Compressing prores 422 in .fld

Hi,
Just been asked to do this with 6hrs worth of HDV footage. Any ideas on how to compress prores422 in .fld? I can't see a way through compressor or flip4mac??
Any suggestion or tips would be great!
Much Thanks, Mungo

Adobe Flash CS3 (or CS4 if you're an early adopter)
Episode Pro from Flip4Mac (Telestream)

Similar Messages

Why doesn't iMovie use ProRes 422 or native instead of AIC

Does anybody know why apple still uses AIC to transcode all captured video streams instead of ProRes 422? And why does it transcode in the first place? Why can't they use the native HDV or AVCHD streams?
I know that using native HDV, and especially AVCHD, loads the processor with all the decoding, but it should at least be an option for high-end machines. HDV editing on FCP works fine and the storage requirements go down to between 1/3 and 1/8 of what it is with AIC and ProRes.
I think the ideal workflow would be to capture in the native format, edit in the native format when no re-compression is necessary and only render to ProRes when effects/titles/filters are applied.
Is it just too much development work or is there an architectural consideration from the development group to force everything through AIC for some reason?
Is it a licensing issue? Does Apple pay royalties for ProRes for every FCP sale? Would it be prohibitively expensive to distribute ProRes with iLife?
Obviously only someone from the iMovie group would be able to answer all of these questions but we may be able to gather some insights from the community to get a better picture.

I understand that the iMovie and FCP teams at Apple have been, hitherto, completely independent.
FCP was bought in - under a different original name - and tweaked from its original incarnation before being offered as 'Final Cut Pro' by Apple. See the section marked "History" in this Wikipedia article.
iMovie, however, was written long ago to Steve Jobs' specifications by Glenn Reid as a simple video editor for amateurs.
The ProRes codec appears to have been created separately from the Apple Intermediate Codec of iMovie ..probably because of different programmers' responsibilities for the separate programs ..although, under the 'Terms of Use', we're not supposed to speculate here in Apple Discussions.
HDV and AVCHD, being extremely 'compressed' methods of storing video, similar to the MPEG-2 format used for squeezing long movies onto small DVDs, cannot be edited 'frame-accurately' directly, as most of the video frames rely on data stored in other frames for their content. In other words, the 1st frame of fifteen frames contains a whole frame's worth of data, but the next 14 contain only differences between the first frame of a group and the subsequent frames.
So there needs to be a method to 'unscramble' or extract the data from the next few frames after the first of each group, in order to reconstitute the rest of the frames for editing them.
AIC is the method used in iMovie. ProRes is the method chosen for FCP.
It's interesting, though, that Randy Ubillos, now 'Chief Architect - Video Applications' at Apple, and the "onlie true begetter" of what later became Final Cut Pro, was the man who demonstrated iMovie '09 at last month's MacWorld Keynote. So if Randy's on hand to explain how to use iMovie, and created the new-style iMovie, then maybe we'll see some more convergence occur. (..iMovie has already taken on board FCP's "instant rendering", so that we no longer have to wait for transitions to be rendered within iMovie, but can see the results immediately. iMovie's real "behind the scenes" rendering now takes place during export, after after editing's finished..)

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

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

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.

"Cloudy" Footage when Exporting ProRes 422 Timeline

Hello everyone,
I'm having a problem when exporting a "QuickTime Movie" from FCP6 with a ProRes 422 sequence. The exported footage is very "cloudy" and washed out. When I export to an .mp4 from FCP6 as a QuickTime Conversion, it's not as bad, but the contrast is still way too bright. I'm at a loss as to why this is happening. Any ideas?? Thanks in advance!!!

I too use a Canon mark II and post at cinema5D.com all the time. You might find some helpful resources there for shooting and handling the footage from that camera. I suggest this because you said the Sony HDV camera looks OK compared to the 5D footage. My 5D footage beats all my HDV cameras in highlight detail so this is suspicious.
The 5D is a challenging (and rewarding) camera but the exposure system is hard to manage. It is possible your footage was over exposed in-camera. If not, you can try running the footage through Apple Color and check the video scopes. Areas around the faces should be around 55 to 65 IRE in the Waveform monitor. Your display might need to be calibrated. This would explain the difference between the computer monitor and the TV output. It is also possible you have not updated Quicktime. There was a big update to QuickTime which fixed the way the Canon h264 files are interpreted and this fixed most issues like the ones you are describing.
Your camera also should have the latest firmware update from Canon which added manual controls in the M mode. Without this, the camera is constantly changing its exposure during the clip and will tend to blow out highlight details easily if there is a predominance of dark colors in the scene.
Also, you can try enabling highlight tone priority on the camera, which is sort of like a Black Stretch mode on some camcorders which adds a stop of highlight detail.
Regardless, the fact that it looks the same in all mediums except your computer monitor suggests the problem is a poorly calibrated monitor. I'll bet your footage is not properly exposed, but for some reason it appears to be this way on a dimly set monitor. Forgive me if I've over simplified the problem.
One last test you can do is change your compression settings to Animation and render just a few frames. Don't do too many, because the file will be huge. Animation doesn't use any color management (this is called absolute colormetrics) wherein the ProRes and h264 CODEC's are relative colormetric. If the footage still looks wrong in animation compression, you can eliminate the gamma shift/color management from your list of culprits. Hope that helps you figure this out.

ProRes 422 & Premiere Pro CS5.5.2 Playback

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

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

ProRes 422 Downscaling

I've got 3 ProRes 422 files, each are about 2gb each. I've tried using DVD Studio Pro 4, Toast Titanium 9, and iDVD 09 to burn these, but in each program, they are downscaling the files so that all three total about 1gb. In iDVD and Toast, I've set the encoding to Professional or Highest qualities, but this does not effect the outcome. Any ideas on how I can burn these onto an 8GB Dual Layer Disc? I've set the Disc Info in each program to show that I am using this type of disc...

Do you want a simple copy of the data on the DVD or is this a DVD Video that will playback in a set top player?
If it is the latter, the software is compressing the files to MPEG2 which are then multiplexed into the .VOB format as required by the DVD Video specification. Anything else will not work in a DVD player.

How long should a ProRes 422 HQ render take?

I am trying to get a good guage on a time estimate for a ProRes 422 HQ export. Here are the specs...
FCPX 10.0.8
MacBook Pro 2.3 GHz Intel Core i7
16 GB RAM 1333 MHz DDR3
Running on Osx 10.7.5
My project is 71 minutes long... some titles, not graphics heavy.. Mainly RED RAW footage with some 5D mixed in.
SHARE option says a full 4K 422 PR HQ file would be about 381 GB.
About how long would you imagine the export taking? I am in the midst of rendering all right now in prep for final VIDEO ONLY export.
Final destination is to be BluRay via Compressor.
Secondary question.. with the above specified... Do I need to export in full 4K, or should I just go with 1080p, which it will ultiamtely be in... I want highest quaslity possible, of course... but if it is ultimately to be shown on 2K projection, is exporting the ProRes in 4K necessary?
Thanks!

Thanks, Tom.
Can you explain what you mean by don't Compress twice?
If my original stuff is RED RAW 4K (for the most part), should I do the Master File export as ProRes 422 HQ at the maximum file size? And then open the saved file in Compressor? Or are you saying just send it to Compressor from FCPX without exporting?
This is my first time using Compressor, so learning curve in play here. Thanks.
I already exported my six WAV files for my surround sound to match to the yet to be exported ProRes

Compressing prores

i have a "show" that's approx 8 hrs long that i need to compress so someone else can edit (on fcp) a trailer and other promo material that will be put up on the internet. show is 720p 59.94 apple prores 422 hq. i exported pt.1 (2 hrs) using compressor set for prores with sequence settings. looks beautiful but probably overkill. file is 175TB and took almoat 10 hrs. realize this a vague request but can someone recommend a compressor setting that will export quicker with a smaller file size, easy compatibility with fcp and yet reasonable quality for the stated purpose. thanks.

Adobe Flash CS3 (or CS4 if you're an early adopter)
Episode Pro from Flip4Mac (Telestream)

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

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

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

How do I set up stereo audio tracks as default in Premiere using the ProRes 422 codec?

Forgive me if this has been asked many times before. I have searched but can't find anything that explains it in language that doesn't require an advanced degree in computer engineering.
I am a recent convert for our beloved FCP 7. I am learning to love Premiere dearly - but the audio part of it drives me nuts.
I have exported from FCP a series of files as ProRes 422 movies with stereo audio tracks. I want to bring them into Premiere in the same way. But when I do it squashed everything into a single audio file.
This plays havoc with the panning - especially in mixes that have stereo music mixes. Apart from that it just confuses me.
Also. when I create a new project from scratch in Premiere and I select the custom ProRes 422 setting it only allows ProRes 422 mono audio. I don't see a codec for anything else (ie. stereo).
Am I missing something?
I have looked in all the preferences areas and can't find anywhere to change this. I just want to be able to import simple, basic two track audio (and have it show up the same) as I would in FCP, ProTools and the myriad other editing programs I use.
I also want to be able to set up a basic two track stereo timeline/sequence without having to reinvent the wheel.
Many thanks for any help and your patience. I am slowly tearing my hair out and spending long periods sitting in the corner hugging my knees and weeping.
My specs. Preferred editing codec: ProRes 422
Premiere pro version CS6 (6.05)
Thanks again.

Go to the Project Panel, select all clips and rightclick/modify/audio channels.
Set it to 2 tack and mono.
When you drop the clip onto the timeline the stereo will come in on two tracks.
You can also set this to default in the Preferences under Audio (before importing the clips) (Stereo set to mono).

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

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

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

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

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

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

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

Compressing prores 422 in .fld

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