Date gone after pro res 422 log and transfer

Is it normal with AVCHD video that after it is transferred and encoded to Apple Pro res 422 that the date and time of the recording it lost? I now cannot search for video by date recorded in my CatDV8 catalog. With my mini DV tape imports, all of that came over.

Brian --
I'm very much in the same position -- about to start ingesting many hours of AVCHD footage for which I need to retain date & time info for each clip.
It seems the height of absurdity that the browser portion of FCP's Log & Transfer window has a "Date Created" column with that exact info, and yet FCP7 (yes, version SEVEN) apparently won't let you simply transfer that column over and have it be displayed (as well as be a sorting option) in the Browser itself!
If this is some technical limitation of transcoding to ProRes, then ProRes is still Beta software in desperate need of some serious development. And I can't see blaming it on the AVCHD codec, since L&T seems to have no trouble seeing and displaying the Date Created info for each clip.
So the question remains: if Log & Transfer can see it (and since L&T does have several data fields which do show up in their respective Browser columns after import) then why the !@#$%^&* can't something as fundamental and as obviously important as the Date Created info not be transferable as well???
Especially for a documentary, that kind of basic metadata -- and the ability to have your imported clips display in chronological order -- is CRUCIAL.
(I'd send a Feature Request to FCP Feedback, but are they still accepting suggestions for version 3?)
=================
Sarcasm aside, I have found one very kludgy and inelegant way to have that Date Created info automatically included as part of the Log & Transfer process:
In the bottom right portion of the L&T window, you have to create a new, custom "Name Preset", one that includes the ClipDate (and/or any combination of the ClipTime, ClipMonth, ClipDay buttons appropriate to the time span of your project's footage) into, and -- if needed as a sorting display option in the Browser -- at the beginning of, each clip's "Transfer As" name.
It's ugly, it's awkward, it's limited (you can't have the date display as a compact 091123, for example, or have the time be included without seconds, etc.), but it appears to be as good as we've got -- however pathetically inadequate that may be -- for what should be an obvious and automatic option.
(I mean, do the Log & Transfer development team and the Browser & Clip Import development team work different shifts, and just never get the chance to talk to each other? It's the only sane explanation I can come up with.)
John Bertram
Toronto
(Still hoping someone can suggest a workflow which allows AVCHD clips to be ingested into FCP7 without their Date Created info being ridiculously tossed in the trash.)

Similar Messages

Having some problems with Apple Pro Res 422 HQ and Hard Drives

Hey,
I've been having trouble when digitizing video via Apple Pro Res 422. First off I'm using a macbook pro 2Ghz intel core duo/2GB of Ram and my hard drive is pretty much almost full. I've set my scratch disks to a Lacie 1TB drive via USB 2.0. Second of all during the Apple Pro Res 422 capture process in the middle of capture it says that my Internal Drive is almost full and won't let me continue on with capture. I don't get it because everything in the scratch disks are set to my Lacie Drive.

My Lacie has 1 firewire 400 and 2 firewire 800 ports but my computer is an early macbook pro that only has 1 firewire 400 port and 2 USB ports. So yea it kinda of stinks but could you recommend a eSata Express card?
Message was edited by: Final Cut Pro 4.5

Log and Transfer - XDCam to Pro-Res

Does anyone know a way to transfer XDCam footage directly to Apple Pro-Res using Log and Transfer?
Thanks,
M

Thanks meg. I'm trying not to have to sync all the rushes in a timeline. All rushes are in the one 58 min prores file. I wanted to, I guess, log and capture the rushes as clips that I logg in the log and transfer winnow and that it would then log and sort out the material as proxy files. I'm guessing I'm just being lazy or it can't be done. Thanks for the reply but I was looking for a differentbway round than a straight import of the whole file.
M

HDV to Pro Res 422 HQ, how would you do it?

I am shortly going to short some HDV 1080' and deliver it to the customer after I've edited it, on a hard disc as Pro Res 422 HQ 1920 x 1080.
Last time I simply ingested the HDV in the normal way and exported to Pro Res using "make Quick Time Movie".
Should I have injested the footage from HDV, direct to Pro Res 422 HQ and edited this and then outputed the Pro Res 422 HQ edit master? In other words did I needlessly encode the material twice when I did it before?

Why can't I simply change the "Capture settings" to Pro Res HQ?
Because FCP doesn't do that via firewire. The data rate is too high. It only does ProRes 422 via firewire.
Now you are getting into professional workflows, and for that you need professional hardware.
Why do I need to sling my Macbook Pro in the bin and start all over again, because I presume a capture card wont go in a laptop.
You presume incorrectly. The Matrox MXO2 and MXO2 LE will work on a laptop just fine. I use my MXO2 all the time on mine. BUT...here's the rub. You can't capture 1920x1080 29.97 at ProRes HQ. Well, you can, but not for long durations. Because the encoding of that needs to be handled by the processor, and you need at least a Quad Core to do that, laptops are Dual core. BUT, you can get the AJA IO HD, that works on a laptop too, and has a ProRes encoder built in. Issue is that it is $3400, while the MXO2 LE is $1000 (that encoder adds a lot).
I think it would be best to capture as HDV, then use the Media Manager to Recompress to ProRes HQ. Because they might want full raster ProRes and HDV>ProRes gets you anamorphic ProRes. I believe the Media Manager will make it Full Raster. As will Compressor.
Shane

Apple Pro Res 422 versus Apple Intermediate Codec

I'm new to the world of FCE HD. I'm transfering video from a Canon HG10 to my MacBookPro and storing on an external drive. Earlier projects are bringing in video with Apple Intermediate Codec compressor... no problems, editing doesn't require rendering... Now video is being brought in as Apple Pro Res 422. The Pro Res is requiring that I render everything once I bring it from the viewer to the canvas. I've searched all menus, preferences and settings looking for where and how to change this setting. Does anyone have a solution to this snag?
The data rate for Pro Res 422 is 15.3mb/s and for Apple intermediate codec is 9.9
None of this makes sense to me... please assist.

Hi(Bonjour)!
How did you convert to ProRes 422?
ProRes 422 codec is a part of final cut studio 2.
FCE HD cannot edit nor render in ProRes like Final Cut Pro. You material havs to be NTSC, PAL or AVCHD and HDV (converted to Apple Intermediate Codec).
Michel Boissonneault

Quicktime PRO-RES 422 Files... What is the best format for output in Adobe Premier?

I have recently enrolled on a university film makers course and up until this point i have been a Windows user. At the university everyone uses Final Cut Pro as this seems to be the standard software, at least at my level. My question is this; I have a bunch of Quicktime Pro-Res 422 files and i was wondering what would be the best Adobe Premier preset to export it as, In order to achieve the best quality possible?
Jak.

I have a bunch of Quicktime Pro-Res 422 files and i was wondering what would be the best Adobe Premier preset to export it as, In order to achieve the best quality possible?
You're going to have to clarify this a bit more. Do you have ProRes files you want to edit with in Premiere? If so, you don't need to convert them--as long as you have QT installed, you can edit them, even on a PC.
Or are you saying that you've already edited, and now you want to do a final export for viewing, or for editing elsewhere?

Pro Res 422 (Proxy) in Adobe Premiere

Guys, I've been having the most monumental problems today and in order to have a back up in case the doo doo hits the blades can the following be done?
I've got 12 Sequences which have been edited in a mix of Pro Res 422 (Proxy) and Pro Res 422.
The original files are AVCHD.
I'm unable to either access Media Manager or Batch Capture as FCP 7 just crashes.
If I was to give the Pro Res Sequences to my client can he then convert them to a suitable format on Adobe Premiere?
I really am at my wits end
EDIT: OK. I've just read that Pro Res cannot be imported into Premiere
So, lads, what can I do to give a final format to my client so that he can then author a DVD?
Message was edited by: Alpesh Gor

WHo says Premiere doesn't import ProRes? It has since CS3.
And why not try to solve your problem? Trash your prefs?
#44: FCP acting weird - Trash Prefs
Shane's Stock Answer #44: FCP acting weird or unusual. Just not like is normally should
If the program was working fine, and now isn't, or just isn't working the way it should, the first things to do are:
1) Trash your FCP preferences. Download the Preference Manager from Digital Rebellion: http://www.digitalrebellion.com/pref_man.htm
http://www.kenstone.net/fcphomepage/trashing_fcpprefs.html
2) Open the Disk Utility and Repair Permissions.
3) Shut down for 10 min. Go for a quick walk around the block and get SOME exercise today. Come back, turn on the computer and see how things are.
4) (optional) Do the Hokey Pokey and turn your self about. Results may vary.
Shane

Exporting FCE project to Apple Pro Res 422 HQ Quicktime conversion file

Hi Folks,
I have recently tried exporting an FCE project (HD 1080 16:9) as:
1. Quicktime file
2. Quicktime conversion using Apple Pro Res 422 HQ
and noticed that the Pro Res file is 2Gb. larger than the standard Quicktime file.
Does this mean the quality is 2Gb better? (it certainly looks crisp and clear)
Should I be doing this everytime I export from now on?
Any information much appreciated. Regards.

Transcoding your material from one codec to a higher quality codec will not improve the quality of your source material. You are always limited by the quality of the image prior to the transcode.
If you have a pair of shoes you want to store, you can put them is a shoe box, or you can put them in a shipping crate - but neither method will improve the shoes.
The shipping crate will just take up more space.
The only possible advantage of transcoding your AIC sequence from FCE to ProRes would be:
1) you force the need to repeatedly decompress and recompress the file - ProRes will bear this better than AIC
or
2) you plan to use the file in an edit system that supports working directly in Pro Res.
MtD

Log and transfer inevitably crashing FCP

We're editing a couple of music video in FCP 6.0.1.
we shot with an HMC150 so the clips are being uploaded from an SDHC in an AVCHD folder via log and transfer. the first video went relatively fine barring several problems with log and transfer (files not matching thumbnails, files corrupting, FCP crashing) the problems seem to be random and inconsistent, as issues like a misplaced thumbnail or corrupted import could be reopened and fixed so there was no way to tell exactly why each thing was happening. eventually it all subsided and work went smoothly.
went on to finish video number two and after several imports the log and transfer feature has decided to be the death of the project. Choosing log and transfer inevitably leads to an almost instant crash of FCP unless all drives it's reading from are disconnected. reinserting any drive means an instant crash. the drives are not corrupt and function just fine with any and all other programs, even imovie.
why in the world can't i get FCP to stay alive when i open the log and transfer? please help.

Right - I've solved this one. It turned out that I'd recorded some 1080p50 footage. The mere presence of this on the card freaked Log & Transfer. The camera doesn't make it easy by hiding that footage when you're looking at 1080i25 (or whatever "normal" mode is).

Cannot reconnect to Canon HF11 in Log and Transfer window

I am using a Canon HF11 HD camcorder with FCEHD and was able to view, log and transfer clips into FCE without a problem. I saved the project on FCE but when I came back the first time, it told me that several clips were missing and could not reconnect to the media. When I came back a second time, now it will not recognize the camera in the log and transfer window. Anyone else had a similar problem? Any suggestions would be great.
Thanks

I was having the same issue with a Canon HF S100. What seem to work for me was connecting the camera AFTER I opened the Log and Transfer window. Read my complete description on this thread, http://discussions.apple.com/thread.jspa?messageID=9573812#9573812.

Log and Transfer: Options besides Apple Pro Res 422 ?

Hi, I am now using a camcorder that records files to a card. When I use Log and Transfer in FCP, the resulting files default to Apple Pro Res 422, which are absolutely huge. Is there a way to set this up to transfer to a smaller file type, maybe of a quality similar to HDV?
Thanks, BOb

There's a reason HDV files are small - they're highly compressed files. Final Cut is a professional product - it's built for high quality video, which requires storage space.
In some instances can change Log and Transfer preferences to transcode to ProRes422 LT, which is a lighter weight version of ProRes422. The files will be smaller, but they probably won't be as small as you're hoping they will be.
Open the Log and Transfer window. On the upper region there will be a gear, pick that and pick preferences. Find the camera type you're using and change the Target Format to ProRes422 LT if possible. As you did not tell us what kind of camera this is it is impossible to tell which one you need to change.
All that said, storage is pretty cheap. If you don't do a whole lot of editing a 320gb G-Drive Slim for $80 would be a great investment. If that isn't an option and you really need small files I would suggest editing in iMovie. I believe it converts everything to H.264, which is very small in comparison to ProRes. Don't try editing H.264 in FCP.

Uncompressed vs Pro Res 422 (LT) as archival codec and as editing codec

Hi -
I'm working on a project where we will be capturing 600 hours of footage from Hi8 tapes. The tapes are in somewhat iffy condition so we're only going to get one pass with them and that's it.
We've agreed with the owner of the tapes to digitize all of them for archival purposes, after which we will make a backup copy for us to edit with. We want to use Pro Res 422 (LT) as our editing codec, but there's some question about what codec we should use for archival purposes -- Pro Res 422 (LT) or uncompressed 10-bit 4:2:2.
Basically, the debate is, given that the Hi8 format retains a relatively small amount of data, is there a benefit in terms of quality if we archive the tapes in uncompressed, or will the quality be just as good if we deliver in Pro Res LT to the archive?
Thanks!

Because while we would prefer Pro Res as our editing codec, the people to whom we will deliver an archival set of the material may insist on uncompressed.
Please -- no more questions about why I'm asking this question.
What I am hoping for here is a brief, to-the-point comparison of the pros and cons in terms of video quality of the two codecs (but something a little more informative than 'filet mignon' and 'hamburger').
I'm aware of the white papers, but I'd like to get the opinion of people with experience and knowledge who don't work for Apple who could boil it down --
Is Pro Res a good codec for archiving material, and how much if anything would be lost if we delivered to the archival house on Pro Res rather than uncompressed?
What argument, if any, can we make to an archival house that is leaning toward uncompressed that Pro Res will work as well for them? At the risk of answering my own question, would we be correct in saying that the image quality would be effectively as good with either codec (given that we're digitizing from Hi-8 tapes) and that delivering in Pro Res would save them a great deal of storage space?
As a reminder, we're talking about 600 hours of Hi-8 footage here. Thanks.

Sharing FCPX Pro Res 422 .mov master file with both Ps and Macs

I'm using FCPX 10.1.4 on Mac OS 10.10.2. I want to put a FCPX Pro Res 422 master file on a data DVD so it can be read and poled on both a Mac and PC using Quick Time 7. I tried using Toast 12 to create a data DVD playable on both a PC and Mac but it would not open on the PC. Any ideas what the problem might be or an alternative way to do this?
Thanks

One additional possible point of confusion: I think you wrote (or meant to write) "so it can be read and played."
A playable DVD is a very specific standard of filenames & compression sufficient to fit a two hour movie into 4.7GB of standard def video. Simply writing any video file onto a disc (maybe marked as "DVD-R") never creates a DVD that is playable in standard DVD players.
Given that, you can transfer any file (up to 4.7GB) by writing it onto a data "DVD" disc. However, as others point out, ProRes isn't windows-friendly (or good for small files) and just for seeing the video on other platforms, H.264 would be the right choice.

I'm trying to log and transfer from a pro res file (HQ) final cut s7 is telling me it is an unsupported format. What the?

i have a 58 min pro res hq file that is a .mov. it is in a folder on my hdd. i'm trying to syn rushes by logging and transferring clips from this file but i cannot bring the said file into log and transfer. final cut putsup a window that tells me the file is in an unsupported format. and to bring in a file with a supported pathway. this i do not understand. any simple explanation as to what i'm missing?

Thanks meg. I'm trying not to have to sync all the rushes in a timeline. All rushes are in the one 58 min prores file. I wanted to, I guess, log and capture the rushes as clips that I logg in the log and transfer winnow and that it would then log and sort out the material as proxy files. I'm guessing I'm just being lazy or it can't be done. Thanks for the reply but I was looking for a differentbway round than a straight import of the whole file.
M

All my settings are Apple Pro Rez 422 but when i log and transfer, i'm getting dvcprohd. what's going on?

All my settings are Apple Pro Rez 422 but when i log and transfer, i'm getting dvcprohd. what's going on?

If your camera shoots DVCPRO HD to P2 cards...like the HVX200, HPX170, HPX500, HPX2000...then it will come in as DVCPRO HD. Only AVCIntra P2 comes in as ProRes. DVCPRO HD P2 comes in native.

Date gone after pro res 422 log and transfer

Similar Messages

Maybe you are looking for