Apple ProRes 422 HQ needs rendering, but it shouldn't.

Sequence Settings (hereafter called the master sequence) are:
Apple ProRes 422 (HQ) 1920 X 1080 24p 48khz preset.
Frame Size: 1920 X 1080 (HDTV 1080i 16:9)
Pixel Aspect: Square
Editing Timebase: 23.98fps
Compressor: Apple ProRes 422 HQ
Audio: 48khz/16-bit
Footage is:
Apple ProRes 422 (HQ)
Frame Size: 1920 X 1080
Pixel Aspect: Square
Editing Timebase: 23.98fps
Compressor: Apple ProRes 422 HQ
Audio: 48khz/16-bit
Data Rate: 19.5 MB/sec
I need to put a timecode window burn on the entire movie for a web clip. So I exported a ProRes master as a QuickTime movie using the sequence settings. I then imported that clip and slipped it into a new sequence with identical settings (hereafter called TimeCode burn sequence) and was surprised to see the red render bar across the entire sequence.
As an experiment, I exported a brief (one minute) clip from the same master sequence. I then slipped that clip into my TimeCode burn sequence and it does not need rendering (it shouldn't).
I shouldn't have to render the Master clip first, only to have to re-render it once I but the window burn on. The movie is 30 min. long and the file size is 34GB. Is there a file size limit on ProRes HQ clips that don't need rendering? Why don't the shorter clips from the same sequence need rendering. I don't understand this. Very time consuming.
EDIT: I will probably end up using the Timecode Generator option in Compressor, so please don't suggest this, as I am aware of it. I want to figure out this mystery.
Message was edited by: Mr. Landers
Message was edited by: Mr. Landers

No, you're absolutely correct to use HQ. Just checking.
The Red footage is has 4:4:4 subsampling, so HQ's the way to go.
If you generally use Recompress All Frames on Export then you probably know that it's pointless to render your timeline before an Export, since your Render files won't be accessed. Unless you need to work in that same sequence with the timecode - but, you could just use your exported master for that.
I know the recompress all frames option is probably overkill for a sequence with only one effect, but I'm also thinking about drive space. With those huge Red files, your render files have to be eating up quite a lot of it.
So, I'm suggesting that you don't need to render this sequence before exporting. Just export the unrendered sequence with Recompress All Frames. That saves you the space the render files would be taking up.

Similar Messages

Does CC 2014 eliminate the need to have Final Cut Pro and/or Compressor installed to access Apple ProRes 422?

Hello:
Just today, I was working on a Mac system that does not have any of the applications that I would have expected to need to have installed in order to do more than just decompress movie files compressed with Apple ProRes 422.
I was expecting to have to install Final Cut Studio 3, Final Cut Pro X, Compressor 4, and/or QuickTime 7 with the QuickTime Pro key; however, none of those applications are installed and I am able to create custom QuickTime Apple Pro Res422 Sequences in Premiere Pro as well as export using Apple ProRes 422. After Effects and Adobe Media Encoder also show all the Apple ProRes variations.
Does CC 2014 eliminate the need to have Final Cut Pro and/or Compressor installed to access Apple ProRes 422? Is it something happening on the OS or QuickTime level that would affect CC or CS6 in the same way?
I've done a web search, but haven't really come up with anything other than older articles about needing to have FCP installed (and I typically work on systems with Final Cut Studio 3 installed as well as CS6, CC, or CC 2014). If more detailed information is available, it would be great to be able to read up on it.
The system is a 21.5-inch iMac running Mac OS X 10.8.5, QuickTime Player 10.2, and Adobe Premiere Pro CC 2014 (8.0.0 - I know an update is available for PrPro, but it's not my system to make that change).
Thanks in advance,
Warren Heaton

Hi Emil:
I use ProRes all the time as well, but I have Final Cut Studio on my workstations.
I had not come across MindPower009's YouTube video. That explains how ProRes could be showing up without FCP or Compressor.
So, the answer to my question would be, "No, CC 2014 does not eliminate the need to have Final Cut Pro and/or Compressor installed to access Apple ProRes 422; however, if you are willing to be in violation Apple's terms of use, you can install the ProRes codecs anyway."
Even though MindPower009's YouTube video comments claim "FREE and LEGAL", it's clear from both the Apple download page and the ProRes codecs installer that Apple expects you to own at least one of their applications.
Thanks again for the link!
-Warren

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.

FCP Apple PRORES 422 (HQ) setting-how to export?

I am importing and dropping in scanned images from the storyboard into FCP and then importting and placing on the timeline some digital animated images which have been done in the format 1920x1080 24fps. They have been put through shake and we chose the setting Apple PRORES 422 (HQ) which I have then set the FCP settings to match that. Everything works fine in Final Cut but then when I export the timeline to make it into a Quicktime movie, the digital animated shots dont play properly, they like skip frames. Do you know anything about this and how I get it to play smoothly? I have tried everything I can think of and nothing is working!

First off, ProRes HQ is VASTLY OVERKILL for converted flash video. That is for 10-bit high end formats. All you gain in using that over ProRes 422 is file size.
Second, 640x432 is a non-standard frame size. 640x480 is more like it, but really, FCP would like to see 720x480. ProRes doesn't really work in RT with the dimensions you have.
Convert the FLV to something like DV50 or just DV. but you have to get the right aspect ratio, or things will require rendering. Or better yet, get the MASTER footage, and not a flash video.
Shane

Adobe Media Encoder CC: Can I export to Apple ProRes 422 on a Mac?

Hi folks,
I tried to find some information about it, but couldn't really find a definite answer on this.
Unfortunately, my Mac is getting fixed as we speak, so I can't try this out either...
I want to convert mxf files (XDCAM HD 422 1080i 50, 50 Mbit/s with multiple Audio channels) to Apple ProRes 422 using Adobe Media Encoder CC.
Simple question: Is that possible or do I need to look for a different workflow/converter?
Thanks for your help!
Jens
PS: OS is Mavericks...

Hi DataWrangler,
Thanks for posting on Adobe Forums.
Please download proress presets for Adobe Media Encoder from here : http://www.adobe.com/support/downloads/detail.jsp?ftpID=5411
Please update if this helps.
Regards,
Sandeep

Apple ProRes 422 (HQ) preset

I need to download the Apple ProRes 422 (HQ) preset for Photoshopt CS6, but cannot find it anywhere on the web.
I spent quite awhile on the phone with support, and after some pretty exhaustive back and forth, their best recommendation was to refer me here, where an Adobe engineer could help me, or a Jedi Knight caliber user? I'd be happy to receive help from anyone at all.
I am trying my hardest to use Photoshop to process a video, using Alien Skin's Exposure 4 (my favorite plugin of all time, and a huge part of my photo workflow).
I would happily use Premier, but Premiere cannot use Exposure 4.
I discovered how to install the other ProRes presets here:
http://www.adobe.com/support/downloads/thankyou.jsp?ftpID=5411&fileID=5030
but the ProRes 422 (HQ) is not included in that download. Since I am exporting from FCPX at 422 (HQ), I do not want to suffer any degradation on the round trip to Photoshop, so I want to find the 422(HQ) preset.
If anyone can get me to the Applle ProRes (HQ) preset, I would be very grateful.
I would also be grateful if someone could just tell me that the difference between ProRes 422, and ProRes 422 (HQ) is inconsequential, I'd be happy to hear that, as well. If that were the case, i'd just operate at regular old 422 and know that I was doing my best to protect the footage.
thanks,
I'm on a 5,1 MacPro running FCPX 10.8 and Photoshop CS6 v13 (trial), I also own Photoshop CS5.1

i have a solution for you.
1. import the footage into PS 2014
2. add your layer and apply your exposure 4 plugin
3. go to file>export to lut
4. go back to premiere or davinci resolve and apply the LUT you create in PS to your new footage!
boom you basically have the same look.
5. now you can apply the LUT and then export to Prores

Converting MXF files to Apple ProRes 422 HQ generates no audio, video only. Why?

Hi,
Does anyone here have experience with Aunsoft TransMXF for Mac or Aunsoft Video Converter for Mac?
I was using Aunsoft TransMXF for Mac to convert my Cannon C300 MXF files to the Apple ProRes 422 HQ(*.mov) format so that I can import and edit my video footages without rendering in Final Cut Pro X.
However, the converted MOV file from Aunsoft TransMXF for Mac included no sound, only video (which was in excellent quality though).
I have played the generated Apple ProRes MOV file in both QuickTime and FCPX, no audio at all.
But the original MXF files just previewed fine with audio in the camera itself.
I am not sure if there's anything wrong with my MXF files or with the Aunsoft TransMXF for Mac program.
Any suggestion here is appreciated!

Just got the solution.
I contacted the customer service at Aunsoft and they offered me the workaround. Here shares the information so that people with similar issue could have a reference.
From Aunsoft:
Why Canon C300/XF100/XF300 MXF files converted with no sound?
If your MXF files from Canon C300/XF100/XF300, etc are converted with no sound, or your MXF files previewed in Aunsoft program with only video, please do not worry. It is because Canon MXF contains two audio tracks, one with sound but the other with no sound. Aunsoft TransMXF or Video Converter happens to pick the track without sound by default. This is the reason why the converted output will has no sound but only video.
No worries, here’s the solution for this issue:
On the main interface of your Aunsoft program, click the "Show selected task properties" button on top of the Format box and then select in the Audio Stream ID box a different audio track.
Then, you can play Canon C300/XF100/XF300 MXF files in the preview window with both audio and video.Meanwhile, the files converted will also be with sound.

Step by step Apple ProRes 422 PROXY workflow, please.

Anyone could help me find a complete video or not, "Step by step Apple ProRes 422 PROXY workflow", please. I can´t find any.
I´ve never used Apple ProRes 422 PROXY and I´ve all the doubts on how to use it, final quality, etc, etc.
My original files are from a Canon 5DMII (H.264) and I usually transcode to Apple ProRes HQ with the EOS1-plug-in. The renderings are too long...during my editing ,-( Too long and my machine stops with the heat after several hours.
(I´ve my settings ok, between my files and my project, etc).
Is Apple ProRes 422 PROXY, a possible solution, at least during the editing process? Good quality and less time rendering?
What about final output? Can I have 1080p/24 pristine as I´ve now?
I´m editing with a MacBook Pro 15"/2.33 Ghz Intel Core 2 Duo/4GB SDRAM.
Thanks very very much. I´m a bit desperate 8~S

ProRes flavours:
"The Apple ProRes format comes in five versions: Apple ProRes 4444, Apple ProRes 422 (HQ), Apple ProRes 422, Apple ProRes 422 (LT), and Apple ProRes 422 (Proxy)."
from http://documentation.apple.com/en/finalcutpro/professionalformatsandworkflows/in dex.html#chapter=10%26section=2
Tom, you mean, Apple ProRes 422 or Apple ProRes 422 (LT).
Why? Because this specs?
(according to Apple)
"Apple ProRes 422
The Apple ProRes 422 codec provides the following:
Target data rate of approximately 145 Mbps (1920 x 1080 at 60i)
Higher quality than Apple ProRes 422 (LT)
Apple ProRes 422 (LT)
The Apple ProRes 422 (LT) codec provides the following:
Roughly 70 percent of the data rate of Apple ProRes 422 (thus, smaller file sizes than Apple ProRes 422)
Higher quality than Apple ProRes 422 (Proxy)"
Are enough (Mbps, colorspace, etc) to handle with files from 5DMII (1080p/24 my settings) without a big waste of resources; space, time, etc? In this the point to consider?
"If you use Proxy for ingest you'll have to batch ingest to higher resolution for output." - Tom.
I´m sorry but I know nothing about the use of Proxy files, so I don´t understand what you mean. That´s why I asked for an explanation step by step... ,-(
Additional question: is it possible (at all) to change the projects I´ve (several); all with Apple ProRes HQ to another ProRes version? Will I loose what? Effects, filters, renderings?
Thx.

Apple ProRes 422 (HQ) in Adobe Media Encoder

I have Adobe Premiere Pro and Final Cut Pro installed on my mac. I need to export as Apple ProRes 422 (HQ) in Adobe Media Encoder. I have found the Apple ProRes 422 (HQ) in Premiere Pro. But only ProRes 422 and ProRes 422 (LT) are listed in Encoder. How can I get 422 (HQ) in encoder list? Thanks.

First thing you might want to try is just attempting the round trip keeping all the settings the same without doing anything in AE and see if you get a quality hit. I'm assuming that you're keeping pixel dimensions and aspect ratio unchanged. I'm not sure about the latest version of AE, but if memory serves, fcp and AE work in different color spaces which might be part of the problem.

Aren't FCPX and Compressor supposed to be able to export Apple ProRes 422 LT? I just bought FCPX and Compressor and there seems to be no way to transcode HDV clips to Apple ProRes422 LT. Before buying I read LACUG tutorial by R Taylor that says it can.

Aren't FCPX and Compressor supposed to be able to export Apple ProRes 422 LT? I just bought FCPX and Compressor and there seems to be no way to transcode HDV clips to Apple ProRes422 LT. Before buying these I read an LACUG tutorial by R Taylor that says it can.

Tom is right. Codecs are shared software system-wide ("Core Video"). If you cannot find the option with any software (such as MPEG Streamclip), you won't find it in Compressor or FCPX either. The Quicktime ProRes codecs is part of the FCP menu > "Download Additional Content" you need to make after install FCPX (or Compressor.) These "pro video" codecs are part of all "ProApp" licenses for video related software from Apple (QT7Pro, Motion, Compressor, Final Cut, etc....) [you can also download them here: http://support.apple.com/kb/dl1396]
Most articles/tutorials you read by "long time" users are apt to assume the reader has been working with pro-video on Macs since the days of disk installs (like they have). In those days, the installation of those codecs wasn't even really an option (well, it was if you did a custom install - but who *didn't* install all available codecs??), it was automatically installed with the main software. Since the "App Store" venue... things have changed somewhat.

How Do I Edit Apple ProRes 422 HQ on my PC?

I've recieved some footage that I'm supposed to be editing, but all of is Apple ProRes 422 HQ and I've got a PC. Everytime I try to import the files into either Premiere CC or AfterFX CC the audio works, but the video is just a blank green screen. So my question is, how do I edit ProRes on my PC? What steps do I need to take to make it editable?

As Richard stated, just install Apple QuickTime, nothing to purchase. I've edited ProRes on several different PCs and never an issue (QT was already installed by default on those machines).
Thanks
Jeff Pulera
Safe Harbor Computers

Why is the image brighter after converting H264 to Apple Prores 422 in Compressor ?

Hello -
Very strange situation, keep reading please!
I am using Compressor to convert H264 1080p footage from a D600, to Apple Prores 422HQ for editing. Normal.
I am using the default Quicktime Settings named "Apple Prores 422 (HQ)".
The converted file is a bit brighter than the original... Why is this even possible! I find this a bit problematic because I'm loosing some details in the whites, at a way too early stage for signal alterationt!
So I tried different other stuff that you will find interesting:
• changing gamma correction in the codec settings had no effect
• I can see the change happening already in the Preview window
• and this is the best one : if I apply a resize, to anything, like 1919 X 1079, or 1280 X 720... then the color change does not occur, even when exported! If I apply a resize to the same size, then the output is brighter again.
I am proof checking in Quicktime 7 of course, with "FCP compatibility" enabled and disabled.
I know this is a hot topic and there are many unsolved aberrations like this around this topic, but maybe there is something I don't get ?
Thanks

Apple are so thoughful for making us loose the discussion we clicked on after we log in..
Alex CVideo > I am so happy that you wrote about this
Yes: this is the exact problem. Very nice screencap, this is exaclty it (even if I said it 2 times now).
I have a little secret for you:
I read in another discussion saying that he had this problem too.
The only time I ever did in the entire Internet.
here it is :
this guy re-installed her entire system
mac os + final cut systems
and this time it worked.
Right now I prefer to convert to 1079p than risk this entire operation even it it worked 100% lol
At least not right now
but maybe you will be boosted up enough to give it a try
Good luck to all of us and thanks again to Apple for these great moments we spend together talking about their wonderful mysteries

Pesky Artifacting in Prores 422 HQ, Need to get rid of it!

Hey everyone!
So I'm coming up against a hard deadline soon, and my color correctionist is experience two major problems, a solution to one of them would solve it, but we're stuck.
I've got an issue in color, but the secondary way around it was to take our edited FCP session, then export to Apple Prores 422 HQ 720x486 16x9 and then import that into color as one solid file.
However, the export gives a slight bit of artifacting. I shot on Super16mm and had the footage created as 10 bit uncompressed videos. We cut that 10 bit uncompressed and now, exporting to that prores at those settings we're getting slight artifacting during character and frame movement. I'm getting pretty desperate as the deadline draws nearer, can anyone have any help?
The Color issue is, when importing our FCP session in Color, color decides it wants to read video information like slates, etc. that aren't contained in the FCP file. As if it wants to show us the raw video where our cuts came frame, as oppsed to just the film itself, which is cut how it should be. We're pretty clueless as to why it's doing this.
We wanted to export to Prores and import that into Color to avoid all that nonsense because we're pretty clueless as to why Color decides to do this.
Any help would be MUCH appreciated! Thanks so much!
Will

Are you sure the artifacts are actually there. Try roundtripping and view the results on a Video monitor, not your mac monitor.
You might try doing a mediamanage staying with your original format without handles and see if that comes into color correctly.

Apple prores 422

Hello,
I have a question about importing a movie file.
When I import a 5dm2 Movie in Final cut pro X 10.1 and select that I want to encode it to Apple prores 422 or a proxy file it still imports as a original movie Quiktime -H264.
I tried all sorts off setting and prefferences but I never succeeded to import the file as a Apple prores 422.
With compressor it is possible, but then I have to fill in for all movies about 50 what export file I want. Not very practical.
It must be possible with Final Cut pro X.
Any help is welcome.
thank's
Richard

Hello,
I am still wondering about one thing.
When I imprt my 5dmark2 video intoo a nw library then after importing I select ttranscode media I check on
apple pro res and apple ro res proxy than the encode high quality files goes intoo the library folder called transcoded files.
Now question is will final cut pro x now automaticly uses these high quality prores files?????
because I allready asked before the movie info in the project sees the movie as H264.
sorry if I ask the same question but I am just wondering about this.
thank's again
Richard

Possible to EDIT in APPLE PRORES 422 in fcp 5.1?

Probably wishful thinking -- but I'm a few years removed from the current fcp and all of its exotic codecs...
My fcp 5.1 can READ apple prores 422, but I can't seem to create a sequence using that codec.
I get an error message that says "codec not found. You may be using a compression type without the corresponding hardware card".
OK, I get it, but why am I able to PLAY material in my viewer with that codec?
Hmmmm...is there some sort of work around to this, or am I just being delusional?
Thanks,
Mark

Ok, ok ... I get it... time to upgrade, time to upgrade.
I cringe every time I get a new client... oh my god -- are they gonna be shooting on XD cam (unsupported by fcp 5) -- will they have material that lives as apple prores? What exotic new codec will I be UNABLE to edit with?
I bought this G5 just before the intel chips were introduced -- I think I actually bought the last one standing....
It's been good -- actually, it's been great...
Thanks for the advice fellas, glad you were able to have a laugh at my expense!
Mark

Apple ProRes 422 HQ needs rendering, but it shouldn't.

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