
Thanks.

For your reading enjoyment -
http://forums.adobe.com/message/4529886
http://images.apple.com/finalcutpro/docs/Apple_ProRes_White_Paper_October_2012.pdf
A question for you - what is your workflow where you think you might need this? Keep in mind that the majority of cameras only record 8-bit color, and also in a very highly compressed format, so you won't necessarily gain anything by going to 4444, as the source video is of limited quality already.
Basically, if you don't have any high-bit-depth sources in your timeline to preserve the quality of, there may be little or no benefit to enabling "Max Depth".
Thanks
Jeff Pulera
Safe Harbor Computers

Uncompressed QT vs Apple Pro Res

Hi All
We are about to venture into 16mm transfer to HD for the first time. The telecine house can give us Uncompressed QTs or Apple Pro Res on a hard drive.
These are the pro's and con's as I far as I can tell:
Uncompressed QT:
- Large Files
- Cannot be used (without conversion) on our current FCP set-up
- Highest quality, which is great for archiving and future use of the media
Apple Pro Res:
- Smaller files
- Can be used directly on our set-up, without any conversion (there are some time constraints on the project
- Almost the same quality as Uncompressed (???)
The workflow I am considering is to get the files back as uncompressed qt's (to make sure the Masters are the highest quality possible) then convert them to Apple Pro Res in Compressor, then edit. Does that sound right?
Is there any point to doing a 'neg match' (editing in Apple Pro Res then upconverting to uncompressed qt's as if in an off-line/on-line environment)?
And, lastly, what Apple Pro Res format should I ask for?
Any other golden nuggets of information you ca add will be greatly appreciated.
cheers
-j-

Hi Jokke, If it's not too late, I've just been through exactly the same decision: shot on super 16 and had to worry about what to do with it. For me the decision had a lot to do with speed of editing, size of files and the way the final thing would be presented (HD Mpeg projected in my case) For all these reasons, the Prores codec worked fine. All the film buffs will scoff at this but very often the differences are really indiscernible and you won't need a bunch of supercomputers to crunch through the uncompressed footage with filters and dissolves applied to it. If you choose to go with Prores, you should definitely take the 422 HQ variety, although I think there's a newer better Prores codec coming out. Maybe one of the more tech-savvy persons on the forum would know about that.

Final Cut 7: Apple Pro Res Export Drops In File Size?

Hello all. We are noticing a 30% drop in file size when, after importing a 5-minute Apple Pro Res HQ file into Final Cut and performing minor editing (essentially removing a few frames from the ends), the resulting export (also Pro Res 422 HQ) is noticeably smaller, going from roughly 2.5 GB at the start to 1.7 GB at the end. Has anyone seen this? Is this normal? Does it affect file quality? If so, is there a workaround? Thanks for any and all help!
Sequence and imported clip settings both match and are at the highest quality. The original file was captured from a BetaSP into Final Cut as a Pro Res 422 HQ via a Sony DVW-A500 deck.

Those numbers suggest the possibility that you captured 29.97 and exported 23.98. Any chance that's the case?

Apple Pro Res 64-bit Encoding

I've looked everywhere and tried everything...
https://helpx.adobe.com/premiere-pro/using/whats-new-7-1.html
At the bottom, under "support for new camera formats", there is a section regarding support for "Apple ProRes 64-bit" as a new camera codec. I looked everywhere in Media Encoder and the only thing with a "64" in the Apple Pro Res Codecs is under Apple Pro Res 4444 in the "Maximum Bit Depth". However, this option was already available so that 's not what Adobe could be reffering to... I understand that there is support to utilze the 64 bit capabilities to quicken the transcoding process but does anybody know anything about a new Pro Res Codec at 64-bit? Where it is? What it entails?
Anything at all would be awesome. Thanks.
-Dimitri

Hi Dimitri,
It's 64 bit as in it uses a 64 bit process on a Mac. It does not refer to 64 bit depth. The only and main difference is that encoding ProRes is going to be faster now.

Convert Alpha graphic to pro res 4444

I can't seem to get this to work. I have some keyable(alpha) animations that I have added sound to and I want to export them as pro res 4444 with alpha and audio and use in other projects. I've used QT conversion selecting pro res 4444 and when I import them into the new project they won't key and the item properties for the clips indicate none for alpha. Manually changing that to straight doesn't fix the problem. What am I doing wrong?

Astrojam wrote:
Is there a easy way to unrender a seq as opposed to replacing the video
You can use any of several techniques, Render Manager, for one, disable and then re-enable cip, for another. Remove Attributes, sort of, carefully select on option but you need to do the experimentation on your own.
bogiesan

Apple Pro Res 422 / FCP7 render issues

Hello,
I do a lot of timelapses and have pretty good workflow for all this. However, I am experiencing one issue that makes everything a bit difficult. I appreciate if anybody could help me.
My workflow is:
1. Shoot some stills RAW
2. Develop in Adobe Camera RAW
3. Import stills sequence and render in AfterEffects CS4 to AppleProRes 422
4. Import to FCP7 and edit
5. Grading / color correction
6. Publishing
All works fine, however I am having very often an unpredictable issues with the Apple Pro Res 422 codec under FCP7.
I always render a bunch of sequences from AE using the same settings for all files. The only difference is resolution.
My render settings for exporting from AE are:
- Apple Pro Res 422 wrapped in MOV
- render in 10-bit YUV from RAW 16 bit sequence files
- AE project in 16 bit
- Resolutions of rendered all files around 3500x2500 px, this vary from file to file.
The sequences render fine in AE.
The sequences play properly in QT, I can import them to FCP properly, play in FCP properly. I can drag to timeline, scale, rotate, scrub etc.
However: Some sequences fail to render in FCP7.
When I drag them to my working sequence in timeline (Usually a Full HD 1080p, Pro Res 422, YUV), scale down (usually) and try to render timeline footage (don't mean exporting here yet) I get the following error:
"Codec not found. You may be using a compression type without the corresponding hardware card."
This happens on many computers including iMac, MacbookPro and a Mac Pro.
I discovered that setting the footage size to even width and height figures when exporting from AE eliminates the problem sometimes, but it does not help in all cases.
Also it sometimes help if i take such sequence, crop and export using QT under the same settings, just a few pixels less in size. But again - it helps sometimes.
Can anybody help me with these?
Anybody experiencing similar issues?
Thanks a lot.

I had the same problem when we started to edit on Pro Res timelines. The solution I found was to go the Sequence Settings > Video Processing > and change the Render setting to "Render in 8-bit YUV" that allowed me to actually render the timeline and view my work. Hope that helps.

Apple Pro Res 422 HQ export - "render at max depth" and "24 bit or 48 bit depth"?

I'm exporting my 90 minute feature for DCP using the Apple Pro Res 422 HQ codec. The film is 1920x1080 and that is what the export will be. We used a variety of cameras (Canon 7D, Sony XR160, GoPro, Blackmagic in HD) for the film.
For the export options:
Do I check "Render at Maximum Depth"?
Which do I choose - 24 bit or 48 bit depth? - one has to be chosen even when "Render at Maximum Depth" is unchecked
When I asked the DCP house, they said that "Render at Maximum Depth doesn't actually do anything when using this codec" and haven't answered the 24 vs. 48 bit question.
This discussion:
https://forums.adobe.com/message/4529886#4529886
says that you "never need to enable the Max Render Quality (MRQ) unless you are exporting in a format/pixel ratio different from your original video."
This discussion:
https://forums.adobe.com/message/5619144#5619144
adds insight into what 24 vs 48 bit depth means, but doesn't answer my specific question
Thanks for your help.

For your reading enjoyment -
http://forums.adobe.com/message/4529886
http://images.apple.com/finalcutpro/docs/Apple_ProRes_White_Paper_October_2012.pdf
A question for you - what is your workflow where you think you might need this? Keep in mind that the majority of cameras only record 8-bit color, and also in a very highly compressed format, so you won't necessarily gain anything by going to 4444, as the source video is of limited quality already.
Basically, if you don't have any high-bit-depth sources in your timeline to preserve the quality of, there may be little or no benefit to enabling "Max Depth".
Thanks
Jeff Pulera
Safe Harbor Computers

Vixia HF200-apple pro res?

I've searched online and throughout the apple forum, but I can't find any info that discusses the best sequence and project settings to use with a Canon Vixia HF200 camera. I bought ten of the Vixia HF200's for our school to use with Final Cut Pro 6.06 running on Quad Core and a few 8 core Intel Macs. We can ingest perfectly. No issue. And I am probably using the wrong settings, but I set the sequence preset to Apple Pro Res HQ 1920x1080 24p. Our cameras are all set to cinema mode24p. For easy setup we have been using Format:HD, Rate:all and Use at DVCPro HD-1080pA24. Our sequence settings are 1920x1080 Custom 16:9, Pixel Aspect=1440x1080, timebase=23.98 and compressor apple Pro res HQ. I've played with other settings and editing is fine and the video looks fine. However, on most of these settings we are seeing some weird by product. All exported 1920x1080 video has flash frames throughout the video. You can watch the video on an NTSC monitor or on the computer monitor and there are no flash frames. But once you export using Quicktime Movie Apple Pro Res HQ 1920x1080, then that exported file shows multiple flash frames. Again, I'm sure I have all the wrong settings. Can someone respond with the optimal settings for editing AVCHD @ 24MB from a Canon Vixia HF200 within FCP 6.06?

Did it work before?
If so, what did you change?
If not, have you tried installing the latest ProRes Codecs?
x

Fcp forces me to render Apple Pro Res 4444 files when i drop on timeline

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