Compressor Waiting at 95%

I sent a file to compressor using two default settings:
1080p for Apple Devices (10 Mbps)
SD for Apple Devices
The first file it begins working on is the 1080p version, but once it reaches 95% the status changes to waiting and neither file (as far as I can tell) is working.
Any advice to fix this problem without having to restart would be great because I've used a lot of time getting to this point.

I assume you're monitoring this in batch monitor and sounds like it created the first one –although it's unclear whether it indicates the HD version is finished. If you have the 1080P movie file in your destination folder, why not try playing it. a\As for the SD version, I'd abort the job if you haven't already.
What does "a lot of time" amount to and how long was the movie?
If I had read your opening post more carfully, I would have notice your aluding to the send-to workflow. So it could be FCX, CompressorI, or the way they link with each other, t's a workflow I typically avoid for a number of reasons…including reliability. Exporting and then importing into Compressor is not only more reliable, but if something goes wrong, it's easier to troubleshoot.
Russ

Similar Messages

How can i implement the event-dependent sequential operation of devices?

I am trying to develop a code to automate the valve operations of a gas plumbing system. for example, i would like to select "leak test" from an enumerated list and then have the system open some valves (digital output), wait for user confirmation, open more valves, activate compressor, wait for certain pressure (analog input), close certain valves, continue compressing untill certain pressure, stop compressing, wait 60 minutes while logging pressure readings. That is basically what i'm trying to implement. i am stuck on how to carry this out. i already have somewhat of a state machine built, my trouble is with the structure of how to build the sequence. I know this is probably vague, i'll answer any questions anyone has. Thank you very much.
Brian

Take a look at a Queued State Machine. Here you build a list of the order of steps to take. It could either an array where at the end of each step, it picks off the next item on the array. Or it could actually be a queue. The next state to operate gets picked off the queue. You would preload the queue with all of your desired steps. On each iteration, it would dequeue the next state to do. In the cases where you need to repeat a step (such as continually doing a step until a condition as been met) you would re-enqueue the same step at the front of the queue.

Attack and Release in Compression

Okay, rather than a problem, another of my academic "how does it work" discussions.
On another forum, I've been debating the meaning of "attack" and "release" in compression. My contention is that the attack time is how long it takes to achieve the preset level of gain reduction once the signal crosses the threshod level...and release is the opposite: the time it takes to return to no gain reduction, again once the levels cross the threshold in downward direction.
Another poster, who usually knows what he is talking about, contents that the attack and release times are triggered, not by levels hitting the threshold, but rather simply by the compressor sensing an upward or downward level change.
As proof he posted a test from Soundforge: A tone that transitioned between -12 and -3dB at 300ms intervals. He then applied compression with the threshold set to -16 (so everything should be compressed) and, indeed, the waveform shows the effect of attack and release at each transition even though the whole test should be compressed.
I tried the same in Audition and, although the artefacts aren't as noticeable as in Sound forge, you can see the pumping on the waveform.
I can't see that the attack and release can be clever enough to react to every change in level (especially on a real signal, not his test) so have to assume the cause is a bit more basic.
Here's a picture of the original file I made:
And here's the same file compressed with an attack of 2ms and a release of 5ms and a threshold of -15dB, i.e. lower than anything in the clip.
As you can see, you can see where the attack and release happens (I won't post a pic but, with attack and release set to zero, you can't see any transitions) so if anyone can explain this you'll cure my curiosity!

But I'd still like to know how software compression works anyway.
I do not claim credit for writing this description. It comes from another recording site I frequent but puts things in pretty plain words that we made a "sticky."
[quoted post]
Shotgun's Compressor Tools 1 of 2
What you have to do is understand what compressors do, and what each of the controls do IN GENERAL. Then you apply that knowlege to what you want out of using the compressor and what your ears hear AT THE TIME OF USE so that you can adjust as necessary. So, read below for an overview of the box as a whole and each knob you're likely to find on it.
Compression
From the name, one can surmise that a compressor is going to squish, squash, mash or pulverize something. Given that we plug audio signals into it, we can further surmise that what is getting squished, squashed, mashed or pulverized is, indeed, our audio signal. And one would be completely correct in assuming that. But what does that really mean?
Well, consider an audio signal. Let's say it's a recording of my mom yelling at me about leaving my laundry piled haphazardly in the hallway. First, mom starts out trying to reason with me, gently, "Shotgun, you know, it's just not condusive to laundry efficiency leaving that stuff piled haphazardly like that..." her voice is calm, even and even somewhat soft. As I stare at her blankly, not understanding the finer points of sorting one's laundry and transporting it to the appropriate room in the house her voice becomes stronger and louder. "SHOTGUN! I'M GOING TO BEAT THE LIVING **** OUT OF YOU WITH A TIRE IRON IF YOU DON'T PICK THIS **** UP IMMEDIATELY AND PUT IT WHERE IT BELONGS SO HELP ME GOD!" Now she's yelling, screaming, in fact. Her face is red and frankly, I've just soiled myself which makes the entire laundry issue even more complicated.
Now, let's assume we're going to lay this recording of mom over some Nine Inch Nails-style door slamming, pipe clanging, fuzz guitar backing tracks. It's going to be an artistic tour-de-force. However, when mom starts out, her voice was hitting only about 65-70dB--normal conversational speech. By the time she's done it's more like 105dB worth of banshee howling. Unfortunately, our backing tracks are a pretty even volume the whole way through. So, at the beginning of the track mom will be virtually inaduible whereas at the end she'll be drowning out my samples of whacking a stapler on a desk. How do we deal with that?
WE USE A COMPRESSOR!
You see, what a compressor compresses is volume. That is, technically, it compresses the amplitude of the signal, or its "gain". So for every decibel that goes into the compressor, only a fraction of it will come out. That means that (depending on our settings, see below) if mom's voice uncompressed winds up at 105dB then we can set our compressor so that it only gets as high as 52dB if we want. How does that help you ask? Won't it still be too low to hear over the backing music? Yes it will, but read on and we'll cover that in the controls discussion.
Threshold
The threshold control on a compressor sets a level below which the compressor will do no work. The control is graduated in dB (in this case dBV of signal level) and allows you to set an "on/off" point so that you can compress the LOUD parts of a signal, and leave the soft parts alone. At times you may want to set this control low enough so that you're affecting the entire signal, at times you may not. In the case of mom's rant-on-tape, what we may want to do is set the compressor so that it doesn't touch the signal until her voice reaches something like 85dB or so***, say, about halfway up the scale from softest to loudest. So, we set the threshold so that we only see activity on our "gain reduction" meter when the track gets to a certain point.
To USE the threshold control effectively, you generally need to use your ears. Have some idea, before you start, of what you hope to accomplish by using the compressor and set the threshold to Capture the part of a signal you wish to do whatever that is to. In our example I want to lower the louder parts of my mom's tirade so I set the threshold to activate the compression at some arbitrary point in the track. I could have done it several other ways and the only way to learn which is best is to experiment and listen.
Ratio
This is the control that tells us how much signal comes out of the box relative to what's coming in. It is graduated in terms of a ratio (hence the name) of output to input. So, let's say we set the control to point at "2:1". That means that for every 2dB of incoming signal, we're only going to get 1dB of outgoing signal. Which means that at its very loudest, mom's voice isn't going to be nearly as loud as it was originally. Keep in mind that this ratio only applies to signals that meet or exceed the threshold setting. Any signal that is below the threshold just passes through as though the compressor weren't there (kinda).
To use the ratio control effectively you, again, need some idea of what you want out of your compressor overall. In our case I just need mom's voice to be more easily mixed in with the backing tracks so I just want it to be kind of even. However, I still want it to start softer and get louder, just maybe not AS soft at the beginning and not AS loud at the end. That is, still changing, just not as much.
Attack
The attack control tells us that, once a signal meets or exceeds the threshold, how quickly does the compressor put the smack down on said signal? The control is usually graduated in intervals of time, usually marked in milliseconds. So, let's say that I set my attack control to say 5ms. That means that when the signal passing through reaches the threshold I've set, the compressor waits an additional 5ms before it begins to reduce the amplitude (again, gain). This seems counter-intuitive doesn't it? I mean, we want the level controlled WHEN it reachest threshold, right? Not 5ms later. Well, there are reasons for slightly delaying the attack (and for that matter release) times.
To use the attack time effectively (and by now you should have seen this coming) you need to know what you want out of your compressor in general. Do you want the signal clamped down on fairly quickly? Or not? How do you know? This brings in one of the most important concepts of recording: attack and decay. Each sound has an attack and a release. Imagine hitting a drum (the easiest place to see this concept). You hear the sharp, immediately loud sound as the stick hits the head, but you also hear the sound gently fade away, also. That initial WHACK, that initial spike in amplitude is the sound's attack. Everything else is it's decay. Note that I use these terms in a "Shotgun" type of way and there are more correct ways to say this, I think, but I tend to, over time, develop my own language, so you're at a disadvantage.
So then, we can hear an attack in mom's voice, too. It's more subtle than the attack of a drum hit with a stick, or a guitar player's pick against a string, but it's there. And if we set our compressor's attack time too short, we will lose all the definition of the attack of the sound. Sometimes that's desirable, but in our case it is not. A very large percentage of how people perceive sounds comes from the attack. You must strive to preserve that unless it is your desire to purposely not. Therefore, be very careful with the attacks under your care. In the case of a vocal track, the attack of the voice will lend very much to the intelligibility of the track, so we do NOT want to destroy it. So, we may want a slightly longer attack time than 5ms here. But we can only tell BY LISTENING. LISTEN to the track, sweep the attack control back and forth and listen to what happens to the attack of the sounds. If it sucks, move the control. Don't look at where it's pointing until you're satisfied with how it sounds. Then only look for the sake of curiosity because that setting may never work the same way again. if you're using a plug-in make sure you allow ample time for the movement to take effect. Moving a plug-in's controls can sometimes not take effect for a full second or two after you move it so if you're sweeping it back and forth rapidly you'll fool yourself. In the case of plugins, make a move and pause until it changes. If it doesn't change within 2-3 seconds, maybe you didn't move it far enough.
Release
As you might guess the release control handles the other end of the signal from the attack. That is, when a signal drops back below the threshold, how long does the compressor wait to actually stop compressing. All the same counter-intuitiveness applies here as well. However, remember that the decay or "tail" of a signal isn't as important to the listener as the attack so you can get away with a little more here. Again this control is going to be graduated in units of time, usually ms. However, the numbers will be larger than the attack times. Sometimes up into the 100's of ms or even full seconds.
To set a proper release time, again, understand what you want out of your compressor. Do you want a major thrashing to your sound, or do you just want kind of a gentle corrective measure? What you have to look out for in the case of release times is pumping. If your release time is set too short then the sound will drop below the threshold, the compressor will release it, but the sound will then jump UP in level because the compression is no longer making it softer, but it's below threshold. That probably sounds confusing, but it happens. And it will sound pretty odd. The first time you hear it you'll understand why it's called "pumping". It sounds almost like there's a new "attack" near the end of the signal's decay. As I've said before, sometimes this is actually desirable. Usually it's not though. Your goal is to set a release time long enough to give the sound time to naturally decay to a point that when the compressor lets go it won't "pump" yet short enough so that the compressor isn't still active when the next "attack" comes along. If you set your release time too long it will start ****ing around with the attacks because it's taking so long to let go the next loud signal is there before the last one is finished compressing. So, if you get your attack set where you think it's right, but then you start losing your attack again, consider dropping that release time lower (faster).
Make up gain
Here's where we answer your initial question of "Won't it still be too low to hear over the backing music?" Remember that we noted that mom's voice started out so low that it was lost in the music. And all we've done so far is to use our compressor to take the bite out of the louder part of the track so that it's not overpowering. So, doesn't this leave the softer part still lost? And, possibly, doesn't it make the WHOLE TRACK too soft now? Yes, it absolutely does. But that's what we have makeup gain for.
The makeup gain is going to look very similar to any other gain control you have seen. It will be marked off in dB, possibly starting at 0dB and moving up to some obscene amount like 20 or 40 or 60 or 100,000 or something. (It won't really be 100,000). The makeup gain does just what it says it does, too. It allows you to "make up" the gain that you're losing by compressing in the first place. Now, that doesn't mean it UNDOES what you just did, not by any means. It means that you can now take your newly compressed signal and make the WHOLE THING louder. This is how we're going to get the parts that are too soft up where they belong.
To set this control we're going to, of course, listen. What we've done thus far is to compress down the loudest parts of the signal so that they're not so loud. You can say that the loud parts are now "closer" to the soft parts so to speak. So what you do with your makeup gain is to take the whole lot and move it back UP some smaller amount so that now the loudest parts are just still loud, but not AS loud and the softer parts are still soft, but loud enough to be heard. Think of yourself playing basketball. If you're short like me, there's no way you can slam dunk a basketball. However, let's say you can lower your basketball goal by one foot. Now it's lower, but you still can't slam dunk it, but lowering it any more would ruin the rest of the game because you'd just be dropping the thing in and not shooting. So what you do is you make yourself magically grow a foot as well. Now the goal is still a reasonable height, but you can slam dunk because you've grown a bit yourself. Same sorta thing. Your signal isn't so low it sucks now, but it isn't so high you can't get anything useful out of it as well.
Here's a shocker: in terms of makeup gain there IS a general rule you can keep in mind. As you're setting your compressor's other settings you will notice the meter marked "gain reduction" giving you some idea of what you're doing to the signal. It could be a schitzophrenic little peak meter or it could be a big, slow, thoughtful VU meter. Either way it'll tell you "hey, you're getting about 5dB of gain reduction here pal!" So, this tells you you can START your makeup gain at a setting of +5dB. That should give you a compressed signal at the same general level as the uncompressed signal. Kinda. Sorta. It's a really ROUGH starting point, but it's a starting point nonetheless. Again, though, twist it and listen to get it where it really needs to be. You may want more, you may want less.
The ******** you'll hear
Now, as you get replies to this thread there will be plenty of numbskulls along to give the following answers:
(1) Shotgun you're such a ****ing *******. The guy just wanted some basic info, some basic starting points for his compressor why do you have to be such a *****?
(2) Shotgun, you don't understand compression and you've never done any recording, HAVE you?
(3) Here are my basic settings and they'll probably work
None of that is even remotely true. Sure, there are plenty of basic starting points anybody here could give you. In fact, many of these folks have only been using compressors for about 6 months, but even THEY will have ONE setting group that they like for some reason and are DYING to tell you it in order to appear knowlegeable. Do not listen to any of this ****. Develop your own views on good starter compression settings by appying what you learn and what you hear and what you observe in your own experience. There are so many different kinds of compressors that anybody who gives you a rough setting diatribe is just pissing in the wind. In fact, many types of compressors don't even HAVE some of the controls I mentioned. Some have more. Also, there are plenty of points we haven't covered. For example limiting, which is a special kind of compression that uses a very high ratio (often infinity:1).
[/quote]
This isn't the complete post but it is the pertinent section.
Jack

Compressor 4.1 waiting....

I've had the WORST luck using compressor 4.x of ANY Apple software since I started with my first Mac in 1987. Compressor repair has let me get the occassional job through on my old machine, but this version (4.1) has me livid.
I'm on a late 2013 rMBP 16GB RAM, 512 GB SSD, MacOSX 10.9.1, FCPx 10.1, Compressor 4.1. I'm simply attempting to take a 30 min H264 and convert it to a DV stream. Simple. I set up the task, and run the batch on "this computer" & all I get is Waiting...... NOTHING HAPPENS!
qmasterd in activity monitor is listed as not responding.
Ran the latest version of Compressor repair, repaired disk permisions.... am now at a loss as to how to get this app to actually do ANYTHING.
I'm hoping the brain trust out there has some insightfull suggestions.
thx

Hi Ed, just noticed this yesterday that Compressor.app's qmaster (buried these days) seems to be somewhat particular about the access (ACE) of the MOUNT of the cluster storage. You've probably noticed too that the cluster storage in V4.1 currently IS SET to access the path at /Users/Shared/Library/Application Support/Compressor/Storage only and ther's no parm to change it as there was prior to compressor.app V 4.1
Look here in using console.app ~/Library/Logs/Compressor:
contentcontroller:com.apple.qmaster.contentagent.log
jobcontroller:com.apple.compressor.cluster.admin.log
qmasterd.log
requestprocessor:com.apple.compressor.contentcontroller.log
servicecontroller:com.apple.stomp.transcoder.stomp.log
servicecontroller:com.apple.stomp.transcoderx-1.log
servicecontroller:com.apple.stomp.transcoderx-2.log
servicecontroller:com.apple.stomp.transcoderx-3.log
servicecontroller:com.apple.stomp.transcoderx.log
unfsd.log
and also system.log
Look for:
error: mkdir failed for path = [/Users/Shared/Library/Application Support/Compressor/Storage/628FAF27-3CA67A97/shared]"
nfs server macpro-nehalem-16core.local:/Users/...../Library/Application Support/Compressor/Storage/628FAF27-3CA67A97/shared: can not connect, error 65
Conditions like this will cause the batch submissions to wait. Others will as well. i.e can't mount, unable to WRITE to it , not avalable etc...
Also check for a .qsubexp directory in the TARGET folder of you your transcode. This has qmaster plists and some state into . It usually is built then purged by qmaster. You can clean it up as follows in these steps:
stop all current batches in Compressor.app V4.1
disable the SHARING host the current host in the compressor.app V4.1 (set slider to off)
Quit compressor.app v4.1
launch the Terminal.app
cd [to the target directory were the target transcode is being written} .. .e.g cd /volumes/diskarray/job123_compressor_distribution
enter rm -rf .qsubexp to remove the .qsubexp folder (note it's hidden OSX finder)
In addition, attempt to REMOVE the contents of the /Users/Shared/Library/Application Support/Compressor/Storage folder if you can. Attept tp empty the trash too.
verify the ACL for the (+i show permissions) for /Users/Shared/Library/Application Support/Compressor/Storage. (NOTE: if you are using OSX 10.9 server, then make sure its available in FILE SHARING... see permissions theere)
restart Compressor and ENABLE the sharing and the CLUSTER again
.. resubmit your job.
Post your results for others to see.
HTH
Warwick
Hong Kong

Stuck on Waiting, Can't cancel unless through Compressor Repair.

Whenever I try to submit a batch, it just gets stuck on waiting. If I try to cancel, it stays stuck on cancel. I'm only able to clear the queue by running the Compressor Repair app from www.digitalrebellion.com.
Has anyone found a solution for this?

Ive just tried using the exact same settings a you described. Single computer, single instance, and disabled any network sharing on it.
THIS appears to be working (transcode is still in progress as I type.) This is the first time Ive seen anything other than "waiting." Whether it's using the GPU or not, I can't say yet.
I'm transcoding a 163GB movie and 3:30 minutes into the process it's already 1/8th done on the progress bar.
Thanks for sharing this, I hadn't tried this combination of settings yet. Till now, it just wouldn't work at all for me.
I may have to do a timed test on both 4.0.5 and 4.1 to see if I'm seeing any improvement or not.
I am running this on a 2008 Mac Pro 3,1 with Dual 3GHz Quad-core processors, 16GB of 667MHz ram and a Nvidia Geforce GTX 650 TI Boost video card with 2GB of video ram.

Compressor 4.1 distributed job - "waiting" status

In a 3 computer cluster...Why are these 3 not processing simultaneously? The other 2 computers are sitting there, with no other programs running, etc.
It just seems to me like they should all be transcoding simultaneously.
Compressor 4.1 seems really slow to do any transcoding in general. I don't know what's going on...sigh.

Same here.
Really poor performance (more than 4x slower, I guess), interrupted jobs and unstable behavior in cluster setup.
That disappoints me really deeply, as Compressor 4.0 was so bad regarding reliability in cluster environment.
Seems we have to switch to a Mac Pro as other models are outdated by update.
So Apple should give us a generous discount on the Mac Pro. But wait - we would have to wait till February anyway... No solution.

Compressor is "Waiting".

Can't give any real info.
I exported a 20 second DV-PAL clip to Compressor as I have done numerous times before, selected the usual DVD setting plus Dolby audio, clicked submit and waited.
After a while when nothing seemed to be happening I opened Batch Monitor and was greeted with the job status of "Waiting".
As there are no other jobs and the computer is doing nothing else, has anyone got any idea why it should be "waiting"?
It has always worked flawlessly for the past year ........ and no, I have not updated anything recently.

I don't know whether your message telepathically helped!
I had submitted several identical clips in order to try and get them to work.
I had also deleted them from the job list in disgust and put the computer to sleep.
A short while later my wife asked me to check the emails. As I was starting to read the first one, I could see FCP and Compressor pop up in the background and when I hid Mail I could see that the apparently deleted jobs were being processed!!!!!!!!!!
This must have been happening whilst you typed your response!
I checked that the Compressor produced files worked in DVDSP and did another test just to verify that everything was back to normal.
The only problem I have now is that an attachment in the email won't open!
So it could have been the dodgy email attachment that cured Compressor ......... or maybe I'm just going completely insane!
Somehow I have a feeling that this is one of those cases which will forever remain a mystery.

Compressor 4.1.3 hangs Waiting for Create Disc to Finish

Compressor 4.1.3 hangs at the "Waiting for Create Disc to Finish" stage. The audio and video streams have been created and are in Finder. The correct drive has been selected in the Actions section and there is a disk in the drive. I have run Compressor Repair. However there is no activity at the drive (which otherwise works fine and will burn a disk from Finder). Anyone any ideas?

I'e not run into this before. Try a different clip – preferably a QuickTime movie. Bring that into Compressor and mark a short section with in and out points. Choose Hard Drive for Output Device in the Job Action section. What happens after you submit it?
Russ

Compressor is permanently stuck on waiting

I had a batch process set up and after the first couple of files it was clear that Compressor was going to take about three hours per file to process. The computer had to be shut down, so all the items were paused. Now whenever I try to run a process the Active window simply says waiting. No idea what or who it's waiting for. Trashed prefs and rebooted multiple times. The application is completely useless. It completely boggles the mind that there is no process reset function. It's currently a piece of garbage taking space on my hard drive. Any suggestion on how to reset this application so it's functional again? Thanks.

Thanks Russ. I had to do the whole folder before I got anything. Then when I ran Compressor I got this odd message
and the application became non-responsive. Force Quit. Trashed prefs. Open the App Support/Compressor folder and put back Settings and then the application ran again. Except that one of the files that had previously been processed using another OS, was overwritten during one of the tests while the app was in the Waiting mode (trashing History was not enough), so that had to be redone.
All in all an unpleasant experience and probably one that should be avoidable by the application. Thanks again for pointing me in the right direction.

Best compressor settings ... will wait days!

what is the best settings for compressor if you want the absolute best mpeg-2 quality .... I mean something that rivals hardware encoding .... something that takes days and days to encode but looks amazing .... GOP settings, anti-aliasing, detail, resizing setting? Anyone done any tests? let me know if you have any results .... thank you !!!

Sorry to say this, but it depends on the footage you have got.
There is no one precise encoding setting to get the very best quality - if it were that easy it would be nice, but I'm afraid it just isn't.
You need to find a balance between the available disc space, the length of the footage to fit that space, the nature of the footage (fast action, pans, zooms, fades all need higher bit rates than stills or talking head shots, etc) and the ability of the encoder you use.
The way to find out what you need is to set up a few tests for yourself on the footage you want to encode. Choose several short (ten second?) sections which you think might be a problem to encode, and then set about getting the very best looking result for that section. When you have found what you think is the best setting, apply it to the entire track and go from there.
Be careful not to produce the best looking MPEG that won't fit on your disc though! Do some bit budgeting, and see what the maximum bit rate setting should be to allow your file to fit in the space that you have got after allowing for menus, subtitles, audio, etc. If you encode the audio to AC3 you'll save shedloads of space, which allows you to use a higher bitrate for the video.
It's an art, and a science... no shortcuts in there, I'm afraid. Spend the days you are prepared to wait by finding out what works best for your footage...

Compressor is "Waiting" forever!

Hey everyone...
i don't know what the issue is. i submit a job to compressor, and it takes the job, but stays on "waiting" forever!
i have tried some fixes i found in these forums... deleting 3rd party software, changing destination folders... and i've tried submitting a job about every way i know of... and nothing works!
i compressed a project yesterday, and it was fine... finished the job in a respectable amount of time... today, it started a job fine... actually 2 jobs, 4 targets... but it said some obscene amount of time to finish... something like 24 hours for the job. i know it doesn't take that long. i quit that job earlier, and ever since it's given me issues.
oh, and i've restarted my computer about 3 times since... so don't be a smart guy ;D

Not sure if you're still have this problem, but I think he means, take a look at the Batch Monitor.
Once you click on Batch Monitor, you can see all the jobs which are being processed on your Mac.
There may be a few ahead of your current job, which are not being displayed in your 'History window.

How do I convert from PAL to NTSC in compressor?

I have a project I converted from mp4 file to Apple Pro Res to edit it in FCP. I exported using Compressor and tried to import the files to DVD Studio Pro. It said it can't put PAL files into an NTSC project. I didn't even realize it was filmed in PAL (yes, I have the rights to use the footage). How do I convert the files from PAL to put it into FCP...in Compressor? If so, how? Thanks for any help!

To convert the 25fps PAL file to a 29.97fps file staying within the ProRes codec:
• Open up compressor. In the Settings window select: Apple>Formats>Quicktime>ProRes 422
• Select the "Duplicate Selected Setting" icon in the upper left of the Settings window
• This creates duplicate of the preset that you can edit
• Select the preset copy and, in Inspector, give it a new name (something like ProRes PAL>NTSC)
• In Encoder>Video Settings>Frame rate - and change the frame rate to 29.97
• In Frame Controls> turn them on and set Resize Filter and Rate Conversion to BETTER. (If so set them to BEST, be prepared for a long wait)
• In the Geometry tab, set the Frame Size to 720x480 (you don't say if the file is 16:9 or 4:3)
• Submit the file and go have dinner. Depending on the length of the file, it may take hours.
Have fun.
x

Getting an unusual error message in Compressor 4.1 when I try to submit a job

I'm running Mavericks and have Compressor 4.1 on my Mac Pro along with FCP 10.1. When I submit a job to compressor, I then add the Dolby Digital and Mpeg-2 6.2 Mbps/90. When I hit Start Batch I get this error message
/var/folders/k9/f6fyk4sj4f3_rj2wlrlwx9hr0000gn/T/46BDF064-B30F-4BF1-8D9C-D22DE91 8342B.export-archive
I've tried to uninstall and re-install Compressor but to no avail. What is this error message referring to and how do I rectify it?
Thank you
Drew

Hi Drew if you haven't resolved this. TRy this to see if the issue is a TRANSIENT object access error instead for submitting directly to Compressor. Do this to isolate any content error defects before making you distribution (older 2 stage workflow)..
in FCPX 10.1, make sure the projects Primary Storyline is completely rendered - select all and cntl+R (render selection or control+shift+R)In FCPX 10.1 watch the background tasks (+9) and wait for all the rendering to be completed.... (make sure no object errors)
in FCPX 10.1 export a master File/Share/Master File (+E) as PRORES 4xx and save it ~/Movies/Drews_final_master.mov (prores)
in Compressor.app V4.1,
create a new BATCH ,
import the MASTER object ~/Movies/Drews_final_master.mov)
(and add your setting and submit it. (dont use FCPX SEND TO COMPRESSOR just yet! until you resolve this issue)
This process will avoid the use of transient file storage areas that seem to be used in the FCPX to COMPRESSOR.
Post your results for others to see
Warwick
Hong Kong

Compressor reloads entire MKV file every time I do anything!

I have a 4gb MKV movie that I am trying to convert using compressor. When I add it I have to wait for it to load the entire file... like 20 minutes. And every time I change a setting it has to reload the entire file before it lets me do anything else. So just setting up a file to convert is like an hour long ordeal! Any way around this?

Apparently, Perian can read those files. Do you have it installed?
http://www.perian.org/
I have no idea if this will help you at all, but it has to be worth trying.

URGENT HELP PLEASE! Compressor BATCH WINDOW disappear

Hello Folks,
I work with final cut Studio 2 and compressor since 1 year. Since last week, when I try to export or open a clip in compressor, the Batch window is not there. I've try to submit a new batch from Final cut or motion to compressor or open directly a movie in compressor but nothing seems to work??? I tried to reinstall all the software and nothing to do. The same problem occur. What's the bug???
Sorry for my bad english, it's not my first language.
Thank you for your help!

There's an actual application called Batch Monitor. Go to Spotlight and type Batch Monitor. It should appear, click it and there it is.
If you were talking about the batch window in Compressor itself, there is the history window (I think that's what it is called, I'm away from the Mac right now). Check up in the menubar under Window and look for the History window. That will list all the jobs you have submitted, whether they were successful or cancelled and the time remaining.
Hmmm... wait. Are you looking for the window that you actually drag your files onto and where you drag the compressor settings to? Try again under the Window menu, or try under the File Menu and select New Batch.
See if that works.

Compressor Waiting at 95%

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