Capturing in the HDV-Apple ProRes 422 Preset

I am trying to capture some HDV footage in Final Cut 7 using the HDV-Apple ProRes 422 preset. However, when I go to log and capture after changing the audio/visual settings, the program immediately asks me to enter a file name and then jumps right into a capture now rather than bringing up the usual log and capture screen.
Has anyone else run into this problem, and if so, have any solutions to fixing it? This is the first time I have used this capture preset, so there may be a step or setting I am accidently skipping.
Thanks in advance.

If you are capturing HDV as ProRes, this is normal. This is the only case that this happens like this. Only with a capture card can you get the normal Log and Capture window. Converting one format to another via firewire...typically requires a card. This is a special case.
http://library.creativecow.net/articles/poisson_chris/hdv-prores.php
Shane

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HDV to ProRes 422?

I've got a 90 minute movie to cut. 2/3'rds of the original material was shot with a Sony HDV camera 60i. The other third is XDCam (HQ), also 60i.
I'm trying to figure out a protocol.
The film is aimed at some kind of theatrical distribution, festivals for sure, possibly a network airing. (It's an engaging subject, and very nicely shot, despite the older format).
Anybody done this? And might you have some recommendations?
Do I 'optimize' on my import? I notice FCPX optimizes the HDV to ProRes 422 (not HQ), but at 60i. Is there a way to set a different optimization?
Should I bother with a proxy when the original was only HDV (now being optimized to ProRes on import)? The system I have at hand here seems to be fairly robust.
Or. Should I edit the HDV original? And then just output in whatever codec seems appropriate (when I've done some more research)?
Any suggestions would be most appreciated.
Ben

Thank you guys, very helpful.
And Tom, this is all footage that was captured in FCP7, mostly a long while back, except for the XDCam. So the HDV was captured from the Sony camera, and the XDCam was the EX3, so straight from the cards (using FCP's capture transfer setup).
Now I'm playing at switching the whole project over to FCPX. Mainly because FCPX looks so intriguing. And. I had to do an emergency colour grading of an IMAX movie last week, for a test screenig ... working on their HD proxy cut. I was going to do it in Colour, but I haven't used Colour in six months, and it's a daunting creature to get back into after long breaks. I've been toying with FCPX for a couple of weeks, just a few minutes here and there, and tried the colour grading setup. Wow. In ten minutes I was up to speed. We did an XML of their film (being cut in FCP7). An hour later it was in FCPX. And a few hours later I had a really really nice grade. It blew me away. Yesterday we did the 'real' grade in a relatively high-end studio. Very good people. Brand new hardware - with lots of nifty buttons and tools. But I swear the end result doesn't look any different than what we got from FCPX. In fact. I'm toying with the idea of actually pulling the 4K into FCPX, and outputting it with MY original grade - just to make a comparison. Now wouldn't that be intriguing. And horrible, ultimately, for studios with such a huge capital outlay. Then again. It ain't the equipment. The colourist was a total pleasure to work with, knew his stuff.
Thank you very much for your help guys.
Actually, there is still a question in my head. I'm used to working in 24p. This film is for theatres, festivals, even a network airing perhaps. Is a 30 fps master going to work in those venues? I seem to remember that the new digital projectors don't care what the frame rate is. Have I got that wrong? And does it matter whether my master is interlaced or progressive? I hate the interlaced look - but I'm not sure what this footage is going to look like de-interlaced.
And. I'm going to do a lot of colour correcting on this show, and some modes special effects (possibly do those in Motion), but in a 'realist' sort of way; no green screen. Just trying to make the whole look more cinematic. But I'm not attached to the 24 fps thing. Though 30 fps this stuff was SHOT like a film, it already looks cinematic. But I'd love to somehow ameliorate the inevitable 'video' look of the medium.

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

Capture: DVCPRO HD 1080p30 vs Apple ProRes 422

We shot a project at 1080p30, 29.97 fps. I'm wondering if I should capture this footage using the DVCPRO HD 1080p30 setting or the Apple ProRes 422 setting. And why would you recommend using one or the other.
Thank you very much!

I called AJA and they can do it with an Intel Mac Pro 3ghz dual core.

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

Capturing HDV Into ProRes 422 (LT) Via FireWire

I read this fine tutorial on Moviola on the technique of Capturing HDV Into ProRes Via FireWire.
http://moviola.com/hdv_prores
Since you can choose ProRes 422 (LT) as an option in the Log and Transfer window, I was wondering if there is a way to capture HDV to ProRes 422 (LT) via firewire like in the above mentioned article.
I tried creating a custom capture setting in the AV Settings, but ProRes 422 (LT) was not available as an option, only ProRes 422 and ProRes 422 (HQ). And those settings cannot be edited or duplicated (grayed out).
I don’t know why ProRes 422 (LT) is available in the Log and Transfer window but not in the AV Settings window. Maybe it will become available in an update.
In the meantime, does anyone know a way to get around this? Maybe modifying an FCP file somewhere?
Thanks,
======
Richard

HDV is recorded to tape inside of the camera as digital information. Component coming out of the camera is analog. The camera is performing the first conversion D/A, from HDV (digital) to component out (analog).
Component going into the ioHD is analog. The ioHD then converts via its hardware to Prores (any flavor), which is digital. The ioHD has to convert the analog from the component outs of my camera to digital for use in FCP. FCP only uses digital video.
You said "The IOHD internally converts to ProRes.." converts to ProRes is the second A/D conversion.
So the path is D/A/D. I count that as two conversions, camera D/A as one the ioHD A/D as two.
I don't want to unnecessarily convert from digital to analog to digital which is why I don't use the ioHD to convert from HDV to Prores (any flavor).
Unfortunately I don't have any digital outs for this camera, neither HDMI or HD SDI.
I believe capturing and converting HDV to ProRes via firewire in FCP doesn't have this D/A/D conversion which is why I'd like to be able to capture HDV to ProRes LT via firewire in FCP and stay digital all the way, with no analog conversions.
I use the ioHD for all of my analog to digital conversions. It's a great box from a great company.
Thanks,
=====
Richard

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.

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

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

Browser showing Compressor as Apple ProRes 422.

I am working with HD clips from a Canon using AVCHD codec so I am wondering why my Browser, Compressor column shows Apple ProRes 422. Keep trying to find something in the manual or online video tutorial but no luck. Does this have something to do with how the Setup was handled and should some settings be changed?

I wish I could answer your question but I sort of don't understand it. When I open my Log and Transfer window there is no option I can find to select preferences on Transferring. I don't see anything like this in my User Preferences, System Settings, Easy Setup, (this is the only place I can find the Apple ProRes 422 codec) Audio/Video Settings window - Sequence Presets and Capture Presets.
Could it be I had selected the ProRes 422 in Capture Presets at one time because in the Summary window of Capture Presets states "Use this preset to capture from an HDV device and transcode to Apple ProRes 422." and FCP remembers this every time it deals with this HD information?
Thank you very much for your help. I have been using FCP ever since V1 came out but even with a three day class and video tutorials I get really lost sometimes.

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.

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

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

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.

Capturing in the HDV-Apple ProRes 422 Preset

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