HDV Capture as Pro Res 422

I have captured my 50i HDV footage using the Pro Res 422 codec, but when I look at the captured files in finder they are marked simply as text files?
Is this normal?
I can open the files up in quicktime, but when I try to import them into a new project I cannot?
Any help

The 7.0.2 update is contained in the ProAppsUpdate 2010-01 which is accessed via Software Updater under the apple menu.
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Similar Messages

  • HDV or  Apple Pro-Res 422???????

    ok i have an cannon xh-a1. and if i want to get the top quality which one do i use? would i use HDV or Apple Pro-Res 422, and then which one would i export in to get the top quality.
    or are there any other ways to get the best quality. Thanks

    A simple answer? OK here it is: You bought the wrong computer for doing what you want to do. You should have bought a MacPro, an external drive array, and a 3rd party capture device such as an Aja IoHD or Kona LHe.
    That's your simple answer. However, as is often true in life, simple isn't the same as easy. Golf is a simple game, but it's far from easy.
    If you have clients paying you money to produce video projects, then you should buy the tools for the job that won't let you, and your clients, down. You might be able to edit with an iMac, but it can let you down when you most need it to perform.
    I would never recommend the iMac for a video business. You cannot expand it with 3rd party cards or powerful-enough external storage.
    I know that is not possible for you, so of all the bad choices you have in front of you, the least bad is to edit HDV. Forget about your quest for "the best quality". That ship sailed when you chose your iMac. Even editing HDV, you might be disappointed in your iMac's performance from time to time.
    For an external Firewire drive, I'd recommend a Burly enclosure (from MacGurus) with a removable drive tray and a Seagate 7200.11 SATA drive. Do not buy a LaCie or a Western Digital MyBook.
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  • 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.
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  • HDV and Pro Res 422

    My current project has a timeline of 1080i HDV footage that was down converted to DV. My question is when we want to up convert which is better.
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    2. Convert the DV sequence to Pro Res 422
    If we go with option 1. will the timecodes match what is in the sequence if I bring it in via Firewire or should it go through a capture card like the KONA 3?
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    For the difference in price I would go with the i7. I am sure you would be just fine with the i5, but you can never have too much computing power. I received my i7 based iMac several days ago and have ]been very happy with it. As I recall the difference in price between the two chips was about $200 so I don't think you will regret spending the extra. Also watch out for the keyboard. If you get the wireless KB it does not have a numeric keypad.

  • Speed of conversion into Pro Res 422

    Has anyone done a test to check the speed of a conversion from HD to Pro Res 422 using compressor?
    example 1- a 10 minute clip in HD converted to Pro Res 422 using compressor takes . . .
    example 2- a 10 minute clip in HDV conveted to Pro Res 422 using compressor takes . . .
    also, does the meta data come across during the recompress (ie the timecode)?

    Ok, at least one of them:
    I converted a HDV "reference" export of 7 minutes to ProRes 422 HQ and it took about 16 minutes on a G5 Quad, 4GB memory using the second internal drive for source and results.
    I did it a couple of ways: using the smart defaults, and then tweaking it a bit to get rid of "jaggies" on all edges. I can't make them go away when viewing the resulting ProRes 422 HQ movie in Quicktime: tried changing QT to deinterlace, HIgh Quality, and all other known variants: no dice. It actually looks like what compressor 2 would do when down converting HDV to SD directly without the Bonzai workaround. I'm sure I'm doing something wrong.
    I was at the FCS 2 seminar in San Francisco on Tuesday, and their ProRes stuff looked great, so I don't know if it's because I started with HDV or what, but my HDV video in Quicktimes look MUCH better than my ProRess 422 HQ.
    The PR422 file size is and data rate are big enough; 220mb/s data rate and 10.6GB file. Hmmmmmmm.
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  • PRO RES 422 HQ from color to fcp to HDV 1080i tape

    Have just thrown myself off a bridge due to frustration. Filmed a holiday movie a few years ago on HDV Pal and taught myself color on the project after completing it on FCP. I have spent 3 months of my spare time getting it looking how I want it and have just sent it back to FCP for outputting. Everything hunky dory so far except when I came to print to video (back to HDV for archiving) I'm being told that I can't print that seq to tape. Presumably because PRO RES 422 won't go to HDV. Is that so and do I have any answers?

    For having just thrown yourself off a bridge, your grammar, spelling, and punctuation are impeccable.
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    When you're going out via firewire, you pretty much have to match your sequence settings to your deck settings, DV>DV, HDV>HDV. Hardware capture cards/boxes by AJA & Blackmagic can up/down/cross convert on the fly, but not a direct firewire connection.
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    And stop throwing yourself off bridges.

  • Capture Apple pro Res settings

    Hi how do I change the settings in Final cut pro so that i captures full HD  1920x1080 Linear PCMApple Pro Res 422 HQ quicktime?

    So it's probably HDV.
    First thing I'd check is the camera settings to make sure they're correct.
    And what version FCP are you using?
    Russ

  • Specs for cutting in Pro Res 422 HQ

    What sort of system specs do I need to edit in Pro Res 422 HQ with decent non-nightmarish results? I'm getting a FW800 G-Raid drive loaded with a large (80 minute) Quicktime file in HD, Pro Res 422HQ. I'm running a 2.8ghz Quad Intel, with 8gb of memory. I also have a CalDigit S2VR Duo that I can move the footage over to if necessary. Any thoughts would be sincerely appreciated. Thanks

    For having just thrown yourself off a bridge, your grammar, spelling, and punctuation are impeccable.
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    When you're going out via firewire, you pretty much have to match your sequence settings to your deck settings, DV>DV, HDV>HDV. Hardware capture cards/boxes by AJA & Blackmagic can up/down/cross convert on the fly, but not a direct firewire connection.
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  • Uncompressed vs Pro Res 422 (LT) as archival codec and as editing codec

    Hi -
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    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 --
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    As a reminder, we're talking about 600 hours of Hi-8 footage here. Thanks.

  • 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?
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    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?
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    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

  • 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: 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.
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  • 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?
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    Hi(Bonjour)!
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  • Apple pro res 422 file consuming more space than usual

    hi everyone!
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    Mac Pro early 2008
    Processor  2.8 GHz Quad-Core Intel Xeon
    Memory  10 GB 800 MHz DDR2 FB-DIMM
    Graphics  ATI Radeon HD 2600 XT 256 MB
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    >using the Apple Pro Res 422 this 5 min project went up to 5.3 Ggs
    That's about right for a ProRes 422 file. High quality video takes a lot of space. It's sufficient to use the lighter ProRes LT for the footage from your T2 by the way. Your MacPro can also have up to 4 hard drives for plenty of storage.
    Why are you using QuickTime Conversion?
    Exporting to QuickTime with current settings and self contained is the better way. Then you use Compressor to make your delivery format from that master. Compressor is faster because it can take advantage of multiple cores - FCP doesn't. It will also give you far more control and choice over the encoding.

  • Pro Res 4444 to Pro Res 422

    I have Pro Res 4444 footage that I want to edit in FCS for the web.  My understanding is that it would be better to work in Pro Res 422 (easier to work with etc).  Would it make sense to import the Pro Res 4444 in FC and used compressor to export it to a Pro Res 422 format?  Or is there a better way?
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    Take the footage directly into Compressor and convert to 422.  No reason to go to FCP first.  OR...better yet. With the footage in FCP, use the media Manager to RECOMPRESS to PR422.

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