Encoding ProRes HD to ProRes 16x9 SH

I have not found a preset for this in Compressor, am I missing it?
Anyone else doing this?
We have been editing HDV and exporting via HDV/DVCam tape where the company authoring the DVD then down converts in the Sony HVR-M25U and captures DV then MPEG encodes directly from the FCP project.
Two things, we are tired of dealing with all of the foibles associated with HDV (conforming) and the quality of this workflow is marginal.
Since they are encidong from FCP we could just as easily deliver an SD ProRes file which would remove the necessity for long conforming times and better quality.
Anyone have a recipe for this?

So, HDV to SD? What frame rate to what frame rate?

Similar Messages

Encode ProRes From Tape

Can I encode from video tape (not from camera) and make ProRes file, both 422 and 4444? I use to use Final Cut for this but...well, you know.

What do you mean by "encode from video tape?" Do you mean capture? I think you can, if you have the appropriate hardware, e.g. a third-party capture card, and FCP installed. Obviously, this is only available on the Mac, which I'm assuming you're using since you referred to FCP.
Or do you mean something else?

Encoding ProRes for Blu-ray

I have FCP 6.6 and Toast 10.0.3. I simply want to make a Blu-ray disc. I have a 720 24p movie. If I export is from FCP with the DVCProHD codec and bring it into Compressor it immediately gets all jaggy and looks like it lost half of its lines of resolution (before even assigning a target). So I exported from FCP using Apple ProRes 422 HQ. When I brought that into Compressor it looked fine. I compressed it and brought it into Toast to make a Blu-ray. I didn't have re-encode set to "Never" so it re-encoded it. Even re-encoded it looked 1000 times better than what happened with the DVCProHD blu-ray (which was completely unacceptable). But of course I don't want to to re-encode. So I dragged and dropped the ProRes clip straight into Toast to let it encode it and I get a -50 OSX error. So that doesn't work for some reason. So I took the ProRes clip and selected "Never" for re-encode and Toast just crashes every time. Short of upgrading to FCP7 I am at a loss of what to try next. Is any one encountering these problems? Know why ProRes won't MPEG-2 in Toast? In another post I read about an involved workaround for getting Toast not to re-encode which involved creating a disc image.
Thanks in advance.
-Thomas

I had never tried using MPEG-2 encodes from Compressor inside of Toast for making blu-ray discs, but when I tried a test project I ran into some trouble. It multiplexed to 82% and then just stalled - it didn't even switch into encoding.
When I tried using only the first half of the file it multiplexed and wrote to disk image without a problem. It would appear that something in the encoding of one of the elementary streams Toast didn't like. I ran into the same issue inside of Adobe Encore when I tried to bring the streams in there.
I haven't had such issues using .264 files form Compressor. I'm not really sure what to make of it.

USing Compressor I am encoding ProRes 422 to MP4 file

I am using Compressor (3.5)to create a MP4 file from a Final Cut Pro 7.0 three min sequence(H 264 Mov converted to ProRes 422) on a 3gb IMAC. When the file finally converts I play the MP4 file in QT and the sound is out of sequence with the video. When I convert to 800kps QT file sound is synched as well as on the timeline. Do I need to use some other type of player to view and hear the video in synch
Can some explain why that is happening

Instead of going to Compressor directly from FCP, try exporting a Quicktime movie from FCP, then take that file to Compressor. See if that helps.

How to encode 10 bit ProRes

How do you encode ProRes with 10 bits per channel in Adobe Media Encoder? In the video settings for all the ProRes 422 flavors, it gives the choice of either 24 or 48 bits. ProRes does not support 48 bit depth, so is that a bug? According to Apple's white paper, ProRes 422 supports 8 and 10 bits per channel.
When I do test encodes of ProRes 422 HQ with both 24 and 48 bit depths, the outputs are identical. It seems that the 48 bit option should be removed, and a 30 bit option added.
When using ProRes 444, the options are equally confusing. it gives options for 24, 32, 48, and 64. ProRes 444 supports maximum 12 bits per channel, and 16 bits for the alpha channel, so both "48 bit" and "64 bit" are misnomers. Could someone from Adobe please explain what is actually happening when you use these options? I'm guesing the 64 bit setting encodes 12 bits per channel plus 16 bits for the alpha, but I don't know.

I could be misunderstanding something, but I've been reading Apple's whitepaper to make sure of the details.
"48 bit" is unclear, because it could mean 12x4 or 16x3. Both combinations are impossible with ProRes 422.

License of ProRes encoder

We want to integrate the fabulous encoder ProRes into our software. And hope to get SDK, and related business contact, license, etc...
And I found there are a few devices such as professional cameras, recorders have licensed ProRes from Apple already:
1. http://www.arridigital.com/ : Arri digital cinema camera: Alexa.
2. http://www.aja.com/products/kipro/ki-pro-mini/ki-pro-mini-description.php: AJA, Ki-pro/Ki-pro mini recorder;
3. http://ww.atomos.com/: Atomos, Ninja and Samurai recorder.
So it seems Apple could license the encoder to other manufacturers.
Anyone could enlighten me?
Thanks,
Brian

You need to contact Apple. There is no one from Apple here. This is a user to user applications forum. You might try a developers forum.

Poor quality ProRes 422HQ exports compared to Final Cut 7 - suggestions?

At my workplace I'm looking at using Creative Cloud to replace Final Cut 7, but I'm having a really hard time producing broadcast quality ProRes 422HQ exports using Media Encoder. Detail levels are comparable but large areas of colour (e.g. a blue sky) show noticeable visual noise.
Looking closer you can see only 3 or 4 bands of colour with pixelated edges, whereas FCP deals with these gradients in a much more subtle way.
Source files are 1080p H264 movs from a Canon 5D and Final Cut exports (even from FCPX) just seem so much better.
More worryingly, I've even tried using AME's Animation codec or even Non-Compressed and the results are still quite a bit worse than a Final Cut 7 ProRes 422HQ export (we export from the timeline rather than using Compressor). Some tests I've done exporting to H264 at 12Mbps are also definitely inferior to Final Cut.
There aren't that many options to adjust - ticking Maximum Depth and Maximum Render Quality just adds lots of horizontal lines to the final file. Format is Quicktime, Renderer is set to Mercury Playback Engine Software Only.
Am I missing anything obvious or is Media Encoder just not as good? If so how is anyone using it in a broadcast workflow?
Below are some screenshots which I've made black and white and boosted the brightness so it's easier to see, but the pixelisation is noticeable on the normal exported movs and seems to be a definite step-down from FCP7.
This could well be a deal-breaker in terms of using Creative Cloud in the future - which would be very disappointing as the software itself seems great.
01 - H264 Raw - from Canon 5D:
02 - Final Cut ProRes 422HQ:
03 - Adobe Media Encoder ProRes 422HQ:
04 - Adobe Media Encoder ProRes 422HQ (Maximum Depth, Maximum Render Quality):
05 - Media Encoder Settings:
Sorry for the long post - any suggestions gratefully accepted!
Chris

Thanks for the response Kevin,
I fully updated as of last week - Premiere 8.1.0, Media Encoder 8.1.0.122 and ran the export again with a brand new Premiere project, dragged into a sequence, export media, selected Quicktime / ProRes 422HQ codec, matched the frame size, pressed queue to open Media Encoder and the started the export.
Exactly the same results I'm afraid - blocky, pixelated areas on gradients or areas of similar color.
Frustratingly, the free and 6 year old Mpeg Streamclip (v1.9.2) does a much better job, on a par with Final Cut. I don't suppose there's any way to automatically route the export via it?! Where Media Encoder uses 3 or 4 color shades with blocky finite edges, Streamclip and FCP seem to use 6 or 7 shades and the transitions between areas far smoother with visible dithering (you can see this in my original screenshots).
I would say that it seems to do with the source camera and how it's been originally encoded - I've done some further tests with Canon C300 rushes and they seem to convert / export well without problems and yet some blue skies in footage shot on a Sony F55 show some obvious banding (after conversion to ProRes 422HQ) that doesn't appear on the source.
I'm happy to provide the raw H264 mov to see if you are able to get any better results.
Chris

Apple Pro Res 64-bit Encoding

I've looked everywhere and tried everything...
https://helpx.adobe.com/premiere-pro/using/whats-new-7-1.html
At the bottom, under "support for new camera formats", there is a section regarding support for "Apple ProRes 64-bit" as a new camera codec. I looked everywhere in Media Encoder and the only thing with a "64" in the Apple Pro Res Codecs is under Apple Pro Res 4444 in the "Maximum Bit Depth". However, this option was already available so that 's not what Adobe could be reffering to... I understand that there is support to utilze the 64 bit capabilities to quicken the transcoding process but does anybody know anything about a new Pro Res Codec at 64-bit? Where it is? What it entails?
Anything at all would be awesome. Thanks.
-Dimitri

Hi Dimitri,
It's 64 bit as in it uses a 64 bit process on a Mac. It does not refer to 64 bit depth. The only and main difference is that encoding ProRes is going to be faster now.

Premiere CC can't import Apple Motion files after clean install

Got a new SSD so I decided to do a spankin new install of everything except Final Cut Pro legacy (which I thought I could finally do without). Only snag has been that Premiere CC can't import my Apple Motion projects (version 3) and I can't encode ProRes anymore. Rather than do a lengthy install of the whole Final Cut Studio I just decided to purchase Motion 5 and thought all the functionality would come back. Nope. Premiere's browser won't even display .motn files and if I try to "import" them they are greyed out.
So now I'm stumped. Do I need to install Motion first and then Premiere CC?
MacPro Mavericks
Premiere 7.2.2

Hi R & G,
I don't believe Motion 5 projects are supported. Motion 4, or earlier, as I understand it. You can install FCP to get the ProRes codecs back.
Thanks,
Kevin

Cross-compatibility between FCP7 & AE CS4 on Win7-64 - how to make it work?

I'm currently capturing from an Intensity Pro on a mac OS X 10.5.8 thru HDMI so my source is very high quality.
I've been capturing to ProRes 422 HQ.
I'd like to edit in FCP7, then output clips that would be used with AE CS4 on Win7-64.
Also on the PC, I'd like to be able to use SynthEyes to view the clips to get motion tracking data.
I want to them be able to move my output from AE CS4 on Win7-64 back to the Mac for final editing.
The roadblock seems to be the lack of ProRes 422 HQ on win7-64 (unless I'm missing something).
I'm open to using another Codec (like Cineform?).
If I have to, I'll capture in Premiere (and maybe look at an Mx02 Mini while I'm at it) but I'd prefer to do my final editing in FCP7 - so I'll need a way to get the clips over to the Mac without degrading them.
Any ideas on how to make this workflow work?

my only issue is how to get the resulting files back to FCP so that, when I mix them in with other ProRes files, I won't have some massive re-rendering headache.
Exactly. And the Windows machine cannot encode ProRes.
I've asked the CineForm folks if they can output a ProRes container (packaged with their codec inside) - and maybe this will work?
No...they don't do ProREs. That is an Apple codec. They do CINEFORM codec. If you convert everything to Cineform, and encode to that format on both, then you have no rendering. But I'm sure you'll need to get two licenses...one on each machine.
What codec could you use on both machines that is comparable to ProRes? Well...Cineform. Sheer by Bitjazz. Not sure if the UNCOMPRESSED codecs are cross platform, meaning that the PC can render to this. I have always exported an Animation codec to the FX guys. They do their stuff, send back Animation, then I convert to the format I am working with. Yeah, that is a lot of converting. Which is why it might be wise to use one codec both machines can read/encode.
Shane

Blocky video on dvd playback.

Hi, sorry if this has been dealt with before but I'm not too wise just yet with final cut studio and have been having some trouble with blocky video on dvd.
I shot some video using hd pal and captured that in fcp. I used the corresponding timeline. I was then advised to export the project using self-contained-file with encoder ProRes 422, and to then put this through compressor using dvd90minute and changing dialogue normalisation to -31, compression preset to 'none' and the average bit rate from 6.8 to 8.0. I then imported this into dvd studio and burnt the dvd. When this plays back some of the shots, not all of them, randomly appear blocky, some more than others. I am obviously doing something wrong when exporting and/or compressing, but I think the problem lays in the compression.
The blockiness appears on playback on both the mac and dvd players. It occurs at moments of static camera. One particular part, it is just someone sitting down talking and the video doesn't look right as it plays. It then becomes blocky and as it plays the entire picture sort of jumps to and fro blocky to normal in quick succession. This doesn't occur throughout, only in some parts, and the parts that it does not happen aren't any different in content than the ones that do jump.
Since the quicktime file I exported appears to look ok in quicktime, perhaps the problem lay in either the compression or the burning?
If someone could give some advice, it would be really great!
Thanks.

JMorris12 wrote:
put this through compressor using dvd90minute and changing dialogue normalisation to -31, compression preset to 'none' and the average bit rate from 6.8 to 8.0.
Well, first of all, dialogue normilization and compression preset are audio settings and have no bearing on how your video turns out. But why are you mucking with the preset to begin with? Especially if you're new to FCS? It's possible that cranking up the average bit rate of the MPEG is causing trouble for your DVD player.
My advice is to just trust the preset and only make changes IF you are seeing poor results. Remember, you are going from HD to SD by making a DVD so there is going to be unavoidable quality loss. Don't expect as clean and clear of an image from the DVD as you have from your exported QT. The basic DVD presets work wonderfully for a variety of situations so start there before making changes.
Andy

Blocky video on burnt dvd.

Hi, sorry if this has been dealt with before but I'm not too wise just yet with final cut studio and have been having some trouble with blocky video on dvd.
I shot some video using hd pal and captured that in fcp. I used the corresponding timeline. I was then advised to export the project using self-contained-file with encoder ProRes 422, and to then put this through compressor using dvd90minute and changing dialogue normalisation to -31, compression preset to 'none' and the average bit rate from 6.8 to 8.0. I then imported this into dvd studio and burnt the dvd. When this plays back some of the shots, not all of them, randomly appear blocky, some more than others. I am obviously doing something wrong when exporting and/or compressing.
If someone could give some advice, it would be really great!
Thanks.

Hi, this does occur on playback on all dvd players.
It occurs at moments of static camera. One particular part, it is just someone sitting down talking and the video doesn't look right as it plays. It then becomes blocky and as it plays the entire picture sort of jumps to and fro blocky to normal in quick succession. This doesn't occur throughout, only in some parts, and the parts that it does not happen aren't any different in content than the ones that do jump.
If you need any more information in what I've done let me know. Hope you can help. Thanks.

ProRes presets for Media Encoder CC now available for download

Hi everyone,
We have new ProRes output presets available for Media Encoder CC. You can download the presets here
While the new presets do not add new functionality to Media Encoder, they do provide added convenience. By definition, these presets are for use on Mac OS. If you are on Mac OS X 10.8, or 10.9, the ProRes codecs come installed with your operating system. If you are using Mac OS X 10.7, you will need to install one of the Apple Pro apps (Final Cut Pro, Motion, Compressor, etc.) for the presets to function correctly.
Here’s what’s new with the Media Encoder CC ProRes presets:
Preset names have been updated to say "SD" (instead of “DV")
The Field Order of PAL SD presets changed from "Lower" to "Upper"
Frame Size of NTSC SD presets changed from 720x480 to 720x486. This is based on Apple's ProRes specifications. If 720x480 versions are needed you can create your own User presets with these settings.
Enhanced support for multi-track audio sources. New "Audio Track Layout" and "Channel Layout" sections let you specify the number of exported tracks, track types (single track, dual mono, or stereo pairs), and channel mapping for 5.1 audio
Please note: the ProRes presets should only be installed on AME CC (7.x). They may not work correctly in AME CS6 or earlier versions.
If you have any questions, please let us know.
Eric

Hi Eric,
Much appreciated, but I was wondering when we might expect a framerate and resolution independent way of transcoding media?
Sometimes (as in most of the time) I don't really care about changing resolutions or retiming anything, I usually just have a pile of media that I would like to conform to a single codec, independent of framerate or resolution, like at this very moment.
Right now I need to transcode 100+ clips in various flavors of h.264, mp4, and animation codec in order to get this media into Resolve. I don't want to have to specify different framerates and resolutions, I just want them transcoded to ProRes.
The presets are nice, but the ability to do what I'm needing would greatly reduce the need for presets like these.
Thoughts?
Thanks!
Message was edited by: Graham Hutchins, added a line.

ProRes 422 MOV files offline in Adobe Media Encoder 2014 (but online in Premiere)

The question is NOT about exporting PreRes files from a Windows PC, which is what I keep finding in my searches.
My client gave me ProRes 422 MOV files. I imported them into Premiere Pro CC 2014. I could see and edit them fine. But when I export them via Adobe Media Encoder, they appear to be offline. BTW, other media sources exported fine, such as the PNGs and JPGs I cut to. (I don't think it matters, but I'm attempting to make h.462 mp4s, which I do all the time, and have done with ProRes sources before using CC 2014.)
I tried exporting a short video clip (using same ProRes 422 source) from Premiere and it worked fine. Why not Adobe Media Encoder? I need to encode batches of videos with ProRes sources overnight, so exporting from Premiere is not a good option.
I'm on a Win 7 PC and I have QT Pro and iTunes (which I think also installs codecs).

Everything seems to be working fine now, though I don’t know why. I did update my iTunes (which I’d rather not even have installed on my PC because I never use it, but removing it seems to mess things up). I’ll also make sure to keep my QT updated. I thought it was because I upgraded to the paid version a couple months ago hoping to fix a similar problem, but again, it seemed to get fixed when I updated iTunes.
Thanks for getting back to me!
Bill

Media Encoder changes the timecode when converting to Quicktime ProRes 422 (LT)

After spending the majority of my day searching for a solution to this problem, I am hoping someone here will know how to resolve this issue.
After encoding several hundred clips of various file types to ProRes 422 LT at 23.976fps in Media Encoder, we discovered that the timecode of the source clips and the LT clips varies significantly when we bring the quicktime clips into FCP 7 or Quicktime 7. This is also creating issues for the EDL.
The source clips are XDCamHD, H.264, and .R3D files. We set up a batch in AME with a preset for ProRes (LT) at 23.976. After the batch processes, we import the clips into FCP 7 then export an EDL from the sequence. The EDL shows timecodes that do not match the source clips.
The timecode is off by several hours, not just a few frames. If we look at the LT clips in Premiere, the timecode seems to match the source clip. In Final Cut, not even close.
Any ideas on where to start on this one?
If we use RedCineX to convert the R3D files, things seem to work. Also, compressor seems to have correct results. We were hoping that media encoder would be the solution as it processes these clips much faster.
We are looking for a solution that doesn't involve re-transcoding all of the footage.

Two.
First, this.
http://help.adobe.com/en_US/premierepro/cs/using/WSd9957a95a81082eb28f05af5126718c47be-800 0.html
Second, this.
Customize or load keyboard shortcuts
From the Set menu in the Keyboard Customization dialog box, choose the set of keyboard shortcuts you want to use in Premiere Pro:
Adobe Premiere Pro Factory Defaults (Adobe Premiere Pro CS5)
Adobe Premiere Pro CS5.5 (Adobe Premiere Pro CS5.5)
Shortcuts For Avid Xpress DV 3.5 (Adobe Premiere Pro CS5)
Shortcuts For Avid Media Composer 5 (Adobe Premiere Pro CS5.5)
Shortcuts For Final Cut Pro 7.0

Encoding ProRes HD to ProRes 16x9 SH

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