Any advantage in working in ProRes 422 start to finish

Since it's possible to capture ProRes 422 via firewire now is there any advantage to working with it from start to finish? The workflow now has been capture and work in HDV and render to a ProRes Timeline when finished.
I'd Like to hear some opinions on this subject. I know ProRess captured files are much larger than HDV captures so that's a consideration.
Also Does ProRes run any smoother in FCP2 than HDV?

I'm sure there are others, but two things come to mind right away:
Since ProRes422 is 10-bit, it makes working in Color much more liberating.
As best I can tell, rendering in in FCP is much quicker (even at the highest quality settings) with ProRes422 on a Mac Pro since it's a much more multi-thread friendly codec than HDV.

Similar Messages

Basic start and finish dates vs scheduled start and finish dates in work order

Hi Friends,
I have observed that whenever releasing the work order,irresepective of number of operations in the work order, system generating scheduling start and finish dates are same, however after releasing the Work order and by adding another operation in the work order, immediately scheduling end date equaling to Basic finish date (i.e.: Basic start and finish dates are equal to Schedule start and finish dates).
Can any body please explain why this is heppening
Please find the screen shots.
After adding one more operation in the operation list and save the Work order,then Basic start and finish dates are equal to schedule start and finish dates.
Regards,
Srinika

Srinika
There are many things that affect the order scheduling:
IMG setting - scheduling parameters
Work centre settings
Operation values e.g. work, duration, operation control key settings
Calendars
Etc
So one possible interpretation of the above data is that the initial order operations have no work assigned, or the operation control keys don't require scheduling, or the work centres arn't set up correctly.
Then you add a new operation which does appear to work.
Please supply a screen-shot of the operation tab.
PeteA

Prores 422 clips not working

I cant import prores 422 clips into my editing software, or play them in quicktime
error message for final cut : 'file error: 1 files(s) recognized, 0 access denied, 1 unknown'
error message for after fx: 'after effects error: file 'filename.mov' cannot be imported - file of type "MooV" are not supported.
- I have set easy setup in final cut to prores 422, still didnt work
My specs:
Final cut pro 7
After effects cs3
quicktime 7.6.4
any help would really be appreciated,
thanks,
goron

your solution was somewhere on the money,
i recopied the files and it seems to be working fine
thanks

My iPhone was working properly n suddenly started vibrating for 5 mins with any display n then it turned off...i charged it overnight but its not turning on??? please help??

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The Basic Troubleshooting Steps are:
Restart... Reset... Restore from Backup... Restore as New...
Restart / Reset
http://support.apple.com/kb/ht1430
Backing up, Updating and Restoring
http://support.apple.com/kb/HT1414
If you try all these steps and you still have issues... Then a Visit to an Apple Store or AASP (Authorized Apple Service Provider) is the Next Step...
Be sure to make an appointment first...

My isight camera was not working. so i tried to smc reset it as said in apples support community but now wat happened is my macbook pro don't charge, it don't show any light for checking charge, nor it starts up. please help. Thanks

my isight camera was not working. so i tried to smc reset it as said in apples support community but now wat happened is my macbook pro don't charge, it don't show any light for checking charge, nor it starts up. please help. Thanks

Try zapping the PRAM. See KB Article http://support.apple.com/kb/PH11243 OS X Mountain Lion: Reset your computer’s PRAM
If you are still under warranty and/or have AppleCare, call them. Let them deal w/it.

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Hello there, Srushevics.
It sounds like you may be having issues with the connectivity of your iPhone with the Bluetooth in your vehicle. The following Knowledge Base article offers up some great steps for troubleshooting that Bluetooth connectivity with your iOS device:
If you can’t use a Bluetooth accessory or car kit
To resolve the issue, you'll need to first sign in to iCloud and review your devices:
Sign in to iCloud on your iOS devices and Macs with OS X Yosemite (available this fall).
On one of your devices, tap Settings > Bluetooth and look under My Devices. You'll see all devices that are connected to Bluetooth, but make sure that you see your Apple devices that are signed in to iCloud and are using iOS 8 or OS X Yosemite.
Sign out of your iCloud account from any devices that you don't want to use. To sign out of iCloud on an iOS device, tap Settings > iCloud > Sign Out.
Then, remove any inactive devices from iCloud:
Sign in to iCloud.com.
Select Find My iPhone.
Select any devices that aren't active anymore.
Wait for Find My iPhone to stop trying to find the inactive device.
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After following the steps above, restart the device with the issue. Then try to use it with your Bluetooth accessory.
Thanks for reaching out to Apple Support Communities.
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Cineform 422 vs ProRes 422

Is there any real advantage in transcoding DSLR H.264 files to a 4:2:2 via NeoScene to the Cineform 422 coddec over ProRes 422 with MPEG clipstream or Adobe Media Edcoder?
Thanks,

Since I often am dragging my CTI over my Sequence timeline, I get far better response using i-frame (ProRes) over LongGOP (H.264). It's physics. It's the law.
Depending on how much footage in your project, it can be faster in the long run to transcode to an i-frame codec rather than editing native. For long form work, I recommend transcoding to i-frame first. It will take more time before you can begin editing, but once your timeline starts to get 30 minutes plus, you'll avoid a lot of slow-downs caused by LongGOP unpacking.
For short projects - those that take a few days - I mostly edit native. The slowdowns caused by LongGOP don't seem so bad when they're not multiplied exponentially, as in a long-form project.
For the most part, ProRes 422 works well in Pr on my Mac. I've not had as good luck with ProRes4444 (I have a thread ongoing about my issues.).
I use MPEG Streamclip to make ProRes 422 from H.264 from a digital still camera.
Here's a tip, if you have an 8-core machine: Duplicate your copy of MPEGStreamclip. Launch both, set them to use 4 Simultaneous Tasks. Then, when you batch export (half of your files to each instance), you'll see that all 8-cores of your CPU are being maxed out. This will get your transcodes done at maximum speed.

Help needed in exporting a ProRes 422 clip out of CS5 AE

First, I have very limited skills in AE, but I just used it to rescue a scene from a high profile interview. The subject had taken a sip of water that left a incredibly shiny reflective spot over is mouth and I was able to use the clone tool and paint over the affected frames. I could probably have used the Motion Tracking tool and a mask...but I've probably learned the hard way.
So here's my question...
This project started in Final Cut Pro. The footage is 1080p 29.97 ProRes 422.   I duplicated the affected ProRes clip (about one minute) and started an AE project with it. The clip resides as a layer in the composition.   The clone tool changes that I made are recorded in the Effects tab that is now part of the dropdown menu in the clip.   Although I probably should have done this on an adjustment layer (so it's non-destructive), but will make a note for next time.
I have reviewed the clip in AE frame by frame and the results appear to be great.
The question is...how do I get my corrected ProRes clip out of AE so I can use it in Final Cut?   Is the way that I did this did I end up baking in these changes to existing ProRes 422 clip and I don't have to render it, etc.?
Or do i have to go in to the AE project and toggle something within the composition, highest quality, collapse something...and then possibly do a render output?   I want to end up with how it began...ProRes 422.
Any detailed advice would be extremely helpful so I can preserve the high quality work I've done in AE!
Thanks, John

Well, I answered my own question. Rendered out the clip with the lowless animation codec Quicktime movie. Then used Apple's Compressor to convert it back to ProRes 422. Brought it back into FCP and it looked great.   You can't tell any repair work has been done on the image.
I would have used Adobe's Media Encoder to convert it to ProRes, but from tests I've done previously, and in fact did a thread on it in Premiere's forum about one month ago, the Media encoder tends to slightly soften a ProRes image. And this is something I've reported back to Adobe...along with a chroma tearing issue as it encodes back to ProRes. Hopefully there will be a patch to correct this behavior.

Media Encoder changes the timecode when converting to Quicktime ProRes 422 (LT)

After spending the majority of my day searching for a solution to this problem, I am hoping someone here will know how to resolve this issue.
After encoding several hundred clips of various file types to ProRes 422 LT at 23.976fps in Media Encoder, we discovered that the timecode of the source clips and the LT clips varies significantly when we bring the quicktime clips into FCP 7 or Quicktime 7. This is also creating issues for the EDL.
The source clips are XDCamHD, H.264, and .R3D files. We set up a batch in AME with a preset for ProRes (LT) at 23.976. After the batch processes, we import the clips into FCP 7 then export an EDL from the sequence. The EDL shows timecodes that do not match the source clips.
The timecode is off by several hours, not just a few frames. If we look at the LT clips in Premiere, the timecode seems to match the source clip. In Final Cut, not even close.
Any ideas on where to start on this one?
If we use RedCineX to convert the R3D files, things seem to work. Also, compressor seems to have correct results. We were hoping that media encoder would be the solution as it processes these clips much faster.
We are looking for a solution that doesn't involve re-transcoding all of the footage.

Two.
First, this.
http://help.adobe.com/en_US/premierepro/cs/using/WSd9957a95a81082eb28f05af5126718c47be-800 0.html
Second, this.
Customize or load keyboard shortcuts
From the Set menu in the Keyboard Customization dialog box, choose the set of keyboard shortcuts you want to use in Premiere Pro:
Adobe Premiere Pro Factory Defaults (Adobe Premiere Pro CS5)
Adobe Premiere Pro CS5.5 (Adobe Premiere Pro CS5.5)
Shortcuts For Avid Xpress DV 3.5 (Adobe Premiere Pro CS5)
Shortcuts For Avid Media Composer 5 (Adobe Premiere Pro CS5.5)
Shortcuts For Final Cut Pro 7.0

Need advice about H.264 and Apple ProRes 422.

When exporting a "master file" I can encode the video as H.264 or Apple ProRes 422 (etc). The H.264 is more compressed but still in 1080p? Does this mean that I do not have to compress the file with "Compressor"? What is the advantage of using ProRes and what is the advantage of using H.264? I want of course the files to be as small as possible but still at the best quality. Any advice?
Thanks.

ProRes is an editing format. If you are archiving a finished project, you can create an extremely high quality "print" with H.264. ProRes 422 will use approximately three times as much memory. ProRes 422(HQ) roughly four times and ProRes 4444 up to 10 times (compared to the size of the file FCPX will export as H.264).
FCPX exports (shares) H.264 in highest quality (over 45Mbits/sec [if needed] for 1080p), you have no options to adjust for smaller files (or lesser quality from FCPX.)
To get "as small as possible," you'll need to learn more about compressing video. As a comparison (to FCPX), YouTube limits a maximum bandwidth of 8Mbps (used to be 5Mbps -- I *still* compress to 5Mbps before uploading.) Even compressed this highly, H.264 provides excellent results. [Compressing in ProRes is going from 4444 down to 422 Proxy (not to be confused with proxy media used in FCPX which is 1/4 resolution, i.e. 960x540 for 1080, ProRes 422.) You cannot compress each of the different ProRes flavors individually.]
You'll need other software to compress further than FCPX. I use Quicktime 7 Pro. Compressor is another way to go (Compressor will let you set "compression markers" so you can vary the bitrates through various sections of your work). The way to figure out your compression level is to find a section (less than a minute) with the highest motion high contrast (and/or changing gradients) and export at different bitrates. Watch for "jpeg artifacts" (blocking) and once you've gotten past that, that's the bitrate you should compress to. (I've had some clips that required at least 20Mbps.) It just takes a little practice to get a feel for it.

ProRes 422 & Premiere Pro CS5.5.2 Playback

I am a long-term user of CS5
Recently started using ProRes 422 footage, (LT in order to keep file size a little smaller). The footage is taken from a Ninja2 via the HDMI of a Sony HVR Z5.
I do a lot of post work on my projects and the native mpeg2 8 bit from the HVR would not hold out too well. Apart from that, I had no previous performance issues using mpeg 2 files.
Now the ProRes 422 footage in the preview window and in the timeline of PremPro is stuttering and won't play smoothly for more than a couple of seconds at a time. This has become progressively worse as the timeline has grown.
I use a single video track (I don't stack or nest) and often use 4-5 audio tracks ( 24bit .WAV) plus a stereo channel from the Ninja2. Audio settings within the project are 32 bit floating.
Average Data Rate of the ProRes (LT) Video File is 8.9 MB/s. Source Audio is 48KHz 16 Bit.
Edit Workstation system (exclusive, no other use):
Triple Channel 24GB 1600 RAM
i7 970 (Hex) 3.2GHz
Nvidia GeForce GTX 580
MB Gigabyte X58 (No Overclocking)
SSD OS & Programs
4 x 500 GB Sata2 Caviar Black RAID 0 media scratch disk and cache (Software RAID - no hardware controller). The RAID is striped at 128Kb.
1 x 1TB Sata2 Caviar Black project files
CPU Temps 44-46 C
System Temps 41 C
Graphics Temps 58-60 C
Disk Temps 30-40 C
The disk access times during playback are often less than 5 ms. Quick Bench (8MB zone) test gives RAID 0 Average Read Time of 642 MB/s, Random Access Time of 14 ms, and Burst Speed of 3411MB/s. CPU Utilisation is 2%. CPU system usage is fairly low as is the RAM demand with 50% often unused. 18Gb of RAM is allocated to Adobe programs (After Effects & Prem Pro) with 6GB available for other things.
I am using no external monitor interfaces.
The ProRes footage is imported into Prem Pro and the sequence setting is automatically created by dragging the ProRes file into the New Item folder.
The project sequence created by Premiere Pro is AVCHD 1080i Square Pixels 1920 x 1080, Upper Field First 25 fps (PAL) which is correct for me in the UK.
This works out fine as I have additional footage from a Sony NX5 which is AVCHD and happy with those sequence settings - I get smooth playback from the NX5 in both the preview window and the timeline. The resulting timeline bar colour is Yellow for both footage. If the Pro Res footage is rendered on the timeline (green bar) playback is fine. The render codec is by default I-Frame Only MPEG.
At the start of the project, the playback seemed fine, but now I am about 35 minutes in and the whole thing has ground to a stuttery conclusion.
The footage in the preview window scrubs and jogs fine, but plays for about a second or two then stutters, as does the timeline. I would expect my system to easily handle the Pros Res footage - but it doesn't.
Any similar experiences out there?

1. With that much footage, I might set previews to render to my output size, so as to cut down on final render time.
2. 112gb! Holy Crap! I hope you're on a fast RAID drive with that! Otherwise saying you're headed up $*it creek without a paddle doesn't quite cover it... ...more like drowning in the $*it ocean.
With that much information you're almost always better off utilizing a rendered file rather than relying on your dynamic link. If playback is choppy, you need to be able to render to a drive that isn't "Busy" while you're playing from it. I've found that using separate RAID for my main project file, and my original or AE assets allows me to render out the previews to a non-busy drive, making the output faster, and the playback faster when reading it.
Dynamic linkage is great... ...if you're going to be making more changes to that piece, leave it as is and play it back, if not, RENDER THE EFFECT, or RENDER A WORK AREA set to the clip you're editing. If you're done for the day, render the whole damned thing and leave it until you come back. Rendered effects will play back faster than active process effects (renders are already in the video, set into it as if native to it; active process edits aren't in the video, they are applied as it is played back, and require more processing so they slow things down), and when you come back from lunch or from home, you'll have a freshly rendered slate to preview. This means you'll be able to show off for the client by morning. Need a Web-capable rendering for a status update you're sending to a client, DUPE the sequence, change the preview on the DUPE to match some web capable settings with smaller frame height\width resolution and compress the hell out of it. Youtube can play it back pretty well, and vimeo also, and you'll be able to upload it in 2-4 hours (if your system is archaic like mine, smaller video outputs great). Personally, I've found comps with AE to be a pain when trying to link and playback. Render a work area around the comp if you're going to play it back. IF you want to preview a whole section, Dupe the Sequence and use the Dupe to NEST the SECTION (create a trim or edit mark at the beginning and end of the section you wish to preview, select everything between the markers, right click and select nest), and you can use AME to render a small preview file, so you don't interrupt the rest of your work.
I work with more sound quality constraint than video, and the sound quality has to be real, while the video does not need to be perfect (doesn't mean I don't damn well try; I've really just begun my journey into this world, and have only begun to use prores, but found some pitfalls to experiment and solve). I start with whatever I'm given, go to prores, edit with a prores proxy preview at ¼ the input size, and render out once just to get started. The effects values are applied to the preview in playback, easing the playback stutter, and allowing me to work fluidly on a laptop mac with an intel core2 2.16ghz with a geforce gfx card at 256mbvram and 4gb of system ram, with (hardware hack) 2 internal drives each at 1tb, one for main use, and one for housing my project files. Using an old esata express card raid box, I get great speed from the playback by storing the previews on RAID, while all the other files are housed on my secondary internal drive. With multi cam AV, you need to be able to store the main clips on different drives, or on a raid store (ideally on separate RAID stores) in order to play them back while cutting them together. However, once cut, you should render out the preview in it's entirety, and start your other edits from that point. Then you can render just the effects and still get great playback.
If you don't see Prores in your preview box, get the AME prores presets from the adobe site, and you can place them by hand into your app (the folder should be the EncoderPresets folder in the program files on windows, on mac open the .app by right click and select show package contents>contents folder>settings>EncoderPresets and paste the .epr files there by hand). Then open up premiere and you should be able to use prores proxy for your previews and export. I like to export to prores and then use handbrake to export to x264 with --fake-interlaced set up so I can use it as a transcode for Encore. Just keep your blu-ray data rates under 35mbps and you should be fine.

Final Cut 7 stuttering playing prores 422 LT

Specs:
Mac Pro early 2008
Dual quad core 2.8
8GB RAM
Lion 10.7.5
Now that that's out of the way...
This is really frustrating. I have a project that's about 1TB in total, all in prores 422 (LT). From the time I launch FCP, I have about 5 or 10 minutes, give or take, before every clip starts skipping and stuttering to the point of unusability. I've checked everything I can think of. I'm not taxing my RAM, CPU, or HD. My scratch drive is a 2TB internal drive dedicated to scratch, so there's nothing else using it. I've tried shutting off everything else on my system but that doesn't help either. The only way I've been able to fix it is to restart FCP, but then it all just happens again. I've tried copying clips to other HDs when it starts happening, but I get the same result regardless. When it's working, I'm able to play a 2 angle multiclip perfectly, with the HD transferring at about 45 MB/s. Single clips usually are about 23 MB/s, but when it starts stuttering, Activity Monitor says it barely is able to go above 15.
Any ideas? This is driving me nuts.

I don't know the make of the camera at the moment, I'll find out today and update that later. Here's a picture of my sequence settings:
I finished cutting this piece in Premiere (with no issues whatsoever) and exported an XML so I can prepare an FCP sequence to deliver. The SECOND I imported the XML back into FCP, it was stuttering all over the place as bad as it ever has.
I have no idea what to think here. I can play higher bit rate video in FCP without issues, but this particular format/codec is just a nightmare. I think I can also rule out the camera because I tried taking other video from another project and transcoding it to match these settings and it gave me the same issues.

Can't make a workable custom codec with ProRes 422 (HQ)

I've only just now found that there is a Support Community for Compressor. Wish I'd known sooner.
I see my version of Compressor is 3.5.3.
I've been on a little saga.
I started out with the challenge of converting some MP4 files from a Blackberry Playbook into ProRes 422 (HQ) for editing in Final Cut. I used Compressor and the task looked fairly straight forward. I used the ProRes setting in the Compressor, converted my files and imported them into Final Cut. Video was fine but I soon found out that the audio needed rendering every time I put a clip into the Timeline. I went on-line to various chat rooms with this problem. Pretty soon a fellow was telling me that the ProRes 422 (HQ) setting in Compressor had "Audio Pass-through" as default and that this was the cause of my problem. Change it, he said, to "Linear PCM".
It took me a fair while to figure out that the ProRes setting in Compressor did not allow itself to be modified and that I'd have to create a custom preset if I was to make these changes. I set about to do that. I was able to select "QuickTime Movie" and then in "Video/Settings" choose "ProRes 422 (HQ)", in "Audio", "Linear PCM". This did solve the audio problem. Now files imported into Final Cut did not need rendering. But another problem became evident.
Whereas the ProRes 422 setting that came with Compressor in its summary page listed: "Width" and "Height" as "(100% of source)", the custom ProRes 422 (HQ) setting I'd just created has "Width" and "Height" as "320" and "240". In short the 19:9 aspect ratio of the original footage was lost. What I got both in the conversion and in Final Cut was a squished SD image.
I've played like heck with Compressor trying to see if there was some place I could get this custom version of ProRes to correspond to the aspect ratio seen in the Audio Pass-through version that came loaded in Compressor. No luck. All very mysterious.
My next step was to look to create another custom codec that would have the proper 1280 X 720 ratio. Turns out "HDV 720p 30fps" does, so now I've been converting to that. Looks fine in Final Cut - proper picture and sound.
I've been playing around a bit more and see now that I can create a custom setting using "Apple Intermediate Codec". I've tried it and it works too.
So after all this, my question: Should I be using that codec instead? Or does it really matter what codec I use for editing? Is the only real issue what codec I decide to use to output?
And while I'm at it: Does anybody have ideas why trying to create a custom setting with ProRes 422 (HQ) does not work - for my purposes at least.
I must admit this converting codecs is pretty new to me. Hopefully with time this experience will get easier and clearer.
John

Setting a Compressor ProRes Custom Setting:
1) Pick Apple ProRes 422...
2) Drag the PreRes 422 setting to the Bach Window. You can only make a custom setting from the Batch Window...
3) Select enable for the audio. Click on setting to make sure it is set right. Uncheck Allow Job Segmenting... Make sure Streaming is set to none*....
4) Select the Geomenty tab... Pick Custom (16:9):
5) Click Save As and name your custom setting...
6) You new custom setting will show up in the Custum folder for later use:
Another thing you can do is make Droplet of this custom setting. Menu... File... Create Droplet... Save the Droplet into a folder somewhere on your computer.
A Droplet will start the transcoding automatically. Drag the Droplet onto a video icon and let it do it's job.
* ProRes doesn't need the Fast Start setting. If this is set it will take almost twice as long to do the encoding. Same with Allow Job Segmenting using Qmaster.
I did the above on the fly and hope everything is clear for you to understand.

"Importer reported a generic error" message while importing ProRes 422 clip

Hi all. I am getting an "Importer reported a generic error" message when I try to import a ProRes 422, linear PCM clip into Premiere Pro CS6. I have imported other ProRes 422 clips in previous projects without a problem, although those clips did not have the linear PCM codec included. I have tried to solve the problem using advice on other forum threads. Changing the file name did not work. Removing underscores in the file name did not work either. Copying the file and pasting to a different folder before re-importing did not work either. The file DOES open in AE, but I am getting the error message without fail when I try to import into Premiere. Any thoughts on how to remedy the situation? FYI - I am still running version 6.0.0 of Premiere. Thanks for your help!

Try going to Help | Deactivate in Pr. Close Pr. Reboot. Launch Pr and activate if requested. That procedure has helped some users restore missing codecs and presets, maybe it'll help your Dynamic Link.
Jeff

Prorez 422 vs DVCPro HD for capture

I am producing a television show and need to decide on a capture codec. Does it make a difference in capturing between Prorez 422 or DVCPro HD? I will be doing a lot of keying and intense colors as the show is for children. Also some CGI for backgrounds. I know you can convert the codec but is there an advantage in capturing in one or the other. I am shooting with Panasonic HVX200 output from the uncompressed HD component out.
Thanks,
David Perry

I like ProRes. It is nice, but you may find certain 10bit rendering errors with FCP that don't show up in 8bit CODECs. Alpha channels from still graphics seem to be the worse problems. Also some of the transparency modes don't really work right in 10bit. This isn't really the fault of the ProRes CODEC, but appears to be a problem with FCP 6 and all 10 color spaces.
If you don't plan many transparent graphics, ProRES is awesome and I would recommend you use if if you have an uncompressed feed coming from the camera.
I would only recommend ProRes if you have AJA Kona hardware. Only the top Kona cards seem to support it fully. My LHe card supports it but most io devices don't.
The color space of the ProRes is very very nice. I've pushed a scene from a Varicam (captured via SDI into the Kona) by about 3 stops recently and was able to recover it without anybody knowing. It was slightly more grainy, but still very usable. DVCPro would not have taken this kind of abuse.

Any advantage in working in ProRes 422 start to finish

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