Arri Alexa ProRes 4444 LogC footage in AE CS5

Hi,
what is the correct workflow when dealing with LogC footage from the Alexa camera?
For now I did the following:
I turned on color management with Rec.709 working space.
What is the correct interpretation for my footage? I choose "Universal Camera Film Printing Density" and that looks correct. But is it really correct? I've read in the Arri forums that their footage is not recorded in standard cineon, but SIMILAR to that. Does anyone have any experience on that?
One other thing: When choosing "linearize workflow", my AJA Video Output is way too dark. My screens show the same picture like they do when I don't select "linearize" I understand the theory behind it and why it is too dar - but, is there any way to compensate for this on the video preview?
Thanks!

If you've got a mix of formats, it's best to convert things into one
common format. You can use a LUT to convert the Alexa footage from LogC
to linear, then apply the Cineon effect to convert that linear to log
and render the results out as log DPX.
Now everything is in log and you can composite and render to your
heart's content. Or convert the Arri footage to Rec709, do your
compositing in that space, then convert to log for your final DPX render.
But you'll want to do a lot of testing to make sure you're not losing
color accuracy or clipping highlights with all that conversion. Working
in Rec709 is easiest, but it's a more limiting color space.

Similar Messages

CS5.5 | ProRes 4444 - Interpret Footage does NOT see Alpha Channel

I thought this problem would have been taken care of by now.
Guess the bug fixes in CS5.5 are few if at all
1) Export any movie to ProRes 4444 and set to export alpha channel straight.
2) re-import to AE
3) Open Interpret Footage Dialog....
One gets REALLY disillusioned when discovering that ALL alpha options have been grayed out.
When is this ProRes MADNESS going to STOP !!!!!

Dan,
if you are ever in Hamburg, Germany. Let me know and the brews are on ME.
In my testing madness I exported a movie WITH NO ALPHA.... That is the reason why I was NOT seeing any alpha options on import.
I dup'ed the vid layer and moved it about and set the opacity to 50... Then exported. And imported. And THERE they were ....
LE ALPHA OPTIONS....
Best Regards
M.

After Effects CC Render Errors with RED footage and ProRes 4444 proxies

Working on an 8 Core, 2008 Mac Pro with 16GB of RAM running Mountain Lion.
I just upgraded to After Effects CC and I'm having a whole bunch of errors ...
-- the 'MooV' file is damaged or unsupported
-- error getting package info for file "..." ( 3 :: 164 )
-- Error (4) reading frame from file "..." ( 86 :: 2 )
I'm trying to make ProRes 4444 proxies from RED files (sometimes as big as 4K), which will eventually end up in a 1920x1080 project. I'll make a 4444 proxy, work on it all day with no problems, then when I try to render (or save a RAM preview) any one of the previous errors will show up.
My projects seemed to work just fine fine in AE CS6, and I've worked with RED footage in AE before with little issue. I've completly restarted my system, re-installed everything, worked off an external drive, worked on my internal (software) RAID, rendered to local and external hard drives, adjusted my multiprocesser render settings (on and off), cleared the cache ... nothing is fixing it.
Does anybody else have any ideas? Or insight. Or anything?!
Thanks for your time,
Eliot

I'm working on a MacbookPro, Early 2013, OS X 10.8.4, and I'm having the same exact error:
However instead of using RED footage, I'm using a 3rd party plugin called Element 3D and Optical Flares from VideoCopilet.net.
I'm not sure if the bug is related, I'm just wondering if anyone else has any idea on how to fix this problem. I have a fresh install of CC so I can't downgrade to CS6.
Another error popped up during multiple trys in export:
In case the old file was actually corrupted, I checked all my backups that worked perfectly fine with CS6 in the past, and I get the same error when I copy them over to my hard drive on my mac.
My current setup is:
Processor: 2.8 GHz Intel Core i7
Memory: 16GB
Graphics: NVIDIA GeForce GT 650M 1024 MB
I really don't want to recreate this entire file from scratch. That would be a lot of hours wasted... any suggestions would be greatly appreciated.

Trying to convert ProRes 4444 footage

Hi. I have footage on my imac G5 non-Intel which is Prores 4444. I don't have Final Cut. Two questions: 1) is there a way to convert the Prores ftge to a format that can be edited in my imovie? Would anyone know what converter to use? 2) If I get Final Cut express, will it handle the ProRes 4444 footage, and also, is the Final Express color correction good enough to do straight ahead color correction? Much appreciated.

SoaringFalcon wrote:
Hi. I have footage on my imac G5 non-Intel which is Prores 4444. I don't have Final Cut. Two questions: 1) is there a way to convert the Prores ftge to a format that can be edited in my imovie? Would anyone know what converter to use? 2) If I get Final Cut express, will it handle the ProRes 4444 footage, and also, is the Final Express color correction good enough to do straight ahead color correction? Much appreciated.
# 1) yes, try the new video converter (I tried it, special feature of it is to support Apple ProRes Codec, HDV Codec, Avid DNxHD Codec, Apple Intermediate codec,etc.)
for importing the converted video to iMovie, just use a QuickTime format AIC(Apple Intermediate codec)
IMG:
( /___sbsstatic___/migration-images/128/12842301-1.jpg )
check it here: http://www.foxreal.com/video-converter-mac
Happy New year!

More CS 5 - ProRes 4444 Alpha channel nonsense

Hi:
Quicktimes I render out of After Effects CS 5 using the ProRes 4444 codec are tagged as having an alpha channel even though my settings in the Output Module are RGB and Trillions of Colors. NOT RGB + Alpha and Trillions of Colors+. It doesn't matter whether my project is 8 bit or 16 bit.
When I bring such movies back into AE it shows them as having an alpha channel (Trillions of Colors+). If I do a Get Info in QT player it shows Millions of Colors+, and FCP shows them as having an alpha, too.
I just upgraded to Snow Leopard 10.6.8 (figured it was safe after two years) and in the process switched full time to CS 5 (I only used it in the past to open other's projects). I never had these issues with CS4. I have not installed any AJA codecs into this new OS (clean install over wiped HD).
This appears to be the opposite of the problem most have been having, which is AE won't generate an alpha in ProRes 4444 without moving codecs and other nonsense.
The reason this is a problem is because when I bring these Quicktimes with faux alphas into FCP for editing I can't export a reference movie. FCP rewrites the whole timeline.
Haven't these CS 5/ProRes 4444 codec/Alpha channel issues been going on for over a year? Do I have to buy CS 5.5 to get this to work correctly?
Thanks.
Shawn Marshall
Marshall Arts Motion Graphics

PR422HQ is way overkill for 99% of the video and film producers in the world. It's there for a specific elite of the entertainment biz, those who work in 4k on 64bit systems, I guess, that' ain't me! It's one of those "if you have to ask, you can't use it" sort of things. Anyone who uses the advanced features of the ProRes family knows why. That's the theory. In my practical experience over on the FCP forum at Apple, 99% of those using ProResHQ believe they are improving their original footage.
Apple ProRes 4444
The Apple ProRes 4444 codec offers the utmost possible quality for 4:4:4 sources and for workflows involving alpha channels. It includes the following features:
Full-resolution, mastering-quality 4:4:4:4 RGBA color (an online-quality codec for editing and finishing 4:4:4 material, such as that originating from Sony HDCAM SR or digital cinema cameras such as RED ONE, Thomson Viper FilmStream, and Panavision Genesis cameras). The R, G, and B channels are lightly compressed, with an emphasis on being perceptually indistinguishable from the original material.
Lossless alpha channel with real-time playback
High-quality solution for storing and exchanging motion graphics and composites
For 4:4:4 sources, a data rate that is roughly 50 percent higher than the data rate of Apple ProRes 422 (HQ)
Direct encoding of, and decoding to, RGB pixel formats
Support for any resolution, including SD, HD, 2K, 4K, and other resolutions
A Gamma Correction setting in the codec’s advanced compression settings pane, which allows you to disable the 1.8 to 2.2 gamma adjustment that can occur if RGB material at 2.2 gamma is misinterpreted as 1.8. This setting is also available with the Apple ProRes 422 codec.
Apple ProRes 422 (HQ)
The Apple ProRes 422 (HQ) codec offers the utmost possible quality for 4:2:2 or 4:2:0 sources (without an alpha channel) and provides the following:
Target data rate of approximately 220 Mbps (1920 x 1080 at 60i)
Higher quality than Apple ProRes 422
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)
Apple ProRes 422 (Proxy)
The Apple ProRes 422 (Proxy) codec is intended for use in offline workflows and provides the following:
Roughly 30 percent of the data rate of Apple ProRes 422
High-quality offline editing at the original frame size, frame rate, and aspect ratio
High-quality edit proxy for Final Cut Server
The Apple ProRes family of codecs provides these advantages:
Quality indistinguishable from that of the most pristine sources: Maintains superb quality even after multiple encoding/decoding generations.
Mastering-quality 4:4:4:4 RGBA: Provides a lossless alpha channel with real-time playback (Apple ProRes 4444 only). Mastering-quality 4:4:4 Y′CBCRcolor and 4:2:2 Y′CBCR color are also available.
The quality of uncompressed HD at data and storage rates lower than those of uncompressed SD: Provides real-time editing performance comparable to or better than that of any other HD codecs in Final Cut Pro.
Apple ProRes encoding at any frame size—SD, HD, 2K, 4K, or other: Apple ProRes codecs can also be encoded into nonstandard frame sizes, but nonstandard frame sizes are not supported for real-time playback in Final Cut Pro.
Variable bit rate (VBR) encoding: “Smart” encoding analyzes the image. Efficiency is increased because excess bits are not wasted on simple frames.
10-bit sample depth: Preserves subtle gradients of 10-bit sources (sunsets, graphics, and the like) with no visible banding artifacts. When you import a file using an Apple ProRes codec, you don’t have to first determine whether the file is an 8-bit or 10-bit file. Apple ProRes codecs always preserve the bit depth of your original source files.
I-frame–only (intraframe) encoding: Ensures consistent quality in every frame, with no artifacts from complex motion, and speeds up editing.
Fast encoding and decoding: Delivers high-quality, real-time playback and faster rendering times.
Equipment affordability: Because of low bit rates, you can edit more streams with more real-time effects on slower drives, or have more users accessing the same media over shared storage devices.
Workflow options for any video format that does not have native Final Cut Pro support: The Apple ProRes format provides an effective workflow for projects involving multiple acquisition formats when you want to standardize on a single codec.
Better rendering for native editing: Can be used to render long-GOP MPEG-2 formats (such as HDV and XDCAM HD) to speed up editing and avoid MPEG-2 reencoding artifacts before output.

Rendering to ProRes 4444 with alpha channel

Hello Everybody,
I have question? I have a green screen project finished. But when i render my footage to ProRes 4444 with aplha i got a mega file more then 5gb. In the specifications I found out that I have a bitrate of 203,57 Mbit/s. How can i lower the bitrate in the rendersettingd for this codec?
I hop to hear some of your suggestions.
Kind regards,
Gowan Genis

What Andrew said.... Production codecs are all going to have high data rates. That's why we use them in production. Storage is so cheap now that it shouldn't be a problem for anyone that is making a living making movies or for anyone with enough budget to support a movie making hobby. My first 4GB Ultra SCSI drive array cost nearly $20K, I just bought a 1.5TB drive for $89... It wasn't that long ago that I was paying $1 / foot to shoot, process, work print and sync 35MM film. (98 feet / minute @ 24 fps).
If you want a smaller file size you'll have to go to a delivery codec. Just be sure you know what to use when...

Prores 4444 Problems

Hi there,
I'm digitizing video from a 4:4:4 HDSR through an AJA Kona 3 card (ver 6.0.3) to Final Cut trying to create ProRes 4444 files. However when I look at these files on the scopes my black level does not sit at 0 but rather it seems to add a setup to 7.5. My white levels also seem to have dropped. This shows up on the FCP scopes and on outboard calibrated scopes (back out through the Kona card).
I've tried the same material with various other compressions (10 bit, Prores 422, etc) and all of those show the blacks at 0. As soon as I use ProRes 4444 the levels are raised. I've tried using Millions of Colors and Millions of Colors+ (although I don't need the Alpha channel) and I've turned the Gamma Correction off.
Is there anything else I could be missing? Is this just what ProRes 444 does? I can't find much documentation on this subject. Thanks so much for any help.
Ryan

From the ProRes white paper:
• Apple ProRes 4444: The new Apple ProRes 4444 codec preserves motion image sequences originating in either 4:4:4 RGB or 4:4:4 Y’CBCR color spaces. At its remarkably low data rate as compared to uncompressed 4:4:4 HD, Apple ProRes 4444 supports 12-bit pixel depth with an optional, mathematically lossless alpha channel for true 4:4:4:4 support. Apple ProRes 4444 preserves visual quality at the same high level as does Apple ProRes 422 (HQ), but for 4:4:4 image sources, which can carry the highest possible color detail.
Apple ProRes 4444 is ideal for next-generation video and the most pristine computer graphics sources for cinema-quality compositing. For projects that previously required the Animation codec, Apple ProRes 4444 is a modern replacement with real-time playback support in Final Cut Pro. Because color detail is preserved, Apple ProRes 4444 is ideal for color grading with 4:4:4 image sources.
• Apple ProRes 422 (HQ): Boasting widespread adoption across the video post- production industry, Apple ProRes 422 (HQ) offers visually lossless preservation of the highest-quality professional HD video that a (single-link) HD-SDI signal can carry. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while retaining its visually lossless characteristic through many generations of decoding and re-encoding.
Apple ProRes 422 (HQ) can be used both as an intermediate codec to accelerate workflows for complex, compressed video sources and as an affordable, high- performance alternative to uncompressed 4:2:2 video.
• Apple ProRes 422: Apple ProRes 422 offers nearly all the benefits of its big brother, Apple ProRes 422 (HQ), but at a significantly lower data rate. It provides visually lossless coding performance for the same full-width, 10-bit, 4:2:2 sequences as Apple ProRes 422 (HQ) with even better multistream RT editing performance.
• Apple ProRes 422 (LT): Like Apple ProRes 422 (HQ) and Apple ProRes 422, the new Apple ProRes 422 (LT) codec supports full-width 10-bit video sequences, but at a target data rate even lower than these siblings. Apple ProRes 422 (LT) weighs in at 100 Mbps or less, depending on the particular video format. It balances incredible image quality with small file sizes, and is perfect for digital broadcast environments where storage capacity and bandwidth are often at a premium.
Apple ProRes 422 (LT) is ideal for live multi-camera and on-location productions where large amounts of footage are acquired to disk. The low data rate of Apple ProRes 422 (LT) also makes it an excellent choice for transcoding complex camera codecs like AVCHD.
• Apple ProRes 422 (Proxy): The third new member of the Apple ProRes family is Apple ProRes 422 (Proxy). This codec maintains HD data rates below 36 Mbps, yet like its higher-rate Apple ProRes 422 siblings, it supports full-frame, 10-bit, 4:2:2 video.
Apple ProRes 422 (Proxy) is intended for draft-mode or preview uses where low data rates are required, yet full-resolution video is desired. It is the ideal format for use in offline editing workflows with Final Cut Server. The traditional offline-to-online workflow with Final Cut Pro has relied on the Offline RT codec, but today’s HD workflows demand offline video formats that support native frame size and aspect ratio. Apple ProRes 422 (Proxy) supports full 1920 x 1080 and 1280 x 720 resolutions, enabling full HD resolution while editing, and accurate representation of FCP motion effects from the creative stages through finishing.

ProRes 4444 with BOTH Alpha Channel AND Timecode?

Recently did a large project of creating alpha channels from green screen footage.
Made the timelines 4444 and tried to output.
If I export as Quicktime, I get the timecode but not the Alpha channel.
If I export as Quicktime Conversion, I can get the Alpha channel, but not the timecode.
Am I doing something fundamentally wrong?
Is there a way to get both on the same output?
Like I said, this project is large -- 91 files -- and it takes more than 8 hours to export out either way even on a current 6 core machine.
What I really do NOT want to have to do is some crazy copy and paste of the timecode information from two separate exports.

You said, "'export as Quicktime' is a very vague description."
Actually, it's not.
A person only has a few choices in Final Cut Pro. If you want to get really specific;
File > Export > QuckTime Movie...
Or
File > Export > Using QuickTime Conversion...
That's it!
With the first and ONLY the first, it will export whatever is on your timeline and you can get Timecode, but I can't figure out a way to make it output the Alpha channel with it.
With the other, you can get any sort of converted output you can input, including ProRes 4444 and Alpha, but unfortunately not the Timecode track.
UNLESS some Guru out there knows some sort of trick.
I'm hoping to find somebody that knows one.

CS5: ProRes 4444 Alpha issue rears it head again in a strange way

So here's a strange one: I've found that if the first frame of a composition is completely opaque (such as using a solid to fade from black) then any QT Movie rendered with ProRes 4444 + Alpha will not include an alpha channel. I've replicated it on multiple machines and triple checked my MediaCoreQTCodecRulesCS5.xml to ensure that it's correct. Here's the steps to recreate this:
create a new comp (Project bit depth = 16bpc)
create a new solid with the same dimensions as the comp
at Frame 0 create a keyframe for the Solid's opacity (Keep it at 100%)
move down 5 frames in the comp and create a new keyframe by setting the Solid's opacity to 0%
set the work area to 1 second
Render a movie using ProRes 4444 RBG+Alpha
The resulting movie will have no Alpha channel. If you watch the movie being rendered with Caps Lock off and 'Toggle Transparency Grid' active, then you can see the alpha channel while the render is going. If you render using Animation Compression RGB+Alpha, it will be correct. You can also replace the solid with footage as long as the first frame of the rendered comp is completely opaque and the issue is still there. Move the solid or footage down in the time line 1 frame so the first frame of the comp has a transparent alpha channel, then the movie rendered from that will be correct. This has only been tested and confirmed on the Mac and only CS5. If anyone can test and confirm the PC CS5 and Mac & PC CS5.5 it would be greatly appreciated.

You've found a bug. I'm not sure where the problem is. If I render out an image sequence or an Animation Codec file, then drop it in Media Encoder or Compressor to render a ProRez 444 with alpha channel I occasionally get the bug. You can't tell anything from the Quicktime Player but you can see the error in AE.
I discovered that if you put one even partially transparent pixel anywhere in the frame the alpha renders perfectly, but as you pointed out, when the first frame or few frames have a 0 alpha value the renders are funky. I just don't know if it's AE's problem, Adobe's problem, or an Apple problem because I can break it in compressor or Media Encoder or I can make it work in either.
I'd file a bug.

Premiere CC eating up memory while playing back ProRes 4444

We are editing footage shot on the Amira on two Mac Pros with Premiere Pro CC 2014.
One of the Macs plays back the native footage fine at half resolution. Looking at the activity monitor, the whole system is using about 12GB of RAM and stays there.
However, the other Mac seems to be gobbling up RAM very fast during playback until it hits the ceiling and everything starts to slow down and seize up. It will only release the RAM after quitting the program or forcing OS X to purge it.
I’ve posted the specs for each Mac below.
A few other things to note:
- The media format is ProRes 4444 and size is 2048 x 1152
- Disabling LUTs does not seem to fix the problem
- Replacing the ProRes 4444 footage with ProRes Proxy fixes the problem, but with 120 hours of footage, this not an ideal solution as we are in the middle of an edit
- The bad Mac is showing an error in the Activity Monitor (Adobe QT32 server not responding)
- Removing plugins from Library/Quicktime does not fix the problem
Any help or thoughts would be much appreciated!
Thanks,
Paul

Hey Sam... just wondering if you ever figured this problem out. I have the exact same problem, albeit with FCPX XML's. It's driving me bonkers and nobody seems to know. Any insight would be truly appreciated. Thanks.

Problems importing ProRes 4444 files

The original footage for my project is 16mm film, which I had scanned. I've been provided with two types of files: one set in ProRes 422 (proxy) with a timecode burn-in, and one set in ProRes 4444 with no burn-in. I've been able to import the 422 files without any problems, but obviously I greatly prefer the 4444 files. But when I've tried importing them, or even just previewing them in Media Browser, it's impossible to achieve fullspeed playback. I can't quite tell what's going on; the frame rate is definitely off for starters, it's too slow, but at any rate it doesn't play smoothly. Any idea how to start solving this problem? I've done a system resources test and I have plenty of horsepower, so I don't think this stuttering is due to that. I also have the newest version of QuickTime installed. I'm on a PC if that matters. Thanks for your help.
Rob
[Text formatting corrected. Personal info removed.]
Message was edited by: Jim Simon

They are using a card reader, and the USB slot in an iMac. It turns out that they have downloaded the cards first to their PC at home, then brought the same card to class to import to their LR catalog on their external HD. Could here be something happening to the files to make them unreadable when the cards are downloaded to the home PC?

Audio drop-out in FCPX with 1920x1080 & 2048x1240p @ 24p (codec Apple ProRes 4444 (Linear PCM))24p

Hi all...
I'm new to this forum.
Is there an audio issue (drop-outs) with FCPX (ver 10.1.2) for 1920x1080 24p, 1080p HD & 2048x1240 24p (2k) - note: films in FCPX are in codec Apple ProRes 4444, Linear PCM?
Very recently I've been working on a show reel and I have imported a file (short film) to snip out a section to add to the show reel.
I set the project to the film's settings i.e.. "set based on first video clip"...(1920x1080 24p, 1080p HD). When I play the film in FCPX the audio "hic-cups"..."dips to silence"..."drops-out" briefly (up to 0.5 secs in duration) and very frequently all the way through (approx 15 mins long film)...note: audio set is at stereo 48kHz. The audio monitors on the right hand side also show the dip taking place (if it's a long enough drop-out).
I also have a version of the film in 2048x1240 24p at 2k, again Stereo 48kHz...and this does the same audio "drop-out" all the way through. I'm unsure what other formats will create this problem i.e. higher or lower aspect ratios than those above.
Is this a software and/or OS issue? Or a hardware issue? Or both!?
About This iMac details:
iMac 27 inch: OS X ver 10.9.4
Processor: 3.5 GHz Intel Core i7
Memory: 32 GB 1600 MHz DDR3
Graphics: NVIDIA GeForce GTX 780M 4096 MB
Fusion Drive 3.12 TB
Final Cut Pro X was bought & installed with this iMac back in Feb 2014
FCPX version: 10.1.2
Note also: I used Compressor (ver 4.1.2) to convert the files (movies) above to Apple ProRes 422 HQ, Linear PCM and the issue disappeared - the audio and visuals played with no problems. All films play with no issue when opened in QT player. They are also fine when exporting from FCPX. The issue only occurs (as far as I can tell) within FCPX when editing or playing the audio there.
Has anyone encountered this problem?
Kind Regards,
Hakan

Hi Luis,
Thank you for that.
Seems like you have a point about the "hardware" issue. I'm unsure (new to it all) at what data rate my (er...wonderful) fusion drive provides FCPX for smooth playback - or where I can find that info on the iMac. Playing back movies in the 422 HQ codec seems to have no issues (when I converted the movie from 4444 HQ).
But playing the full 4444 HQ, the picture is smooth, but the audio has these drop-outs - even with "best performance" option ticked. Interesting that the audio suffers, not the picture in FCPX - so not sure what's going on there. I also read - perhaps - that to play a smooth ProRes 4444 HQ movie in FCPX the data rate should be min of 500 Mbs (based upon About Apple ProRes) for HD movies and up (i.e. 2k). ProRes 422 HQ needs a data rate of 220 Mbs - so that is my upper-limit to smooth video&audio playback with the current system I have, I guess.
Does anyone recommend a fast USB3 or Thunderbolt drive (500Mbs+) where I am able to run 4444HQ movies with no issues to picture or sound (away from the fusion drive)?
KR
H.

Exporting image sequence in ProRes 4444 gives black movie

In QT Pro, I'm exporting a movie made from an image sequence. If I export using ProRes 4444, all I get is a black movie file. If I export using other codecs, it works fine. Any ideas what might be wrong and how to fix this?
Thanks!
G

Sorry, but you've posted this in the Audition (Audio) forum. I suggest you repost in the appropriate forum. Good liuck!

Motion 4 Prores 4444 alpha not showing up in Motion answered

Hi,
I recently exported a Prores 4444 from Motion and when bringing it back in there was no transparency. I found the same issue in this discussion, and it was marked unanswered. It has been answered, but a clarification needs to be added and I was unable to reply to the discussion for whatever reason. A 1 pixel crop is the answer BUT it must be applied at the Media level and not the layer level.
http://discussions.info.apple.com/message.jspa?messageID=10487207
Hope this helps the next poor soul who scratches their head and wonders why wont motion just work sometimes...

Yes, thanks - weird one, but I'll try and remember it...
Patrick

Alpha channel and ProRes 4444

I have a number of AE files that I would like to render in Media Encoder with their alpha channels using the ProRes 4444 codec. I cannot figure out how to make ME give me an alpha channel. If I render in AE, I get the alpha channel without a problem. How can I get ME to give me an alpha channel? I am using ME 2014 on a Mac.

Hi Remy,
Choose QuickTime. Then from the list of formats in the Video tab, choose ProRes 4444. Scroll down to "Depth" and choose 32 bit. This will allow you to export with an alpha channel.
Thanks,
Kevin

Arri Alexa ProRes 4444 LogC footage in AE CS5

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