FCP 7.0.3 XDCAM media in Pro Res sequence-implications?

We have 1.5TB of XDCAM [email protected] Post facility suggested offlining at DV NTSC but it was decided to cut native (before my time). I've inherited XDCAM 422 sequences. Using a 4 TB G Raid enclosure with both FW800 & eSATA/HD Link card & 12 core 2.66 Ghz MacPro w/6GB RAM. Intermittent crashes, 9 today, but then it will play back fine for a few hours before resuming the crashes. It will crash both on sections with FX or more than 1 stream as well as single stream sections. I thought it was the FW800 choking but the eSATA is worse. Digital Rebellion Crash Analyser attributes crashes to Mpeg media, which apparently I'm stuck with as the transcode time implication is 'too high'
What if I switch the sequence codec to Pro Res HQ & re render, will this be helpful in any way? It seems to playback ok with very little rendering on Safe RT.
BTW have installed Pro Applications Update 2010-02.

thank you for your responses-I tried transcoding everything to xdcam in a fresh project-no difference, crashing at the same rate, despite changing storage to fibre channel raid. so MM'd to Prores LT (no obvious difference to prores HQ on the cinema display) and all good.
David, the project was inherited with a whole load of identically named clips in different subfolders (!!!) although I doubt this caused the crashes. AFAIK they were editing w/o cards in the field.

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*** Weird flickering in Pro-res sequence

I'm working in the latest version of FCP with a Pro-res 422 30p sequence. I'm working with 1080/30p footage from the Sony EX1 and the Canon 5D. I'm also working with high-resolution photographs.
When I look at the sequence in FCP it all looks great but when I export it as a full-quality Quicktime Movie I consistently get this weird flicker or pulsate just before a cut from video footage to a still image. It's as-if the someone snaps their finger and the same pic all of a sudden get either slightly darker or lighter for 2 or 3 frames.
I'm not sure why this is happening but I really need to figure it out. Should I convert the sequence to another preset? Maybe h.264 or XDCAM EX 1080/30p?
Thanks in advance!

What's the delivery to be? DVD? or?
Jerry

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

Uncompressed QT vs Apple Pro Res

Hi All
We are about to venture into 16mm transfer to HD for the first time. The telecine house can give us Uncompressed QTs or Apple Pro Res on a hard drive.
These are the pro's and con's as I far as I can tell:
Uncompressed QT:
- Large Files
- Cannot be used (without conversion) on our current FCP set-up
- Highest quality, which is great for archiving and future use of the media
Apple Pro Res:
- Smaller files
- Can be used directly on our set-up, without any conversion (there are some time constraints on the project
- Almost the same quality as Uncompressed (???)
The workflow I am considering is to get the files back as uncompressed qt's (to make sure the Masters are the highest quality possible) then convert them to Apple Pro Res in Compressor, then edit. Does that sound right?
Is there any point to doing a 'neg match' (editing in Apple Pro Res then upconverting to uncompressed qt's as if in an off-line/on-line environment)?
And, lastly, what Apple Pro Res format should I ask for?
Any other golden nuggets of information you ca add will be greatly appreciated.
cheers
-j-

Hi Jokke, If it's not too late, I've just been through exactly the same decision: shot on super 16 and had to worry about what to do with it. For me the decision had a lot to do with speed of editing, size of files and the way the final thing would be presented (HD Mpeg projected in my case) For all these reasons, the Prores codec worked fine. All the film buffs will scoff at this but very often the differences are really indiscernible and you won't need a bunch of supercomputers to crunch through the uncompressed footage with filters and dissolves applied to it. If you choose to go with Prores, you should definitely take the 422 HQ variety, although I think there's a newer better Prores codec coming out. Maybe one of the more tech-savvy persons on the forum would know about that.

Audio and Video out of Sync after Pro Res export

I´m getting an audio/video sync issue when I´m exporting to Pro Res.
I started off in a HDV1080i50 sequence. Audio sampling rate is 48khz. (16 bit depth)
The sequence is less than 20 minutes long. It plays correctly on the timeline.
When I export the sequence for DVD and view it on a set top it plays absolutely fine.
When I export the video to ProRes (422 HQ - I used Export using Quicktime Conversion) and the audio to AIFF, they quickly go out of sync. This was brought to my attention first by the guys who were making the DigiBeta master, and when I view the exported material in a Pro Res sequence I can see it for myself.
The audio and video clips are of the exact same duration.
Possible issues...
Some of the narration was recorded at 44.1 khz. I didn´t resample it (I´m still a learning novice..).. but if that is the issue should it not have affected the DVD as well? All the other audio in the project is 48khz.
Most of the material is HDV1080i50..but one clip used was originally an NTSC clip and therefore a different frame rate. However I converted it to a 25fps clip and this is reflected in the vid rate column in the browser where it says 25fps.
Final point, the exported AIFF files..when I import them back into the HDV1080i50 sequence and play back, it is perfectly in sync.
Any help would be greatly appreciated.

First, yes resample the narration to 48k 16 bit. You will probably be able to reconnect to the resampled files. Usually works for me. That's a simple fix and will probably solve the problem. If it doesn't, you can try to change the codec (compressor) in the sequence settings to prores 422HQ, fully render and see if that solves the problem.
Wait, just reread your original post. Export from fcp using file: export: quicktime movie NOT quicktime conversion with current settings. If that works without synch issues, use compressor to convert to prores.

Pro Res Codec Launch Problem with Premiere CS6

Having a problem opening my .prproj file after re-installing Yosemite on Mac. Funny enough, I had this problem before because I was working with a Pro Res sequence.
Followed these instructions to get the codecs on my Mac since I don't have FCP --- http://www.martin-thoburn.com/vj/install-apple-prores-codec-without-final-cut/
Still not opening. I get this message: "This project contained a sequence that could not be opened. No sequence preview preset file or codec could be associated with this sequence type."

Hi scarlin123,
Please refer : http://helpx.adobe.com/x-productkb/policy-pricing/activation-network-issues.html

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.

HDV v Pro Res Rendering Test

Hi,
All equipment and software is latest editions.
Importing HDV footage to fcp and converting it in capture to Pro Res or Pro Res HQ. On the timeline (each version on its own correctly set up timeline) there is no visible quality difference between formats or versus HDV. Applying a color correcting filter results in greater real time effect to Pro Res than HDV. Render times of 1 minute of footage, HDV renders 30% quicker.
Am I missing out on something here or is the only thing Pro Res has to offer the need for 5 times as much storage space?
Thanks for any answers or discussion.
Andy

It offers better performance when editing. HDV is processor intensive, and can take longer to render, and a lot longer to compress into your final format. And HDV is an 8-bit 4:2:0 codec. While you can't change that going to ProRes, ProRes is 4:2:2 10-bit, and color correcting that gives you better leway with color...you can push things more. just a TAD more, as your color information is already whack.
But if you intend to master back to HDV, do not go to ProRes. To go back to HDV you need to capture as native HDV.
Shane

FCP 7 L & T, pro res or XDcam?

Hi
When I use log and transfer in FCP 7 latest, do I need to bring the video in as Pro Res into the bins since I'll be making my sequences Pro Res? Or do I just bring the material in via L & T as is, which is XDcam 1920 30p, and edit easily on Pro Res timeline?
In fact is there even a way to bring it in as another codec than what it was recorded in? Not used L & T before.
Thanks
K

Hi K
The current crop of file based ingest options for XDCAM HD are all native ie without transcode. You have Sony's free XDCAM Transfer tool or (via a free Sony authored plugin) you can use FCP's own built-in Log and Transfer interface, but in both cases it is the native source footage being brought in to FCP albeit with a new "wrapper" added to the which makes them accessible to Quicktime, not a transcode to an altogether different intermediate codec. Alternatively you can adopt a commercial solution such as MXF4Mac's or Calibrated Software's MXF Import, either of which will allow you to work directly with the raw MXF files in Quicktime without the otherwise necessary rewrap, again no transcode.
As to your questions, my personal answer would be "No" you don't need to transcode to ProRes. You can easily work directly with the XDCAM HD files in a ProRes timeline, or you can edit with them directly in a native XDCAM HD timeline (but if you do that I would recommend you set the render codec to ProRes).
If you do want to capture to another codec then you can use an I/O device like those provided by Matrox, AJA, Blackmagic Design, Motu etc Or you can bring the footage in as per the above and then recompress to your target codec using FCP's Media Manager tool.
Hope it helps
Andy

FCP 7 crashes on XDCAM full HD edit

Final Cut Pro 7 crashes unexpectedly while editing on Full HD (1080i50). I copied the data directly from and SXS card of AN EX3 XDCAM. I was using n AZA KONA 3 with the following system configuration-
12GB DDR2 RAM
2 X Intel Xeon Quad Core 2.6 ghz
3 x Internal Seagate Barracuda XT on Striped RAID (6tb)
1 x standard mac drive (640gb)
NVIDIA GT 120 (512 MB)
i moved in from 6GB RAM and had to buy 3 additional drives just to sort out the problem but stil i am not able to edit HD with ease so i had to go about changing my card.
now i upgraded to a BLACKMAGIC DECKLINK EXTREME HD.
But instead of solving the problem, now my FCP is crashing even more.
Please Help.

Hi there and welcome to the forums,
sorry for your woes, couple of things to check first
1. whats your clip and sequence settings, do they match? you did use l&t to get your material in yes?
2. tried trashing prefs etc?
3. re XDCAM, there are several incidents of this nature about - do a search on this forum and here
http://forums.creativecow.net/thread/8/1108980
IMO mixing XDCAM and any other format in the project/timeline is a recipe for disaster so if you have mixed formats either transcode all to pro res or if thats not practical, transcode non xdcam cam to xdcam.
Also try turning off thumbnails and only having 1 sequence open at a time. and try taking your I/O box out of the equation to see if that helps.
Good luck
Andy
Andy

Using Media Manager to convert movies to apple pro res

Using Media Manager to convert movies to apple pro res, How can I convert my existing media files from quicktime movies into apple pro res 422 ?
After they are converted will I have to re-point my fcp project to the converted files?
Thank You for taking time to answer these
Carl

Sorry, I am not following.
You said you have converted them to prores LT & are having this issue, or is it with H264 files in your edit?
How did you convert? using media manager, or compressor?
if you still are using the H264 media that would be the issue.
That is not an editing codec. it is a delivery codec.
The thing to have done would have been to convert to prores before you started editing.
or did you do that?

Duplicating a portion of Pro Res media for use in another project

I'm working on a compilation video which is drawing from many different interviews.   I need to duplicate certain sections of 1080p 29.97 Pro Res timelines and then bring them into a new FCP 7.0.3 project.
The clips will be pulled from many different external drives. And I can't connect all these drives together at the same time.
So my question is...when I am on the FCP timeline of one of these older projects, how do I best copy a section of it while keeping it in Pro Res and hopefully not having to recompress it?   I don't want to go back to the AVCHD camera files that it was generated from.
Would I "Send to Compressor" right off the timeline and use one of the Pro Res settings? Same as source settings, etc.
Or would I "Export as a Quicktime" movie off the timeline? Settings info?
I am trying to preserve the image quality but at the same time this will not be for broadcast.   It's for a non-profit's website.
Any advice on this would be very much appreciated...
Thanks,
John

If you are trying to Media Manage selections from a sequence that span multiple clips, then create a new sequence and copy and paste all the selected parts into the new sequence so that it contains only the selected sections of content you want to copy and consolidate.
Then, with that new sequence selected, open the Media Manager and make sure that Include Master Clips outside selection and Include Affiliate Clips outside selection are unchecked, and the Delete Unused Media from Duplicated Items is checked.
Unless you are leaving room for handles in your selection process, check Use Handles and dial in a duration, so that your clips have some padding.
MtD

Do i need to convert my Nikon D 800 video to Pro res files to work in FCP X?

Do i need to convert my nikon D 800 video footage from H.264 to Pro res to work in Final cut pro X?

You can import your footage directly to FCP X.
FCP X can work with the native footage. Inside FCP X you can create "Optimized Media", which is in ProRes 422.
You may not need to, depending on the edits you make (how many effects, etc). Since you can create optimized media at any time, I suggest you try it. If FCP X is slow editing your original media, optimize.

Pro-Res vs XDCAM HD

Just started ingesting media via SDI and having troubles capturing using the pro-res codec. Having all kinds of issues. I have a hunch that my internal eSata drives are just not capable of using Pro-Res. Anyway, if I use the FAM mode on my XDCAM-HD deck and ingest using the Sony transfer, all works well. When it comes to quality, am I losing any by using the latter method as opposed to Pro-Res? My media is 35 Mbps XDCAM-HD. Any insight will be appreciated. Thank you.
Best,
Tom

Capturing via SDI will only benefit you if you're capturing live. In that case you can avoid the mpeg 2 compression and gain 4:2:2 color. Once the footage has been compressed in camera SDI will give you nothing and some people have reported that it actually makes things worse. If you're just doing simple edits and color correction the native codec is fine, and considerably smaller to boot. If your going to take the footage into AE and work it definitely transcode to ProRes first.

FCP Settings HDV - Pro Res

Hello.
Im shooting some video in HDV but i want to edit in Pro Res (HQ)
Might seem like an easy question but how do i set up the project.. there are so may options. And im guessing i want it to be HQ or am I wrong. I want FCP to digitise in Pro Res as well..
Thanks in advance Rob

Sure. But that means you'd have to capture, then convert...and have the drive space to do that. With the method laid out, the capture takes about 40% more than real time (it does some odd encoding process)...and you only have the ProRes file...not HDV AND ProRes. And media managing will take a lot more time than straight capture.
Up to you though..

FCP 7.0.3 XDCAM media in Pro Res sequence-implications?

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