Conformed DPX sequence?

Hi there folks,
I'm editing a music video next week and the client has asked for it delivered to them as a conformed DPX sequence with EDL....
Eeeeek.
An EDL should be easy enough, but a conformed DPX sequence, that's me lost...
Can anyone help? Can I do this through FCP?
Thanks,
Matty

that's usually for a film recorder. It is going to film output?
You can do a DPX sequence out of Compressor, if that helps.
in the compressor inspector panel change Quicktime movie to Image sequence
http://dl.dropbox.com/u/129533/changeQTmovie.png
then select DPX.
http://dl.dropbox.com/u/129533/select_dpx.png
See if that's what they want. I'd do a short test first.

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Trouble importing an XML that uses DPX sequences

We are doing an offline edit using a DPX sequence. We're testing now to ensure that an XML of the sequence when we're done will work. (Our DPX is in HD, and the online house will be taking a 4K DPX version of the same piece - identical except for the resolution - for the online.) However, when we start up a new project and import the XML to test it out, it isn't making the edits to the DPX sequence that we made. Everywhere there is an edit, it just starts the DPX sequence at the beginning again. This is the same exact HD DPX sequence that we used when we made the edits.
Here is the original project:
http://img607.imageshack.us/img607/1802/i2ht.jpg
Here is what it looks like when we create an XML from that project and import it into a new project:
http://img14.imageshack.us/img14/6389/swfw.jpg
The text block you see in the thumbnail for the videos in the sequence is the slate at the top of the DPX sequence, so you can see that it's just starting at the beginning of the DPX sequence every time there's a cut. What should we be doing differently?

My apologies Jim. My understanding - which was probably incorrect - was that the XML schema that was in use by FCP7, which has since been implemented for use in Smoke, Resolve, Premiere, etc., was developed by Apple. Thanks for educating me!
XML as currently coded cannot convey sequences created from image-sequence-based media.
What has been an issue for me and a few others, which may be in play here, is relinking to media coming from a third party grading session. Smoke, Hiero, Resolve, SpeedGrade can all conform DPXs to an EDL or XML using timecode (independent of reel name, clip name, etc) while Premiere as yet does not. Premiere's relinking struggles if there's any disparity between the source file names and the file names it's relinking to. It would be great to see some more flexibility there, such as timecode-based relinking coupled with optional fields for partial clip name and partial reel name relinking.
Since the original post refers to a third party vendor doing the finish on the project, simply relinking in Premiere may not be an option. If the vendor in question is going to be conforming in either Smoke, Flame or Hiero, just sending an EDL over will just about guarantee a successful conform. I'd contact them and find out what they prefer.
Cheers!
Jon

Export RED DPX Sequence

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How to import DPX sequence?

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You can browse and import DPX sequences directly into Color. But if the sequences are numbered and not named, Color doesn't see them as sequences but as individual files
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Exporting DPX Sequence from Premiere Pro CS6

I edited a .mov premiere sequence from my 7D and 5D MK II in SpeedGrade by using the "send to adobe speedgrade" option. I exported the grade as a .dpx sequence and brought it back into premiere. Now when I try to export it in h.264 "for youtube hd 1920x1080 23.976", I get a huge loss in color range and blacks become so pixelated and I even lose a lot of darkness in the blacks. The grade no longer looks good. The preview monitor looks great in premiere but it does not match the final export. I need help with this one!
Software: Production Premium CS6
Footage: 1920x1080 / 23.976fps
Camera: Canon 7D + 5D MKII
System Specs:
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i7 930 (stock)
Gigabyte X58A-UD3R
12gb G.skill Pi Series 1333mhz
EVGA GTX 470 SC
180gb Corsair Force GT SSD (boot)
1TB WD Caviar Black (production premium program files)
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Use the MPEG2-DVD preset
CS5-thru-CC PPro/Encore tutorial list http://forums.adobe.com/thread/1448923 may help

Exporting DPX sequence: frame rate incorrect in exported file

Hello all, I'm new here. I'd really appreciate some help with this issue. My sequence and source files I am working with are 2048x1240, (1.0), 23.976 fps . I am exporting a DPX file sequence with matching settings.
The problem is, when I import that new DPX file sequence back into my Premiere project, or an AE project with the same settings, the new DPX file has a frame rate of 29.97 fps.
I've tried numerous times and checked all my settings. I can't figure out why the new DPX sequence is not 23.976 fps. Any ideas what I am doing wrong here?
here are my export settings, note output and source have matching frame rates:
and here is a screen grab showing the file properties of my new exported DPX sequence, after importing back into Premiere Pro CS5, with a frame rate of 29.97 fps.
Any help will be greatly appreciated!
thanks,
Jeremy

Hi there.
I am having the same exact problem, in CS6.
BUT, I have exported this project countless times, and only after my last edit has it started to export at 29. My entire movie is in 23.97. I have tried interpreting the one clip that is 29, but this does not help. It will not allow me to interpret the whole project at once.
Are there any other solutions?

Playback of DPX sequences with quadro nvidia

I am considering buying a nvidia quadro 4000 for mac to playback my 1080P DPX sequences out threw a BlackMagic HD Extreme 3D card.
At the moment i can do it when i select 1/2 Resolution in playback from Premiere CS 5.5.
My disk speed is about 300MB pr sek so that is not the problem.
Does annybody know if the Quadro card will give me any aceleration with that and make me able to play it back at full res ??
Thank you

> Hardware acceleration doesn't make it easier to "play" any media files (assuming they match the sequence). What get's accelerated are certain effects, scaling, deinterlacing, blending modes, etc. But not simple playback.
That's correct.
The graphics card doesn't help at all with decoding, nor does it help with reading the data off the disk faster. The reason that people talk about the GPU helping with formats like RED is that you are nearly always scaling RED footage down to use it (since you're almost certainly not using a 4K sequence, and you're almost certainly not previewing on a 4K monitor). The GPU helps enormously with scaling operations if you have a card that Premiere Pro can use for CUDA processing.
DPX image sequences are slow to preview for two reasons: data rate off of the hard disk and CPU speed for the relatively slow decoder. Fast disks and fast CPUs are what you need for fast DPX playback.

DPX sequence performance

Hi,
I'm running Premiere Pro 5.0.3 under Windows 7 64bit on a Core i7 950 CPU with nvidia GTX470 graphics and a RAID that benchmarks at over 300MB/s.
Running R210 AVI files is not a problem, other than all the usual problems that exist with R210 AVI files.
Running DPX sequences representing exactly the same image data goes at about 5fps.
I'm not very surprised; still sequences in Premiere have been slow since time immemorial, but I'm a bit disappointed by this.
Since DPX is a format with a lot of options and I'm in the process of writing some DPX handling code, I'll list the characteristics of the files in question:
DPX 2.0 per SMPTE-268M-2003
XPDS (least significant byte first ordering)
Total image size is 8192K per frame, padded from 7.91MB with 92160 bytes EOI padding on image element 0
Left-to-right, top-to-bottom ordering.
1 image element at offset 2048
Packing method value 1, "Filled to 32-bit words, method A"
Reference low code value is 0
Reference high code value is 1023 (this is not a "core" value per the DPX spec, but is required by apps such as Apple Color)
No encoding (value 0)
1920x1080
10-bit RGB (Image Element Descriptor value 50d)
In other words an absolutely basic standard 10-bit RGB DPX as produced and used by absolutely everyone.
What gives?
P

Jim,
V210 is the uncompressed 10-bit YUV version. Aja I think have R10K which I believe avoids the luminance clipping issue endemic to Blackmagic, and a few other technical conveniences. Uncompressed 8-bit formats are well served by preexisting 8-bit fourCCs (HDYC and UYVY for YUV, usually RGBA for RGB).
Steve,
It is not disk speed as other software (including my own code) will happily read and write 1080p24 10-bit RGB DPX files on this system all day long, and at rates always in excess of 40fps. The problem is is not the disks, the problem the way Premiere is trying to read them.
I don't think it's my DPX files either, as Premiere won't even read it's own output (which is not padded to any particular length) at anything other than a crawl.
Could you please find out what if any assumptions are made in the DPX reader with regard to file size, alignment on disk and in memory, disk cluster and block size end-of-image padding and its placement on the various image elements? Also whether this was tested with anything other than 2K, because if the reader relies on alignment and buffering characteristics of a very precise file size, that would also cause breakage.
Something is broke, and I'd like to either fix it my end, help you fix it, or at least have something worthwhile to say to other people when I get asked about this.
Thanks,
P

Color Importing a 24fps EDL as 23.98 when conforming from DPX Sequences

I'm trying to do a DPX conform in Color and I am having some issues with importing my EDL from FCP. I have 2k 24fps DPX files, from which I created 720p 24fps ProRes quicktimes to do my offline edit. My offline edit is now complete and I'm looking to conform from the DPX files.
I exported my EDL from Final Cut. When importing my EDL in color I make sure that "Project Frame Rate", "EDL Frame Rate", and "Source Frame Rate" are sll set to 24. It links to the correct DPX files, however no matter what I do the project setting is set to 23.98 not 24fps. The sequence looks fine inside Color, however when I send it back to Final Cut there are frames missing. All the clips start at the correct timecode, however some are missing 4-5 frames on the tail end.
I saw on this forum that someone had the same issue about a year ago, and doesnt seem like it has been solved.
Any Ideas?!?!
Thanks.

Read this: http://www.cinematography.com/index.php?showtopic=16732

Conforming project to dpx sequences

Hi there,
I have an advert I've cut in premier cc and had graded professionally - Ive had dpx image sequences given back to me . Is there a straightforward way to get premier to relink to these sequences?

OK, I chatted with Adobe and after they got back to me via email, here's what they wrote:
"Hi Sami,
This is Adobe Technical Support.
We are responding in reference to your case# 0185837302 regarding the Adobe Premiere Pro, I researched the issue and found out that the issue is reproducible on our end.
I have reported the issue to the higher level of support team. They will research on this issue and will try roll out a patch update to fix it."

Conforming DPX files on FCP

After offlining with one light telecine on FCP, I got the project and DPX 2k scans.
The DPX are 10bit log RGB with the same time code than the one light transfer.
Are there any ways of "auto conform"? The output master is meant to be PAL, but we have 2k becouse some frame resizing is needed.
any clues?
cheers
joan

Hello, Ok...when you finish a project on FCP and save it(not exporting it
just yet). Can you get rid of all the original capture video? Because what
I do is I capture the whole tape then I run through it and do kinda like
sub clips...So after I am done can I get rid of that whole tape I first
captured?
Absolutely not.
Wha?! I'm sure someone has some logic in telling you not to trash your media files, but it is logic beyond me. I'll offer a counter.
If your media is from timecoded sources, tapes that you can go back to, tapes that can be batch captured, then that media can be blown away when the project is finished (really finished, wait for the check).
When you come back to the project (let's all pray you don't have to), just Batch Capture the offline master clips. You'll be good.
For media elements that are not on tape (files from After Effects, Photoshop, Illustrator, etc), you should archive those media files too, since you can't batch capture them.

Will "Conform to Sequence" convert my SD footage to HD?

Hi there,
This is going to sound REALLY stupid, but in this age where everything is being exported in HD, I still get confused.
I am using SD footage in an HD timeline. I have conformed the SD footage to fit the timeline. It looks great. There are pillarboxes on the side and everything. But does this mean my footage is in HD? Is there another step in the conversion process that I'm missing?
Thanks in advance!

Using FCP to convert SD to HD is the worse way you can go. It really is. The scaling engine is bad. The best way, convert with a Terranex or Snell Wilcox converter...tape to tape or via tapeless transfer. Next, capture a tape with an IO device that has a hardware scaler in it, like AJA Kona or Matrox MXO2. After that, After Effects does a great job. Then Compressor.
That is, if you want your SD to look decent. It will never suddenly be HD...but for good looking SD upconverts, that's the list of what is best on down.

DPX conform

Hello-
I am working on a DPX conform using Final Cut Pro. The offline was edited in Final Cut Pro in 29.97. The EDL was converted to 24fps and scans were made of the film to DPX files with 8 frame handles. I used the Automator to automate the AJA DPXtoQuicktime converter to change all the DPX sequences into reference movies. All the files have the shot names with the ".mov" extension now.
The problem now is when I go to reconnect the media I am getting an error message that the file I am connecting has different Reel information, Rate and sometimes the media is not as long as before. I can connect one shot at a time and the shots are coming in correctly but I can't seem to do all the files in one fell swoop due to this error message.
Does anyone have any ideas to work around this problem?
Thanks!
Eugene

I have this sometimes with PAL 24 at 25 projects with cinema tools conformed clips. I close the project and then re open it. When the reconnect message appears it says some shots have different length etc but continue will reconnect all in the list, i think. (from memory)
John

FCP 6 - getting Sequence to conform to clips

FCP 6.0.6
imported a folder full of images into a brand new sequence.
getting red in TL
manually conformed Sequence to "clips" (still images with dur of 2 secs)
Ive read that drag and drop (a clip to the sequence icon) in the browser or the TL should cause FCP to either ASK you or ALWAYS conform the sequence to the clip setting. For me this never seems to occur.
I just want to make a custom slideshow here, but everytime I drag my "clips" into the TL, I get red.
I changed every attribute I could in the sequence settings, but still get red in the TL over each still image/clip.
I never seem to get prompted as this software is advertised to be capable of.
FCP 6.0.6
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TIA
Happy Holidazed

A still image is not a clip, nor does it conform to any of the codecs supported by FCP.

Encoding MPEG2-DVD from dpx image sequences produced random encoding artifacts

I'm using PPro CS 6. I've exported my 90 minute film as a DPX sequence. This image sequence is effectively my master. I then export this DPX sequence as a MPEG2-DVD and I get the following artifacts on random frames. It happens whether I'm exporting PAL (non interlaced) or NTSC (interlaced). I've now run the encoder three separate times and I get random artifacts on completely different frames. I'm checked the DPX images and they are fine so I know this problem is happening in the encoding.
Thanks.

Here is another example. This time it I was encoding PAL from the DPX sequence.

Conformed DPX sequence?

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