Fastest Converter for h.264 to ProRes

So long story short, we'll be shooting a few videos with some Nikon D600s and bringing them into FCP7 for overnight edits on location with MacBook Pros. I usally use Compressor to convert the footage over to ProRes but since we will be shooting a lot of video and the edit times are very tight (overnight) I'm trying to find out if anyone has found a converter that can transcode the video faster than Compressor does? Runnng some small tests Compressor is going to be a bit too slow for our turnaround time, but I understand we may have to make due. Was just checking if anyone has found a converter or workflow that is noticably faster than Compressor?
Thanks

So just an update for ya'll since I did the tests. I ran a bunch of tests with my i7 macbook pro (on 10.8.5) using a 2gig h.264 clip and found that it took 29:22 min to render a pro res clip in compressor 4, and 29:24 in compressor 3. Then after setting up the Qmaster as decribed in the doc and setting it for 7 instances it took 29:15 for compressor 4 and 29:33 in compressor 3 (strangly longer). So Qmaster made no diffrence for me at all.
Mpeg Streamclip did it in 26:30 so a bit faster. But the solution we're going to use is to render in the DaVinci Resolve lite which renderd it in 15min! The GPU rendering in Davinci really helped and I didn't have to put any Gama correction on the clip (for some reason compressor changes the gamma a bit).
Thanks again

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Converter for H.264 to DivX

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QT pro will export DivX, with the DivX Decoder and Encoder plug-ins.
http://www.apple.com/quicktime/resources/components.html

H.264 and prores proxy question

I've read through a ton of posts about proxy and h.264 workflows but didn't find any that answers my specific question.
My raw video from my camera is mp4 (h.264). I understand that h.264 is not good to edit with, so I have a few options. I use a macbook pro for editing so I have been toying around with prores proxy for editing and it makes a difference on RT playback and rendering while editing, so that's good. When I get ready to output my movie after editing, I relink my project back to the original h.264 source files and that seems to work fine.
I'm wondering if that's not the right workflow though. Should I transcode the h.264 into prores HQ or LT and then ALSO to proxy, edit with proxy and then relink my project back to the HQ or LT files to output? Or is linking back to my source h.264 files and outputing the right way to go?
Since the original files must be in the best possible quality that I'm going to get (since they're my original clips), I assume that relinking to them right before output is the way to go but I really don't know much about codecs to know if I'm missing something.
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Thanks for your response. I'm shooting with a Sanyo FH1, mostly in 1080p, but I've scaled back to 720 since 1080 was overkill for what I'm doing to save some space.
The thing I don't quite understand yet is the issue with pointing my project back to the source files after all the editing is finished with prores proxy and just before output. That way, FCP would only have to uncompress the source files to render for final output only one time (besides the initial transcoding), albeit, probably longer than it would be for prores. I'm sold on proxy because it was so much faster to edit with than h.264 and I didn't have to keep any video files after I was finished except my source files....trying to budget hard drive space. I transcoded one file a while back to prores but the file size was more than I wanted to deal with since I only edit on my macbook pro so I didn't try to edit with it. Like you said, maybe just converting to prores and dealing with the space juggling would be the best way to go, or try prores LT to see how the quality is.
Does converting from h.264 to prores buy me any quality or a better final result, or just a cleaner workflow? Don't misread my questions, I'm not arguing, just trying to understand from you guys that know a lot more about this than I do. Making my living as a developer, it's just ingrained in me to understand this one
Message was edited by: kenmoberg (updated macos version)

Major Workflow for Sports Team- H.264 and ProRes

I need some help hammering through my media management and workflow...
I'm trying to create an effiecient workflow to work with a sports team.
Currently I'm recording my games with a BlackMagic H.264 Pro Recorder, 720p 60fps, creating a 8-14 gb .mp4 file. (I will keep these files on a seperate hard drive as an archive of the entire season's games.)
Next, I need to take these .mp4 files into Final Cut Pro X, to cut clips of the "highlights" of the game and "individual highlights" of eacher player. Imagine each game containing 4-5 highlights for each player, creating a huge reel by the end of the season.
My plan is then to create a new event, importing the h.264 media file, creating ins and outs of the highlights, and drop them into to each players individual highlight sequence/project.
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Now, these files are going to imported, rendered and transcoded for Apple ProRes 422. Are these files now ProRes, or are they Proxy ProRes, referencing the original H.264 media?
My concern is that I'm going to quadrupling my media when the H.264 to ProRes takes place in Final Cut Pro X.
My final output/export will likely be back to 720p 60fps H.264 .mp4 for iPad and other digital formats.
Am I making sense? Does anyone have any suggestions for improvement?
My Computer:
Mac Pro 5,1
2.8 GHz Quad-Core Intel Xeon
6 GB Memory
OS Snow Leopard
Final Cut Studio 3
Final Cut Pro X

creating ins and outs of the highlights, and drop them into to each players individual highlight sequence/project.
Rather, keyword each player, then you'll have a keyword collection for each player in the browser. You can have separate keyword collections for each player and for each game and for each type of action and group the each type of keyword collection into a folder.

D7000 H.264 to ProRes - Ridiculously long conversion times

When converting the D7000 footage from h.264 to ProRes for editing in Final Cut, it's taking absolutely ridiculously long to do so, even with short clips. I primarily use the Canon 7D. When converting 7D footage with those same output settings, it's acceptable the time it takes. But, with the D7000's footage, it's then astronomically longer of a process.
Does anyone know why? I'm assuming it has to do with the higher compression of the Nikon footage, but I wanted to see if there is anymore light to be shed on this.
Thanks in advance for taking time to read through this.
Evan

Shooting on the D7000, I used Image Capture to import a 2 minute 1080p24 clip that was 325 megs,
Compressor processed it to ProRes422LT using 7 of my 8 cores in about 7 minutes to a file that is now 1.2 gigs.
So, roughly, I'm looking at 6-8 times real time to process H,264 to ProResLT into a file that is roughly 4x the size of the original.
The image is lovely but shooting through my Nikkor primes has several negative aspects, most notably, today's autofocus lenses have focus barrels that go through the entire range in 120 to 200 degrees. My ancient manual Nikkors had focus rings that used 200 to more than 360 degrees of rotation to go from minimum focual distance to infinity. This, in combination with a split image rangefinder or microprism, meant precision focus was easy to achieve on the older lenses. Today's lenses have tolerances that are too tight for manual focus, merely letting go of the focusing barrel pushes the lens past the exact focus point. Of course, a precision focusing aid is not an option on any of Nikon's "professional" cameras these days.
Auto focus tracking while shooting is unreliable and unprofessionally lame. Manually tracking focus while shooting requires a very good monitor hood/magnifier. This requirement alone makes the whole DSLR video thing totally stupid and completely amateurish. Even though I scored a new camera, I'm stuck with this lame process because some pinhead at my company has suddenly decided bokeh is cool.
Why doesn't Nikon just adapt their CMOS, lens mount and basic controls to a dedicated, fully professional digital cinema camera?
bogiesan

Hi all ,anyone knows some usefual Codecs for H.264 live video/audio

I'm headache about the JMF codecs ,they are too few ,and seems inefficiency, anyone knows pure java codecs for H.264 or MPEG4 ?And I think it's better a open source one ,do my thanks , guys!

Here are some basics....
FMLE creates RTMP protocol streams that PCs and Macs watch with Flash players. iOS devices don't understand RTMP (Flash), only HLS delivery of 10 second chuncks of downloaded video playback. Both systems understand H.264 video, but iOS wants to see AAC audio not MP3.
You didn't state how you are live streaming, meaning what bandwidth delivery service you are using. Live streaming only via RTMP won't get you to successful iPad and iPhone HTTP Live Stream. On-demand delivery to iOS devices normally requires .mp4 video files to be hosted, which Macs and PCs also understand via RTMP delivery. But unless your delivery service can convert .f4v or .flv files to .mp4 on the fly there is no easy way to to get to iOS via the direct file output of FMLE as of today. Sometimes we upload live encoded project files to our www.Wistia.com account for PC, Mac and iOS delivery. This is a YouTube / Vimeo paid type hosting service for on-demand only.
Some commercial CDNs (Content Delivery Networks) today allow an inbound live RTMP into their system using FMLE. Then they re-mux that RTMP stream into HLS delivery for iOS. Some work well using the native MP3 audio codec (Internap), but most require FMLE to have the AAC audio codec installed from Main Concept for $200. Or people use Wirecast from Telestream which is $500 per license to be able to run two instances on that one license.
In my 15 years of being a big commercial webcaster here in Silcion Valley, I have yet to find the perfect simple and easy and affordable RTMP to HLS live and on-demand delivery system. We currently do it different ways with multiple providers depending on the job. More offerings are coming out now and we try them all as they come down the pike.
Harvey Louie
Event Compression Group

Converting MXF files to Apple ProRes 422 HQ generates no audio, video only. Why?

Hi,
Does anyone here have experience with Aunsoft TransMXF for Mac or Aunsoft Video Converter for Mac?
I was using Aunsoft TransMXF for Mac to convert my Cannon C300 MXF files to the Apple ProRes 422 HQ(*.mov) format so that I can import and edit my video footages without rendering in Final Cut Pro X.
However, the converted MOV file from Aunsoft TransMXF for Mac included no sound, only video (which was in excellent quality though).
I have played the generated Apple ProRes MOV file in both QuickTime and FCPX, no audio at all.
But the original MXF files just previewed fine with audio in the camera itself.
I am not sure if there's anything wrong with my MXF files or with the Aunsoft TransMXF for Mac program.
Any suggestion here is appreciated!

Just got the solution.
I contacted the customer service at Aunsoft and they offered me the workaround. Here shares the information so that people with similar issue could have a reference.
From Aunsoft:
Why Canon C300/XF100/XF300 MXF files converted with no sound?
If your MXF files from Canon C300/XF100/XF300, etc are converted with no sound, or your MXF files previewed in Aunsoft program with only video, please do not worry. It is because Canon MXF contains two audio tracks, one with sound but the other with no sound. Aunsoft TransMXF or Video Converter happens to pick the track without sound by default. This is the reason why the converted output will has no sound but only video.
No worries, here’s the solution for this issue:
On the main interface of your Aunsoft program, click the "Show selected task properties" button on top of the Format box and then select in the Audio Stream ID box a different audio track.
Then, you can play Canon C300/XF100/XF300 MXF files in the preview window with both audio and video.Meanwhile, the files converted will also be with sound.

Converter for MTS File?

Is any converter for convert MTS file to quick time?
do anyone know it?
Thx...

MTS format is a high-definition MPEG, AVC, H.264 transport stream video file format which commonly used by HD camcorders such as Sony, Canon, Panasonic.MTS files are used primarily with Sony hardware. Camcorders make use of MTS in the form of AVCHD, a recording format made specifically for camcorders. Some camcorder models from Canon also use MTS files. These files are also present on Blu-ray disc compilations, therefore they are capable of storing quite a large amount of information and data tracks.
Since mts is not a mac suitable video format, so it's necessary to convert it with mts converter for mac, you can choose the output video format as quicktime mp4.
Hope you resolve your problem asap!

Any experience with Aunsoft Video Converter for Mac

I have a Panasonic Lumix FZ100 camera, and I am unable to download my High Definition movies from the camera to my Mac. I have tested out the Aunsoft Video Converter. Is this the best programme?
I can also get this bundled with a DVD ripper. Will this work on my Mac, and can it convert or rip foreign DVDs (actually PAL but formatted for UK)?
Ann-Marie Wasley

I am using some Aunsoft programs. Hope my information helps somehow.
The Aunsoft Video Converter for Mac is a nice program. I usually use it to convert my videos (AVCHD .mts format) that shot with my Panasonic camcorder to the Apple ProRes format for editing in Final Cut Pro X. Sometimes I also convert differnt videos to the MOV or MP4 format to watch on my idevices (iPad, iPhone, Apple TV, Macbook). The converter program worked nicely.
It seems your Panasonic Lumix FZ100 camera also shoots video in the AVCHD (.mts) format. If you want to convert your video footages with Aunsoft converter you need firstly transfer the video files from your camera to Mac using the USB cable that comes along with your camera. Then load the videos from your computer into the video converter. The .mov

URGENT- h.264 to ProRes issues

A client sent me a series of .mts videos that Compressor wasn't able to recognise. I used an MTS converter a friend recommended, which was only capable of converting to h.264. These videos look fine and I was confident that I could just convert them to ProRes and begin editing.
However, when I looked at the resulting ProRes videos, they look really "laggy" and kind of like they are being played in slow motion. It's really choppy and horrible. I figured it was something like wrong frame rate but everything I've checked seems to match the original video.
I'm absolutely stumped, I've tried pretty much every combination of settings in Compressor but can't work it out.
I can't edit in h.264, but the ProRes files look like garbage.
Please help, this is quite urgent.
Many thanks
Ryan

Best settings for h.264 export in HD

Hello, i have been reading a lot about h.264 in these forums and on the internet and im a bit stumped on how i should export my video. i shot it in 1080p 29.97 on a canon sx10 is. the file imports fine and exports no problems, but the ending quality is pretty bad. BTW im using FCE 4. first, the video in FCE looks great. i know it converts it to AIC and that part is high quality and fine. if i export it to a self contained movie, it crops it but it is still pretty high quality. my problem is i want to store the file and wont edit it again so i dont want a huge AIC file. i want the resultant file to be mp4 with h.264 and AAC audio. i dont care too much what the filesize is for the mp4 but no matter what i do i cant seem to get as good quality as the AIC, no matter the bit rate, or any other settings i change. can someone point me in the right direction as to what the highest quality output for h.264 would look like in FCE 4? thank you!

Here are some basics....
FMLE creates RTMP protocol streams that PCs and Macs watch with Flash players. iOS devices don't understand RTMP (Flash), only HLS delivery of 10 second chuncks of downloaded video playback. Both systems understand H.264 video, but iOS wants to see AAC audio not MP3.
You didn't state how you are live streaming, meaning what bandwidth delivery service you are using. Live streaming only via RTMP won't get you to successful iPad and iPhone HTTP Live Stream. On-demand delivery to iOS devices normally requires .mp4 video files to be hosted, which Macs and PCs also understand via RTMP delivery. But unless your delivery service can convert .f4v or .flv files to .mp4 on the fly there is no easy way to to get to iOS via the direct file output of FMLE as of today. Sometimes we upload live encoded project files to our www.Wistia.com account for PC, Mac and iOS delivery. This is a YouTube / Vimeo paid type hosting service for on-demand only.
Some commercial CDNs (Content Delivery Networks) today allow an inbound live RTMP into their system using FMLE. Then they re-mux that RTMP stream into HLS delivery for iOS. Some work well using the native MP3 audio codec (Internap), but most require FMLE to have the AAC audio codec installed from Main Concept for $200. Or people use Wirecast from Telestream which is $500 per license to be able to run two instances on that one license.
In my 15 years of being a big commercial webcaster here in Silcion Valley, I have yet to find the perfect simple and easy and affordable RTMP to HLS live and on-demand delivery system. We currently do it different ways with multiple providers depending on the job. More offerings are coming out now and we try them all as they come down the pike.
Harvey Louie
Event Compression Group

Anyone done a comparison between compressor & Squeeze 5 for h.264 output?

Anyone done a comparison between compressor & Squeeze 5 for h.264 output?

I'm not that concerned about speed, primarily interested in quality.
Intended delivery would be over the web, but also on an HDTV flat screen in a waiting room at best resolution (would H.264 be the best choice for that use?).
Source would be 1920 x 1080 24p ProRes 422 (recorded directly from HDMI using a humble Canon HV20 and an Intensity card).
As to the size, that's becoming less of an issue with bandwidth such as it is. 20-30% larger wouldn't make a difference to me.

Is it wise to keep the Nikon camera files "DSC's" after downloading them and converting to DNG files via Adobe converter for lightroom use. In other words do the DNG files have all the raw data I would ever need in processing or should I save the camera'

Is it wise to keep the Nikon camera files "DSC's" after downloading them and converting to DNG files via Adobe converter for lightroom use. In other words do the DNG files have all the raw data I would ever need in processing or should I save the camera's DSC files?

DNG files do not contain some metadata supplied by the camera, which can be used by the manufacturer's software. Thus, if you don't keep the original Raw photo, you will lose this information.
If your 1000% sure you're never going to use the manufacturer's software, then this isn't a problem. But who can be sure what software you will be using 10 years from now?

Outlook Sync Error SOLVED - Multi-day repeating appointment cannot be converted for use on the Handheld...

*UPDATE 1/23/2009 07:08 AM* This is a partial fix. I no longer think the Recurrence Range is the culprit. It seems the Time Zones features between Outlook & Palm are not cooperating. This explains why my 12 am events are syncing as 6 pm the day before; I live in GMT-6:00 so it's moving my events ahead by 6 hours. Another event I set for 1 pm in Outlook was changed to 7 am on my Treo. I am going to start over and recreate each event, this time setting the Time Zones, which I hadn't done before. I tested it out and it worked with a single event... let's see how long it lasts. I've also found that using 'No Time' on my Treo is not compatible with Outlook. It's better to set a time with 0 minutes duration.
*UPDATE 1/23/2009 04:11 AM* This is a partial fix. My monthly and yearly problematic recurring events are now showing up at 6 pm the day before on my Treo, though my Outlook calendar is fine. I think this has to do with the Recurrence Range Start/End in Outlook, which is set automatically. If only there were a way to change this...
After a WHOLE LOTTA trial-and-error (like 3 days worth), I think I finally solved my OLERR:14-001 issue!
Problem: Syncing Palm Treo 755p calendar with Outlook 2007
Error Message (simplified):
HotSync session completed with messages on [date] [time]
HotSync session started on [date] [time], and completed in [0] seconds
Outlook Calendar synchronization completed with messages
Duration: [0] seconds
Outlook Calendar
The multi-day repeating appointment titled [event] beginning [date] [time] cannot be converted for use on the Handheld. Please divide the appointment up into single-days and re-synchronize.
OLERR:14-0001
- Desktop overwrite HH Sync
Note: You will likely have several of these ‘Multi-day’ instances in your hotsync log (I had 58). You may want to change Calendar in hotsync to "Desktop overwrites Handheld" after you get this error, to avoid erasing events while you are fixing this issue. Otherwise, you may have to restore them from a backup copy (if you have one) and start over. You can switch back once you’re through.
Solution: First, I tried this Palm KB Article: http://kb.palm.com/SRVS/NUA/launchKB.asp?c=31167. After this didn’t work for me… I did trial-and-error. I believe the problem is that each recurring event, which you set up as ‘All-day’, must be changed to have a duration of 0 minutes from within Outlook. I was able to change some events directly, but I found that some of the records had corrupted, and would just revert. My fool-proof solution was to recreate EVERY problematic event (yes, one-by-one) using the following steps:
Open Outlook
Go to your default calendar, where your events are synced
In the top menu choose ‘View’ > ‘Current View’ > ‘Recurring Appointments’
Open a ‘New Appointment’
Enter subject and other options, such as Categorize, Importance, Time Zones, or Reminder
Make sure starting and ending date & time are the EXACT same
Select ‘Recurrence’ & choose your pattern
I did not choose ‘No end date’ (hence the Palm article), but rather ‘End by:’ and typed in 2031, then pressed tab to auto-generate a suitable end date. I chose 2031 because that is last year my Treo’s calendar goes to. Click OK
Repeat for every event in your error log, until you get a clean "Desktop overwrites Handheld" hotsync (Outlook should be closed when you sync)
Switch Calendar in hotsync back to "Synchronize"
Even though I still get the message OLERR14:001, my syncs are successful. Now I will give my Treo time to see if the issue returns later. Until then, happy Outlook syncing and good luck!
Post relates to: Treo 755p (Sprint)
Message Edited by akeaw3000 on 01-23-2009 04:11 AM
Message Edited by akeaw3000 on 01-23-2009 07:08 AM

hello,
if all of your data is on the phone you can change the sync action to handhled overwrites desktop
how to:
open palm desktop software
on the top left click on 'hotsync' and then 'custom'
on the calendar conduit
highlight it and click on 'change'
then choose 'handhled overwrites desktop'
hope this will help you
Post relates to: Palm TX

Can an Oracle VM be converted for use in VMWare or VirtualBox?

Does anyone know how to convert / export an Oracle VM for use in VMware Server or in VirtualBox? I've successfully converted VMware images to OVM and VirtualBox images to OVM, but I've not been able to figure out how to get an Oracle VM to convert for use in VMWare or in VirtualBox.
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The ovs-agent will recognize any strorage device on your VM server which:
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Fastest Converter for h.264 to ProRes

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