Anyone used AVC-Intra 50 or 100 successfully?

I'm trying to play AVCIntra 50 clips on my timelinme but they need to be rendered. Is this right? Do AVC-Intra clips that are in a project that is created to be AVC-Intra 50 need to be rendered ? Shouldn't they play without rendering?
Has anyone been able to do this?
Thanks

Yes Codec wise the MXF files are an I-frame H264 MPEG 4 compression - but that is not what I uppose against.
Its Apple banging the big drum saying, that now FCP 7 works naitivly with AVC Intra both 50 and 100.
AND.... thats NOT true. Anyhow... its not logical that you dont have a Apple AVCIntra codec choise in your sequence settings.
YES I know to set the Sequence settings for ProRes... But that I have done for 2 years now and had to wait for FCP to transcode the AVCIntra MXF files to ProRES....
Now I have to wait for my sequence to render all the time, and I dont think thats a great trade off - more like a pain in the but

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Green Screen using AVC-Intra 100 ugly

Been using the hpx300 for approx two months mostly in 720p with great results. Just wraped our first true HD green screen shoot using avc-intra 100 at 24p with the intent of producing a white background mac-ad type, 5 min talking head corporate piece in SD. I had the camera mounted at 90 degrees to capture the 1920 pixels of subjects head-to-toe so I could then manipulate individual zoom and placement in post within a SD timeline. I've got two issues: one is that the images in post seem noisy, and any movement, as in subjects walking across screen, is a total mess - I say seem because all recording and playback on location looked just fine on a 1920x1200 monitor via blackmagic i/o box. I normally do basic editing in premiere with much help from AE for composting and color correction etc. Keylight has always worked great in the past. I must have something wrong with settings in the avc-intra HD content? Secondly, workflow is a bit convoluted... Keylight doesn’t apply in premiere, and AE doesnt do avc-intra. The workaround is to export avc-intra premiere timeline to AE and key that. In theory it should work just fine, but again my images are just noisy. Could this PR to AE workflow degrade image quality? Any suggestion greatly appreciated! Thanks, Matt

Poster must be busy shooting more stuff....
Found some info on that " hollywood camera " site.....
IS HD REALLY HD- GREENSCREEN ISSUES
These plates were all shot with an HVX-200, mostly with the 100 MBps DVCPROHD codec. This was good enough for us for Visual Effects For Directors because we had specific needs, but we don't consider them good enough for full film production.
Here's why:
COLOR SAMPLING: We      prefer all green screen to be 4:4:4, so every pixel has a unique color.      4:2:2 only updates the color every second pixel, but green screen      desperately depends on a sharp, accurate, scientific color transition.      With 4:2:2, you're operating in half resolution. But if you downsize, like      we downsized to 720x480, you're at full resolution again. So because we're      delivering in SD, the plates are 4:4:4 for us. They'll just be 4:2:2 for      you if you're delivering for an HD movie.
PIXEL ASPECT: When      a camera is listed as 1920x1080 HD, that's really stretching the truth.      You'll see that all our plates are in 1280x1080, which is the original      camera resolution, meaning that the plate has to be stretched 150% on the      X-axis to be in the right aspect. In other words, you're only operating at      66% resolution on the X-axis. Did someone say "smearing"?
NOT EVEN 4:2:2: By      the time 1280 has been stretched to 1920 to make up for the 1.5:1 pixel      aspect ratio, 4:2:2 has been stretched out too, basically becoming      4:1.5:1.5
LENS RESOLUTION: Nobody      besides DPs really thinks about the fact that a lens has a resolution.      Zoom lenses are made of many lens elements in a clever configuration, and      each element introduces some blur. That's why top-notch DPs like to use      prime-lenses cut from diamonds from King Solomon's mines, because if the      lens limits the resolution, it doesn't really matter how well you record      the signal after that. Some people have come to the conclusion that the      HVX-200 is really a 720p camera, because the 1080p resolution doesn't      really come through. We tend to agree, but we don't want to start a      religious war, and will say that it's just our personal experience. On top      of that, we've used a $500 wide-angle adapter on some shots, which really      butchers the pixel resolution, so even though we're recording at 1080p,      we're really not. But 1080p allowed us to record with the 100 MBps      DVCPROHD codec, which meant that we still got a very respectable resized      SD signal out of it.
BAYER PATTERN: Most      cameras use a Bayer pattern on the chip, so that every pixel is EITHER      Red, Green, or Blue — but not at the same time. A full Red-Green-Blue      pixel is derived mathematically by interpolation. It's no wonder that some      organisations are starting to call for an objective standard for what      really constitutes a pixel, because a Bayer pixel is definitely not a real      pixel — more like half a pixel. By the way, there are twice as many Green      pixels than Red or Blue in a Bayer sensor, so you're far better off using      green screen than blue screen on video.
HALO: Even      with the internal sharpness generator completely disabled, the HVX-200 has      a clear black fringe several pixels wide on the right side of actors on      green screen. Panasonic vehemently denies it, but it's very easy to see.      In this      picture, notice that white areas get a fringe, but darker areas, like      her legs or hair, don't. Panasonic's explanation has been that it's just a      shadow from the lighting (huh?), but the halo is on the KEY side — so the      only plausible explanation is a quantum singularity localized to the actor      which bends light as it passes by her body. We think it comes from the      Bayer pattern, but we're not sure. And Panasonic shouldn't feel bad. A Nikon      D80 does it too.
HEAVY COMPRESSION: Even      though it seems like a lot that we're recording at 100 MBps in the      DVCPROHD codec, if you calculate the bit-rate per true output-pixel, we're      actually still compressing at a whopping 15:1.
NOISE: Video      cameras in this price range tend to have rather high noise, and on top of      that, they're usually 8 bits per color channel. This can result in some      highly visible shadow noise that almost pixellates when the brightness is      just on the edge of a bit-threshold. You can see some of our plates doing      this.
An HVX-200 and all its brothers and sisters in its price range simply don't have the horsepower for full pixel, high dynamic range, high resolution, uncompressed production that you need to do truly professional green screen. Green screen is ultimately a scientific process, and is one of the most demanding things you can do with your camera. Regular live-action images are MUCH easier for your camera to handle, so for regular filmmaking, your camera is fine, don't feel bad.
We have nothing against the HVX-200 or its brothers or sisters — come on, we shot a whole DVD set about visual effects on it — but it's important to really understand what the limitations are. It's fine to own your own camera for regular filming. For green screen, you should consider renting the very best you can afford — and make every decision right, which is where we come in.
Thanks for reading!
Rod

Anyone use Citrix receiver (11.8.2) successfully on Yosemite yet?

Anyone use Citrix receiver (11.8.2) successfully on Yosemite yet?
I want to upgrade, but this is the 1 app that has to work for me before I take the leap.

DrDavidW,
After seeing your failed upgrade, I decided to upgrade one of my wife's laptops that had Citrix Receiver installed. The hardware is a late 2008 Macbook Pro 15" with 2.4 GHz Intel Core 2 Duo, 8 GB 1067 MHz DDR3 RAM, and 250 GB SATA Disk that has 212.99 GB free. Citrix version is 11.8.2. I used a bootable USB Yosemite installer to do the upgrade. My wife was able to log onto her Citrix Receiver without issue. I wonder whether it is a network issue rather than a application issue. I have seen some reports of wifi connection problems with Yosemite upgraders. Maybe someone in IT can help. Are you having any trouble with using Safari accessing other sites?

FCP 7 is supposed to work with AVC Intra 50 and 100.... BUT

Ok this one is very strange. You can log AVC Intra 100 (from a Panasonic P2 HD cam) in its native AVC Intra 100 format.... but here comes the great puzzle....
There is no Setting in the Sequence Settings drop down menu to match that??????? Did Apple forget to put that specifik codec there or what?
So what you get is a Sequence that has to be ProRes but your footage is AVC Intra...
OK you lost me on this one....

Yes Codec wise the MXF files are an I-frame H264 MPEG 4 compression - but that is not what I uppose against.
Its Apple banging the big drum saying, that now FCP 7 works naitivly with AVC Intra both 50 and 100.
AND.... thats NOT true. Anyhow... its not logical that you dont have a Apple AVCIntra codec choise in your sequence settings.
YES I know to set the Sequence settings for ProRes... But that I have done for 2 years now and had to wait for FCP to transcode the AVCIntra MXF files to ProRES....
Now I have to wait for my sequence to render all the time, and I dont think thats a great trade off - more like a pain in the but

Using AVC Intra for Log & Transfer

Just checking,
Can you use the AVC Inra setting in Log & Transfer for XDCAM instead of AVCHD and if so what is the difference the two settings?
Jeff

Hi Thrillcat,
The reason I asked this question is I was told that when importing XDCAM ftg I should use the AVCHD setting in Log & Transfer . I just noticed the AVC-Intra setting and thought this was a new flavor of AVC and thought I might use this as well for my XDCAM import.
Could you set me straight?
Thanks
Jeff

Help! Anyone using Dynamic Link to PPro with success?

I follow the docs precisely, open new multitrack, go to dynamic link, open Ppro sequence, and it shows video only--no waveforms. Audio does play, but now waveforms appear in the audio track. What am I missing? To do any serious editing, I need to see the waveforms! Thanks in advance.

buraihan, thank you for putting me straight on this. It is so easy to
fall into the trap that if things aren't working it must be the
installation. Then you go to a lot of trouble to reinstall and then
end up messing everything up.
Yes I had studied the relative help pdfs including the link you
quote. The fact that it tells you to open a multitrack file is so
deceiving but the last sentence:
'To edit or process the video, use Adobe Premiere Pro or After
Effects.'
does rather give the truth away.
I suppose Soundbooth is only really useful if you are adding say a
music track to an already finished video sequence rather than tidying
up your audio in the sequence itself. I'll stick to doing it in
Premiere and I suppose if wav files need a little extra from
Soundbooth you have to do it a clip at a time - suppose that's ok.
I'm pretty new to video editing (although I have very many years of
computer experience). I am doing video demos for my site
angelakane.co.uk Any workflow suggestion would be helpful although I
am learning a lot by just doing it - I'm not in the movie business. I
do want good sound though. My youngest son is a talented film maker
and he uses Final Cut, Logic and Pro Tools so I don't get much
sympathy - says Soundbooth is a waste of time!
Thanks again, especially for responding so quickly.
AngieVK,

Anyone using Airfoil v.3.0 with success?

I've acquired the trial version to see if it works for me prior to license purchase. I would initially like to push streams via AEBS from my iMac 24 to my MBP (StarPlayr, SirusMac2, etc.), and later add a couple of Airport Express units around the house. I've downloaded to the iMac and "activated" Airfoil and Airfoil Speakers plus the listed operatives (both computers) and.... nothing happens. Do I have to have the downloaded software on both computers? Does that mean that I would have to purchase two subscriptions? Also, I'd like to change the nomenclature identifying the computers... nothing seems to lead me to an opportunity to do so (ie. iMac and MBP versus "computer"). This is probably simple but somehow I'm just not getting there. I'd appreciate someone with a measure of success here to share their expertise. Thanks, as always.
jjsea

A recent X1 Carbon BIOS Update that showed up in Lenovo - Update and Drivers (32-bit) really, really improved the multi-monitor performance in my case. It's still not as good as the traditional bottom mount H/W Dock, but attached screens don't spontaneously disconnect any longer and it's more than useable. Hopefully I'll get a nice surprise with the USB 3.0 ethernet at some point in the future.
I didn't want to leave a crappy product rant out there without stating Lenovo has obviously made some sort of adjustment / improvement to their product.

AVC INTRA 100 INGESTED CLIPS SHOWING MYSTERIOUSLY LOW DATA RATES

Just finished my first P2 chroma key shoot using AVC Intra 100. I have ingested and transcoded using log and transfer using Pro Res 422 HQ (we shot 1080 25p) Each clip is showing a data rate of around 20mbps, yet the white paper on Pro Res suggests 200mbps data rates. Even the AVC intra files are showing data rates of around 20mbps-despite the 100mbps AVC Intra- IHow come the files are showing such low data rates? How come they are not reading 200mbps??? What did I do wrong or what am I not understanding about data rates??? Thanks

Before all Hi Tom Hi Klaus and Hi String
i was looking at the forum for some one that has having the same problem than i and found it!
I'm using this new HPX-300 with the AVC-INTRA 100 codec. And when i import the content using log and transfer (final cut 7!!!) with avc-intra native plug-in, all that, to apple prores 422 hq compression the size of the video is like 14 mb/s is that right? and the quality doesn't look so good too, but this i fink is because of my computer.... AND THE INFORMATION OF THE VIDEO IN THE INFO WINDOW (more info part) IS SAYING:
DIMENDION 1920x1080
CODEC: AI16, LINEAR PMC, TIMECODE ---> why not apple Pro Res 422 (hq) ???
COLOR PROFILE:HD (1-1-1) ---> This should't be 4-2-2 ?!?!?!?!?!
If some one can explain to me who does this work i apreciate!
And all ways Tanks for sharing!
Message was edited by: Gustavo AVC-intra

Anyone using Login Pro and PowerCore Firewire

I have a G5 dual 2 gig with 4 gigs or RAM, 2 x 160 LaCie HD, RME Firewire 800 and PowerCore Firewire. I have been having issues with PowerCore losing connection, plug-ins load and are disabled, and total system lockups.
For testing, I removed all audio IO drives and used internal audio, remove all midi drives and I am still having the same issues. Anyone using Login Pro and ProwerCore Firewire successfully?

I am on the same machine as you. Most of my problems (similar to what you report) have been due to the driver/software of the Powercore. Luckily for you, TC doesn't have phone support, so you can be spared the immediate relief you don't want and wait the 48 hours for a general email response that says you get to wait another 48 hours until someone gets back to you.
That said, Powercore FW works fine for me. It sounds like you are using a lot of FW devices, which might also contribute to your problem. I've found that you can actually overtax the FW ports on G5's to the point where they stop working properly, causing random connection loss.
Does the powercore connect through any other device?
Trying unplugging your LaCie's and see if that helps.

Black screen while using x264 with AVC Intra 100

Hey,
I've got Premiere Pro CS6 and I've started testing the use of x264 with Dxtory. The problem I face is that the footage is incompatible with every sequence preset (as far as I know) apart from AVC Intra 100 (AVC Intra 100 1080p 30fps is the one I'm trying to use). However when I use this preset all that the preview gives me is a black screen wheras the audio is playing perfectly. This isn't urgent as it's always possible to just convert the footage to MP4 with Handbrake however not being able to use this codec would be a shame, especially since I've seen others using it without any problems at all.
Thanks,
Lawrie

I'm not familiar with x264 or Dxtory, but a search of the forum for "x264" and "black" led to this thread: http://forums.adobe.com/message/4733946#4733946.
Which leads me to ask: what is the extension of the file? A little research on Dxtory leads me to suspect that it's an .avi. According to the thread above, Premiere does not support x264 content in an AVI wrapper.

HELP! AVC Intra 100

I received a hard drive with some Quicktimes that are in AVC-Intra 100 format.
So I went to the Panasonic site and downloaded the decoder.
But in QT player I only get audio, and in FCP Log and transfer I get "unsupported media or invalid directory structure"
I am running FCP 6.0.6, OSX 10.4.11, Intel 8 Core
From what I gather I have 2 choices:
-Bring the drive to a fully up to date suite, using FCP7 and convert all the clips to ProRes
-Get the P2 cards copied with their file structure intact to a drive, then do a Log and Transfer
Is there any other way I can deal with the videos?
Thanks

You need to "get the P2 cards copied with their file structure intact to a drive, then do a Log and Transfer."
If I recall correctly, the native AVCINTRA100 QT players only work within FCP, and cannot be played separately.
Not certain but that's what I thought.

Wrong settings when create a sequence from an AVCHD (.mts) file from canon xa20. Adobe premiere sets as AVC-intra 100 1080i

I don't know why Adobe premiere CC automatically adjust an .mts file from my canon XA20 (AVCHD based on h264 1920x1080 25p) like an AVC-intra 100 1080i. While editing it appears crispy and noisy. Im editing in a windows 7 64 bits plattform. Must I install de properly codec on my machine ¿?
Any suggestion ¿?

Yes it does that. AVCintra is just a name for a preset. Set the preview codec to i frame mpeg only
And no, dont install any codec.
You can alsway select a AVCHD preset from the list.

Try to ingest Panasonic HPX 250 AVC INTRA 100 wich ends AME crash

Hi!
I just bough new camera Panasonic HPX250 and now I try to ingest the footage with Prelude.
Every time after Media Encoder loads the source and tryed to start encoding it ends to crash (look image)
I have tryed also to uninstall whole CC package and Cleaned with CC Cleaner tool and actually done it twice. Original footage is on 1080i50 and I just try to transcode it to single MXF clip with same parameters cos in P2 card the one over 60 minutes clip is cutted in multiple clips. My goal is get that in one peace to Premiere.
Please help me!
Greetings
Sami

Hi -
QE reports this might be related to a known issue with smart rendering for your selected transcoding preset. Please try turning smart rendering OFF in AME. To do this, open AME and find the preset you are using: It should be under MXF OP1a->AVC-Intra. Right click on the preset you use and select "Preset Settings...". Within the Preset Settings dialog that will appear, select the VIDEO tab and scroll down until you see the check box "Enable Smart Rendering codec". Uncheck that.
Since you changed the default state of the preset, you can now save this as a CUSTOM preset. Give it a name at the top of the Preset Settings dialog (in the "Preset Name:" field). Then click the SAVE A COPY button at the bottom of the dialog. This preset you just created will now appear in Prelude.
Let us know how this works for you. We are looking into the bug and hope to have it resolved in our upcoming release.
Regards,
Michael

AVC-Intra 100 performance in CS5?

How well does Premiere CS5 work with AVC-Intra 100 Pal 25p compare to Premiere CS4.2.1?
I have a hard time to make CS4 to work well with AVC-Intra, no sound and then sound, stuttering video playback and poor performance over all?
My system is running fine with all other type of format including big Cineform project (CS3 thought for Cineform).
My system
i7 920.
Intel SSD G2 80GB system disk with Vista 64 Ultimate.
12GB of ram.
4 x 1000GB in a raid 5 with an Adaptec 3085 raid card.
ATI 5870
Regards
Mikael

Now is CS5 better to handle the AVC-Intra codec then CS4? Please Help me.
I have big problems with AVC-Intra 100, when I select sequence AVC-Intra 720p 25p inside CS4 Premiere 4.2.1 and drag some clip onto the timeline it becomes red and all 4 sound tracks are completely empty of sound without any peak drew up. Then out of nowhere without any reason, some of it appears, some of the sound and then completely disappear again (randomly).
The video is also not playing without stuttering and without all frames intact (25frames/sec) more like 12frames/sec???
All this is the same when I try to render out a master, stuttering video and no sound.
When I look at the same files inside my HPX301 the files are playing just fine with perfect sound so it’s not the recorded files that are wrong.
System mode: 720-50p.
Rec Format: AVC-I 100 /25pn.
This computer is flying with big, big complex projects of 10 bits Cineform files so it’s not the computer that can’t handle it (this is with CS3 Premiere 3.2 on another disk thougt).
My computer setup:
Processor: Intel i7920.
Motherboard: Asus P6T Deluxe V2.
Ram: Corsair 12GB 1600MHz.
C drive: Intel SSD G2 80GB with Windows Vista64 Ultimate.
Raid Card: Adaptec 3085.
Raid Disk: 4 x 1000GB in a raid 5 for video with Adaptec.
Graphic card: ATI/AMD 5870
Best Regards
Mikael

Since last Premiere Pro CC Update no more MXF AVC-Intra Class 100 Playback. Any suggestions?

I updated Premiere Pro CC two hours ago and since then there is no more realtime playback of my MXF AVC-Intra Class100 1080p footage, which worked perfectly bevore. When paused it shows the current frame of the footage after about 10 seconds. Does anyone else have this problem or are there suggestions what I can do?
Thank you! David

Hi Vinay,
the reset of the preferences did the job! Thank you very much for your help! For everyone else having the same problem, press "ALT" while starting premiere to reset the preferences.
Thank you very much!!
Regards, David

Anyone used AVC-Intra 50 or 100 successfully?

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