How do I transcode 1080p60 clips to ProRes Proxy or something similar?

Hello!
I have some footage shot at 1080p60 using the Panasonic PX270 (AVC Ultra - LongG25 50Mbps 10 bit, 4:2:2). When I try to edit a 4 camera multicam my computer stutters and lags like crazy. Can't get much more than 5 seconds even on 1/8 resolution without it starting to freeze/lag. Back in the day, I used to transcode everything to ProRes Proxy, then edit, then transcode to ProRes 422 and be done. I'd love to do the same here but I'm not sure how to get a proxy codec at 1080p60. The one's I have on my mac as options in AME/Prelude only go up to 1080i60...no 1080p60. I also have FCP but it's so old now that it doesn't recognize this new codec. Any ideas on how to do this? Does ProRes even have a 1080p60 proxy/422/HQ option? If so, how can I get that?
I have a 2011 iMac 27 inch 3.4Ghz i7, 16gb ram (1GB VRAM), and I'm using a Samsung SSD as my scratch drive. Running Premiere Pro CC 7.2.2 on OSX 10.8.5

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Prores Proxy?

Is There a way to transcode to proves 422 proxy in prelude

Hi Rob,
Thanks for your post!
Below are the steps to transcode a clip to ProRes Proxy.
When you install Prelude, the Adobe Media Encoder will be installed together. So launch AME first;
Click '+' button on the top right corner to create a preset; Please see screen shot below
   3. Click 'Video Codec' dropdown list and then you will see the 'Apple ProRes 422 (Proxy)', select it;
   4. Click 'OK' button;
   5. Launch Prelude and open ingest dialog;
   6. Select format 'Quick Time' and the preset created at step4;
   7. Use this preset you could transcode a clip to ProRes Proxy.
Hope this will be helpful to you!
Thanks,
Jenny

Understanding ProRes Proxy to ProRes

Trying to get my head around the proxy thing. In FCP X I have - create Optimized Media & Proxy Media Checked. So I am doing all my editing in Proxy right?
So now it come time to export my project. I use compressor and select ProRes 422 (regular quality) and it appears to work BUT takes 8 times the length of my clip to transcode! So it is basically taking the proxy, seeing what I've done to it and then adding those changes to what version of the clip? the ProRess Std verions?
Just wondering how Compressor / FCP X goes from a ProRes proxy version to a Std ProRes version or HQ or 444 version - what is actually happening?

Proxy media is a proxy to the original media. FCPX always retains the original media.
When you edit the proxy, the edit is only applied to the proxy data, not the originals. When you export (cmd-E), frame rate is set in the project, and the output quality (eg ProRes, ProResHQ, etc set in the export dialog box. The output file is created by re-applying the edits in the timeline by rendering those to the original media as per these settings.
If your original media was 720p60 H264 (from AVCHD ingest), for example, you could set the project to 30fps (730p30) and export to ProResHQ if you liked. This would require your Mac to decode the original, apply the changes, and recompress to ProResHQ. However long this takes is however long it takes. But your Mac will be 'snappy' while performing the edits, because the proxy file is small and low on CPU during edits.
If your mac is a little faster, and you're happy with standard ProRes quality, then creating optimised media on ingest will slow your mac down a bit, but exporting to standard ProRes will be much quicker, as clips, transitions can be rendered in the background while you fiddle around editing, and when you're ready to export most of the heavy work is already done, so it will be much quicker. But your Mac must be fast enough to edit in standard ProRes quality.
Hope this makes sense.
Chris.

Aren't FCPX and Compressor supposed to be able to export Apple ProRes 422 LT? I just bought FCPX and Compressor and there seems to be no way to transcode HDV clips to Apple ProRes422 LT. Before buying I read LACUG tutorial by R Taylor that says it can.

Aren't FCPX and Compressor supposed to be able to export Apple ProRes 422 LT? I just bought FCPX and Compressor and there seems to be no way to transcode HDV clips to Apple ProRes422 LT. Before buying these I read an LACUG tutorial by R Taylor that says it can.

Tom is right. Codecs are shared software system-wide ("Core Video"). If you cannot find the option with any software (such as MPEG Streamclip), you won't find it in Compressor or FCPX either. The Quicktime ProRes codecs is part of the FCP menu > "Download Additional Content" you need to make after install FCPX (or Compressor.) These "pro video" codecs are part of all "ProApp" licenses for video related software from Apple (QT7Pro, Motion, Compressor, Final Cut, etc....) [you can also download them here: http://support.apple.com/kb/dl1396]
Most articles/tutorials you read by "long time" users are apt to assume the reader has been working with pro-video on Macs since the days of disk installs (like they have). In those days, the installation of those codecs wasn't even really an option (well, it was if you did a custom install - but who *didn't* install all available codecs??), it was automatically installed with the main software. Since the "App Store" venue... things have changed somewhat.

How can I edit multiple clips with different frame rates on the same timeline

how can I edit multiple clips with different frame rates on the same timeline

You do not want to edit material from different frame rates on one timeline. You CAN do this, but it is a very bad idea - and this is why.
Once you establish the sequence frame rate - lets say it is PAL material at 25fps, any material that you drop into the sequence other than 25 fps will have to be changed to play at 25 fps. If the material you add is NTSC (29.97), FCP will DROP 5 frames per sec to bring the frame rate down to 25 fps. Which 5 get thrown away? Every 6th one. This yields a funky cadence that becomes even more complex as as there are also interlaced fields (DV/NTSC is an interlaced format). Oh, and by the way, the image sizes are different as well. DV/PAL has 576 lines of resolution and DV/NTSC has 480. FCP has to scale up the NTSC to fit the PAL frame.
You do not want FCP adjusting these things on the fly. You want to do a thoughtful (and time consuming) conversion so that you end up with all your material in one format with the best possible image from the conversion process. Compressor can do an adequate job with Frame Controls turned on. The Natress Standards Conversion FCP plugin is another way to go. A third option is to find a post house that can do the conversion for you using a hardware based process.
The good news is, once everything is in the same format, editing it will be painless and the output process very quick.
Whatever frame rate/ image size you select, I'd suggest using ProRes for the codec. It is 4:2:2 color and will withstand color correction and composting with much more grace than any variant of DV based codecs.
Have fun.
x

Editing a movie that was already cut together without transcoding .h264 footage to proresslt. I want to transcode full clips that are used in the edit, but not any of the leftovers.

Editing a movie that was already cut together without transcoding .h264 footage to proresslt. I want to transcode full clips that are used in the edit, but not any of the leftovers. Is there an efficient way to this?
I'm thinking I can convert the files with Compressor and place them in a new folder with their original file names (not sure how to get compressor to do this yet) and then do a major "Reconnect Clip" afterwards.
Not sure if there's a more efficient way to get all the clips in the timeline to compressor. I want the full files, not a sequence export. I can go through one clip and a time and add the master file. I'd rather not.
The more automated processes the better.
Thank you. I'm currently working so I don't have the time to scour the forums. Help or links to help would be greatly appreciated.
B

yeah Media reconnect can be an issue.
Will Media Manager convert files? Another thing I was thinking was to Media Manage the sequence out, copying all the used files to a new folder, and then running that through compressor. But it still leads to a massive reconnect. Fine tuning all those edits would be less involved than re-editing the whole thing, I hope.

How do I know what clip quality my timeline uses (proxy/422/orig)?

I have noticed that you cannot make your project codec ProRes proxy. Only ProRes 422 or better.
So if I have a clip that is transcoded to only ProRes proxy it will use that on my ProRes422 timeline to speed up editing I guess. But when I export my project, will FCP use the original media as basis for the export or will it use the ProRes422 as basis for the export?
Also, if I have a clip that is transcoded to both ProRes 422 and proxy and I drag that into the timeline. Which version will FCP use for the editing?
If I have a clip in some long gop format that is not transcoded and I drag that to the timeline, will FCP transcode on the fly or will I be editing the original media?
If you have a clip transcoded to both formats (ProRes 422 / proxy), is there some way to delete one or both transcoded versions from within FCP in order to save disk space?
Can anyone shed some light? The manual is not very helpful with regards all this...

Select clips in the event browser, control-click and choose Transcode. You get the option to create proxy files.
Preferences Playback lets you set what plays back original or proxy.
If I have a clip in some long gop format that is not transcoded and I drag that to the timeline, will FCP transcode on the fly or will I be editing the original media?
You don't edit any actual media. The only question is what is used for playback. If you don't transcode the original is used for playback; this may require a lot of processor power.
If you have a clip transcoded to both formats (ProRes 422 / proxy), is there some way to delete one or both transcoded versions from within FCP in order to save disk space?
Go into the Events folder and delete what you don't need. I wouldn't do this. You're better off doing it right from the start and sticking to it.
When you import you can import either original or optimized, not both. If you optimize later the application will use the optimized media or the proxy media, which you transcoded to and specify in preferences. Do not specify proxy media if there isn't any. Everything in the project will go offline.

Need to put HD clips in SD sequence without aliasing, any way to do this without converting clips to ProRes?

Editing a 1080p project shot with Canon 5DMkii.
Have a 1080p H.264 sequence that I planned to change to ProRes when all finished, before exporting to make a DVD.
Many shots have problems, and the only way to get around them is to reframe.
I figured, no problem, DVD video is SD, so I have 600+ pixels of frame-height to play with.
Now I have a rough cut and I have put some clips into a sequence preset to 720x405.
Unfortunately, when the original clips are anything other than 100% of their 1920x1080 size, it’s aliased as heck.
EXCEPT when you convert the original clip to ProRes.
I didn’t convert to ProRes before editing because it quintuples the size (the project has 45GB of footage and my internal 1TB HD has limited space), plus on this project the small difference in final-product quality that converting before editing brings wouldn’t matter.
I really do need to reframe many of the shots, and I wouldn’t terribly terribly mind converting to ProRes now, except that when you do, Compressor adds “ProRes…” to the new clip name, so you couldn’t just reconnect the already-edited sequence with the newly converted clips (or could you)?
So,
Can the downsizing of HD clips in an SD sequence be done without aliasing?
If not, can a whole sequence (15 minutes) be reconnected to clips to clips that
have the “Apple prores 444 hq” added to their name? (I tried and the converted clip is grayed out, can’t select it)
3. If not, can the whole 45GB of footage be converted to ProRes, but keep original names unchanged?
If none of the above is possible, any other solution?
Thank you very much

That is a non-standard sequence setting. SD in NTSC land isn't 16:9. It is 4:3 anamorphic. 720x486...anamorphic (squeezed).
Editing H.264 straight from the camera is wrought with errors. Besides the sluggishness of it, the non-RT playback...exporting has all sorts of issues. Not exporting proper sections of footage, not exporting the full sequence (the tail might get cut off), loss of sync upon export...much more. All of those issues have been mentioned on various FCP forums. H.264 is not a codec FCP 7 deals with well at all.
Converting to ProRes before editing is your only way to ensure vary little issues. And converting to ProRes 422 is recommended. Not HQ...not 4444. Your footage will not see any benefit from those formats, even though they sound more impressive. All you will get is larger files. Heck, since you are going to DVD, ProRes LT would be the optimal choice. Even if you went to BluRay, ProRes LT would be fine for that format. H.264 is an 8-bit format...ProRes LT or 422 will get it to 10-bit, and allow for better grading. But ZERO benefit will be had with HQ or 4444...those are for other uses...with higher end formats.
Not enough space? Get another drive. Internal SATA, if you have a MacPro...are 2TB for under $150. You can get an external 2TB for $200-$300.
3. Yes...use MPEG STREAMCLIP to convert the footage to ProRes. 422 or LT are recommended. Then you can reconnect, but you will need to make a new sequence that is ProRes...not H.264.

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How do I transcode 1080p60 clips to ProRes Proxy or something similar?

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