Exporting/Transcoding?

Greetings, I'm not very experienced in Catalyst or color correction in general but I can't seem to export/transcode a file using Catalyst and have it "show up" properly. I would consider myself very experienced using XDCAM Transfer and Content Browser over the years and move files from XDCAM discs, SxS and XQD cards to hard drives or discs with confidence. I did a shoot today with an FS7 and F5. No issues moving clips from their respective cards to a hard drive via Nexto 2825. Out of curiosity, I opened the FS7 clip from the hard drive in Catalyst and did a little messing around with the color correction tools. I arrived at a look that I liked and proceeded to transcode it back to the client hard drive in the same CLIP folder as the original, ungraded clip. Catalyst amends the name of the "new" clip with a "_1.MXF" suffix to the original. In reality, it's not really a transcode as the clip was output in the same codec, etc. that it was orignally recorded: XDCAM 422/50 at 1080/29.97 - but it's more of an 'output/export' in my mind. But whatever...it shows on the drive. But - what doesn't show are the .XML and .BIM files usually associated with .MXF files. Here's the strange part (to me, anyway...)The new, graded clip DOES show up and can be played if opened/located in XDCAM Transfer, but is not seen by Catalyst or Content Browser. I'm trying to get the new/graded clip to show up as it's own, standalone clip to give the client this option.What am I doing wrong? Thanks,Brian

I've replied to your post in the Catalyst section and will reply here for Sony F5/F55 users: I would have to say you are not using it correctly by putting the destination file to the same original folder, also Catalyst as far as I know does not generate any new XML or BIM files as you see on the card. (Just look at the file date/times and see.) Those files are created by the camera containing metadata for each clip. This also explains why when you go back to the camera clip folder with catalyst it's still showing you the older file - because all the relavant XML and BIM files are still pointing to the original file - not the new one. I think what you've got wrong here is expecting that Catalyst is going to make a new folder structure with all relavent metadata files, it will not. Just output to an entirely new path and give your client that. That's it.

Similar Messages

Catalyst Exporting/Transcoding

Greetings, I'm not very experienced in Catalyst or color correction in general but I can't seem to export/transcode a file using Catalyst and have it "show up" properly. I would consider myself very experienced using XDCAM Transfer and Content Browser over the years and move files from XDCAM discs, SxS and XQD cards to hard drives or discs with confidence. I did a shoot today with an FS7 and F5. No issues moving clips from their respective cards to a hard drive via Nexto 2825. Out of curiosity, I opened the FS7 clip from the hard drive in Catalyst and did a little messing around with the color correction tools. I arrived at a look that I liked and proceeded to transcode it back to the client hard drive in the same CLIP folder as the original, ungraded clip. Catalyst amends the name of the "new" clip with a "_1.MXF" suffix to the original. In reality, it's not really a transcode as the clip was output in the same codec, etc. that it was orignally recorded: XDCAM 422/50 at 1080/29.97 - but it's more of an 'output/export' in my mind. But whatever...it shows on the drive. But - what doesn't show are the .XML and .BIM files usually associated with .MXF files. Here's the strange part (to me, anyway...)The new, graded clip DOES show up and can be played if opened/located in XDCAM Transfer, but is not seen by Catalyst or Content Browser. I'm trying to get the new/graded clip to show up as it's own, standalone clip to give the client this option.What am I doing wrong? Thanks,Brian

I've replied to your post in the Catalyst section and will reply here for Sony F5/F55 users: I would have to say you are not using it correctly by putting the destination file to the same original folder, also Catalyst as far as I know does not generate any new XML or BIM files as you see on the card. (Just look at the file date/times and see.) Those files are created by the camera containing metadata for each clip. This also explains why when you go back to the camera clip folder with catalyst it's still showing you the older file - because all the relavant XML and BIM files are still pointing to the original file - not the new one. I think what you've got wrong here is expecting that Catalyst is going to make a new folder structure with all relavent metadata files, it will not. Just output to an entirely new path and give your client that. That's it.

Best Export/transcode settings for Sanyo Xacti HD1010 and FCP 6?

Just bought a Sanyo Xacti HD1010, which shoots in 1080p AVCHD/H.264.
I'm using FCP 6.0.6 on a 24inch Imac 3.06 w/4gb Ram
I'm going to Export/Transcode w/ Mpeg Streamclip (Best free DL ever), and I'm looking for suggestions for export settings to get the best looking footage possible into FCP. I've never really worked with AVCHD before (I'm used to dealing w/ ProRes 422 off HVX-200/P2 cards), and I'm kinda at a loss.
Thanks in Advance

Hi,
Not familar with this camera but if you have an intel mac you may be able to use log and transfer to get your footage into Pro Res, if not then Nick Holmes has a great tutorial for using Mpeg Streamclip, just do a search.
DM

Can't see timecode from transcoded footage

I shot some HD footage on a Lumix GH3, with audio recorded on a Zoom H4N. I synced it all up in Pluralize, and exported / transcoded into Prores 422 in Compressor. Now when I import the ProRes clips into Final Cut Pro 7, I cannot see the GH3's timecode. On the master camera file I can see the timecode at for instance 05:39:51:10 but in the ProRes clip it shows as something else related to the clip starting at 00:00:00:00 So how can I retain the original camera timecode after syncing and exporting/transcoding via Compressor? Thanks, I hope that's enough info.

If you exported from the Timeline (where Pluraleyes syncs things up), then the exported file adopts the TIMELINE TIMECODE, which generally starts at 1:00:00;00. The only way to retain the original timecode is to convert the file to ProRes first, then import and sync.

Export Using QT Conversion Causes Crash

Is there a bug-report area?

I've got a 2TB Time Capsule as well.
A time capsule is useless for video. That's like telling us you store everything in a 1999 volvo station wagon.
But what's the problem with having only 10GB free?
When you export (transcode) a video file, the system requires a great deal of swap space (scratch space) for the system and the program as there in nowhere near enough ram in your machine to hold all the data in memory during the hideously complex matrix transformations. This space is used temporarily so you will never see it show up in your file browser but if it is not there, the program will crash.
To address this issue you need to clear off space on your system hard drive so that there is adequate free space for the OS AND you need a drive to hold the media and act as a temp storage (scratch) disk for the program files.
x

Exporting anamorphic (2.39:1) footage to DVD

I'm struggling with exporting my film to DVD -- I shot with anamorphic lenses to the wide screen aspect ratio of 2:39:1. I can view the files okay in FCP after checking the anamorphic box. But once I start exporting with compressor, the only wide screen option I get is 16:9 (1.78:1), which looks squished on screen. the same in DVD Studio Pro, the only option for standard definition is 16:9. How can I make the DVD look "un-squished"? Is there any option for manually setting the aspect ratio? I can't seem to find it... Help please!

You'll need to scale the footage in the widest "legal" format, manually letterbox it, and then export/ transcode as usual.

Best way to export a film done on Final Cut 7 that's 2 hours long

Hi there, have created a 2 hour film on my IMac but when I try to export it. It keeps crashing half way through. All solutions gratefully received. Thank you.

HelpMePleaseX wrote:
The codec is mpeg2. Didnt get an error message, it just froze and stopped processing about 3/4 of the way through, cant seem to cope with the number of images.
MPEG-2 is not an editing format but a delivery format. If it's SD you can choose between DV, DVCPro50, or ProRes depending on what the source footage is. Or are you exporting/transcoding to MPEG?
What do you mean number of images? Are you making a slideshow from stills?
Also: try to free up some disk space (keep at least 200 - 250 GB free). If you have a lot of renders you could delete the render files.
HelpMePleaseX wrote:
I use the latest IMac and export through the compressor.
Are you using the "Send to Compressor" function? If so, don't do that. Compressor has the nasty habit of re-rendering the whole sequence. Export your timeline as QT movie, self-contained, and bring that into Compressor.

Premiere Elements 8 won't save when I change the presets

I'm trying to convert a recorded presentation from .wmv to .flv for a work website. If I render the video first, and then go to share I can output a .flv file.Although it does take 9 hours for a 1 hour recording. But for some reason its set to a tiny 320x320 screen size. As soon as I try to change this setting so that it isn't resized the whole thing stops. I don't get a crash message, and windows doesn't say it's not running. It just stops and the CPU sinks from 98% back to 100%.
Any ideas would be appreciated.

Welcome to the forum.
As Steve points out, WMV is a tough format/CODEC to deal with. It requires a lot of processing to use. It's far easier on the computer and the program, to do the conversion, prior to Import. For an SD (Standard Definition) Project, the recommended DV-AVI Type II w/ 48KHz 16-bit PCM/WAV Audio is as good as it gets. Editing will be much easier, and Export/Transcoding will go far more quickly. Note: DV-AVI Type II files will be about 13GB/hour of Duration.
There are many conversion programs available, and many are freeware. One that gets a lot of recs. here is Prism. I have never used it, as I have DigitalMedia Converter 2.7, but it's shareware. One feature that I like about it is the batch conversion, even from mixed source files. I load it, check my settings, and hit Convert. After a cup of coffee, all of my files are ready to be Imported and edited.
Good luck,
Hunt

Importing Movie Files From Handycam DCR-DVD108

I'm trying to import video files from the DVD of my Handycam. When I open the DVD icon on the desktop, I'm given the option to open VR_MOVIE.VRO files. But Quicktime won't play them. Does anyone know what application would open the VRO files?? Thank you!

I'm having a similar issue, though mine is a panasonic camera. VLC is able to open (and then export/transcode) the files for me. Anything that involves transcoding before importing definitely counts as a "work-around" rather than a solution in my mind though

Efficient compression of iPhone 6 videos

Photos for Mac + iCloud Photos has significantly improved my photography workflow: It is now much easier to keep all of my family photos and videos organized (side bar: favorite smart album is album = none). With 140GB in my photo library already though (on the 200GB plan), I try to save space where I can. Compressing my iPhone 6+ videos is one area that I hope to improve upon. I usually record in 30fps on the phone and use Compressor's Apple Device (Best Quality) export/transcode option to convert the videos. The process is slightly combersome though: (1) export the video from Photos for Mac; (2) compress the video with Compressor; (3) add it back to Photos for Mac; and (4) finally correct the EXIF date/time manually. Does anyone have a more efficient workflow to accomplish this objective (possibly using Automator)? Any help would be most appreciated. Thanks, ~Jim.

Russ,
I store all of my videos in iCloud and then sync across my various Apple devices. If / when I edit a specific event (e.g. multiple video segments of my son's birthday party), I use either iMovie on an iOS device or iMovie on my desktop (haven't purchased FCP yet). Once the movie is published and stored in iCloud, I go back and delete the various video segments that were used to create the final movie. Does that make sense?
In a nutshell, everything is stored in iCloud and synced across my iOS devices and Photos for Mac. I'm sure, eventually I'll run out of online space and be forced to store various videos offline (I'll likely continue using Photos for Mac and simply keep the videos as reference files outside the library)...the goal is to manage the size of the videos efficiently in order to keep all of my photos and videos in iCloud for as long as possible. I manage the size of the videos my using Apple's Compressor. I just wish there was a nose streamlined method of exporting the video from Photos to Mac to Compressor and then back again.

CS6, Ikegami MXF NOT Supported In Prelude & AME With Plug-In Installed?

Hi all,
The curse of the Ikegami MXF strikes again! Just installed CS6 including all of the latest Adobe updates which are so far so good. I love a lot of the new features though I haven't had much of a chance to get to any nitty gritty editing at this point. I am especially excited about Prelude!
I also purchased the corresponding latest version of this plug-in:
http://www.mainconcept.com/products/apps-plug-ins/plug-ins-for-adobe/t otalcode-cs-5-6.htmlhttp://
...which allows PPro to package the Ikegami MXF files for import through the Media Browser. I assumed the plug-in would translate to Prelude and AME as well to ingest/import Ikegami MXF properly. Initially I tested it only in PPro, which was successful, and went back today to perform various transcode tests in the hopes of having to only purhcase one pricey plug-in license rather having to purchase three in total. Unfortunately Prelude does not seem to recognize the plug-in...Here's a screen shot of the media browser in PPro vs. Prelude.
I also attempted to import straight into AME to attempt an Ikegami transcode. I was pretty positive that method would not work, and I was correct. AME crashed when a single Ikegami MXF video file was imported.
Please tell me this is an issue/bug? that can be fixed! Or my enthusiasm that Prelude will be the solution to my CatDV/Ikegami incompatibility will be deflated...I really don't want to be forced into a situation involving the tedious workflow of exporting/transcoding individual Ikegami clips out of PPro to be used on our other two editors and/or having to battle with a tightening state bureacracy for money to purchase two more expensive Total Code licenses...

Zac,
I have contacted MainConept per your request, but I will also mention here that I have not been able to re-create the AME crash as noted at the start of the thread. Total Code does work was promised within AME, but Prelude is still left hanging.
While Prelude does not provide video previews/playback/scrubbing of Ikegami MXF like the Media Browser in PPRo does, it will sucessfully transcode, what appears to be a video only file, into a sucessful self-contained video clip with the appropriate associated MXF audio. The successful transcodes from Prelude led me to believe that to some degree Prelude recognizes the Total Code plug-in even though the key feature of Prelude, video playback, is inaccessible. Though this quote from MainConcept says otherwise.
"What made you thinking that the TotalCode Importer probably was used because you were able to export Ikegami footage from Prelude is caused by the case that Prelude deals with pathes for that purpose. It doesn't need an importer for that."
I am hoping to utilize Prelude at the start of every edit session to selectively edit which files from a camera media card, including Ikegami GFPaks, will be copied/transcoded to their final storage location prior to editing, as Prelude is designed to do.
Another Prelude observation is that user presets created in AME, including some created using third-party plug-ins like UT and GoPro Cineform, are accessible in the transcode options within Prelude, while any Total Code based user presets created in AME are not visible in the Prelude transcode options.
I have a good feeling that now this conversation has been initiated bewtween the three parties that a solution will be reached! Finger crossed!
Thanks again,
Lindsay

How does Qmaster/Compressor distribute tasks?

I've been reading up on all of this and I don't understand how Qmaster and Compressor divy up tasks to the connected CPUs.
Lets say there's a sequence in FCP that needs to be exported to DVD. Does Qmaster/Compressor send bits of the audio and video to each CPU in the cluster or does each CPU get one task, like audio gets sent to one cpu, video gets sent to another cpu and any left over cpu's are left idle?
I guess I'm asking if Qmaster/Compressor divides up the work among all the CPUs for FCP exports/transcodes or does it just assign one task (audio or video) to a dedicated cpu in the cluster. I can't figure it out.
Thanks!
Too many to list Mac OS X (10.4.8)

If you use ref movies tho you can add machines that don't have FCP installed to your cluster (this does not violate the license terms either.)
The only thing w/ use ref movies is that all nodes need to be able to access the referenced footage at the same url, ie:
afp://myserver/sharedfootage
as long as sharedfootage is up, you are all set...
Good to know about the timeline tho - can you still segment jobs when coming off the timeline?

Help - lots of problems - very frustrated with PRE7

I've been working on a project for some time with much difficulty and once I solve one problem another comes up and different problems occur each time I work with the video. Here's where I'm at - any and all help would be EXTREMELY helpful.
- Virtual Memory - I get message often that it's low. I incresed my page file to 3048. I have all of the files on my external hard disc (200GB with 50GB free) and the actual PRE file on my computer (100GB with 24Gb free). The video is 30minutes long (when i try to burn to DVD it's 1.84GB, to .flv 70MB and to Mpeg 1318MB). The video is made up of still images, video, and music. I've already resized all images to 1000x750 and made sure all video is DV-AVI.
- Errors - I get all sorts of error messages. Some times the porject won't load and it's says PRE has to close. When I'm able to get the program to open I've successfully rendered it and saved it. But when I try to burn to DVD I've gotten transcode error at 5% or I get a message saying "The exception unknown software exception (0xc000000d) occurred in the application at location 0x78138aa0. Click on OK to terminate the program." Or it just freezes and does nothing.
- when trying to make it a .flv or .mpeg I get a message saying failed to return a video frame - cancelling operation.
Does anyone have any suggestions?? One idea is I have Premiere CS3 and I thuoght of putting the movie in there but then the whole thing appears as a sequence that I can't edit. Is there a way of editing it once converting it to Premiere or do I have to rebuild the whole thing? I'm so frustrated at this point and feel that I get different messages each time and after trying to troubleshoot this on my own for the past week I just can't figure it out.

- Errors - I get all sorts of error messages. Some times the porject won't load and it's says PRE has to close. When I'm able to get the program to open I've successfully rendered it and saved it. But when I try to burn to DVD I've gotten transcode error at 5% or I get a message saying "The exception unknown software exception (0xc000000d) occurred in the application at location 0x78138aa0. Click on OK to terminate the program." Or it just freezes and does nothing.
This error/error type is very often caused by a memory error, and most often with either the Page File, or by some program not reporting memory usage properly to the OS. That is why full disclosure on your Virtual Memory setup is critical. Also, what programs are also running, and what Processes are loaded? Task Manager>Processes will tell you. You likely have some loaded Process that is acting up. Also, when you get a crash, immediately open Event Viewer. Look in System and Application tabs. Open ALL yellow warning messages, and ALL red error messages. Follow all links provided. Some might give you a clue as to what is happening and why. Some will just be obscure code and of no use. Do not get frustrated if most are just code. Look for the ones with real info and also links - follow those links and read.
[Edit] For a closer look at Event Viewer, see this ARTICLE.
- when trying to make it a .flv or .mpeg I get a message saying failed to return a video frame - cancelling operation.
This is a common error when one has any gap in the Video Timeline. Zoom in to the frame-level in horizontal scale. set through the Clips, looking for any gap. If you get this message, note the % of Export/Transcoding. PE has a two-pass encoder, so you may have to do the math to really get you close to the spot, i.e. 50% of the operation is pass 1 of 100% of the Timeline. If you get it with say 98%, then you do know that it's happening near the end of your project, so the math aspect is diminished a bit. Sometimes gaps will Encode fine, other times a 1-frame gap will bring a Project to its knees.
Good luck,
Hunt

Information/Properties for Premiere project

Hi..
Premiere Pro CS5 Production Suite
iMac
I've just completed a short film in Premiere and sent it to Encore via Dynamic Link, and has all gone to plan ending in a successful DVD being burned.
However, I need to find out some information about the project.
This is :
Format and Codec
File Size
Data Rate
Frame Rate
Frame Size
I am fine with Frame Rate and Size. The format I know is PAL, but because I have sent this via Dynamic Link there doesn't seem to be a codec for it.
My file size is 770KB (as it is essentially borrowing the media from my files) but is there a total file size including these?
How can I find out what the Average Data Rate is? I have looked but can't seem to find anything?
This information is easy to find when a sequence has been exported to another format, but I am unable to find this either in Premiere or Encore.
Any help would be greatly appreciated.
Thanks
Andy

The Data Rate in Encore shows up as 8,192KB/sec, however I have just selected my sequence in Premiere and clicked File>Get Properties for>Selection, which brings up a number of windows showing the properties for each asset. I thought that maybe there would be a data rate for the finished movie, if not in Premiere, then in Encore.
What do you mean by the datarate in Encore?
The datarate of the movie on disk is what Harm indicated, the datarate of the vob. (In gspot or mediainfo, you can get the video and audio datarates.)
There is no finished movie in Premiere. There is only your source, and then, the "finished movie" on disk (and see below re Encore's work files).
As you may have seen, there is more than one vob that includes your movie, so no single source there.
Part of the point here is that your search for the "finished movie" may not be the single file you imagined. And adding things up may or may not be meaningful - are you looking for what the storage needs are?
Encore saves all its transcoded assets, menus, etc, in a directory structure below the encore project file itself. If you export/transcode a DVD ready file from Premiere (you are not), you will not find it in the project structure; it is found only where you exported it. When you dynamic link (or import a non-DVD-ready file), the Encore transcoded file will be in the Encore subdirectories. Unlike the vobs on disk, you will find a single file with the video (for DVD an m2v) and audio.

Proxy Media: Transcode Source File and Export Read File...

Hello, I'm new to FCPX. I have a Panasonic HC-X920. When I shoot things I copy the entire folder tree to my hard drive and import from there, rather than directly from the SD card.
I learned that FCPX "re-wraps" the truly original h.264 MTS files to "Original" h.264 MOV files. Not a huge deal, as there doesn't appear to be quality loss, and the MB/s rate is slightly higher on the MOVs. Ideally I'd be able to use the MTS files but FCP is Quicktime-based and I've decided I'm not worried about it.
Anyway,
My computer can't handle playing back 1080p 60fps h.264 footage. In order to have playback on an FCPX timeline, I have to transcode to either Proxy or Optimized media. Optimized, of course, takes up a ton of space, so I'm curious about using Proxy. But I want more info first.
I'm most curious about question #1, but here are two questions:
1.
Let's say I transcode everything to Proxy Media upon import. When I go to share/export a final file from my timeline, which of the following does FCPX do?
(A) Export the timeline using/reading from the lower-quality Proxy media, ignoring the Originals.
(B) Automatically replace the Proxy media with the Original media files, and export the timeline using/reading the Original media files while ignoring the Proxies.
(And if B is the answer, is it reading the Original MTS or Original MOV? I'd assume MOV, right?)
Does this question make sense?
I'll mostly be editing home movies with this, so it's not imperative that I be able to see what I'm editing in vivid detail and I can use Proxy for that to save disk space. But I DON'T want my final exports to be based on that lower-quality transcoded 422 Proxy Media; I want the proxies to be view-only, and I want the final exported quality to be based on the quality of the Original media.
My other question:
2. (probably not a big deal either way)
When FCPX transcodes to Proxy and/or Optimized, is it reading from (A) the "Original" MOV files it created upon import, or (B) from the "truly original" MTS files?
Thanks!

Tom Wolsky, thanks for your answer.
1. Where do I switch playback to original, in the Preferences? I'm attaching what I see in my Playback preference window. I don't see a place to switch this, am I doing something wrong?
2. That's what I suspected, thanks for clarifying.
Here's the screenshot I mentioned in #1:

Exporting/Transcoding?

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