HT4681 Problem exporting time lapse with FCPX 10.0.6

I have been trying to export my time lapse and it processes for a bit, then this message comes up:
The operation couldn’t be completed. (com.apple.Compressor.CompressorKit.ErrorDomain error -1.)
Before updating to version 6, I had no problems exporting dozens of time lapses.  As far as I know, I'm not doing anything differently than my previous ones. This is not even the biggest file I've processed.
I have Compressor 4, and that fails as well. 
Thanks for any help

See if it will export with other settings, like Master File, Pro Res. If it does, you can then do your h.264 encode in Compressor.
Whether that works or not, try the usual troubleshooting steps of trashing preferences and repairing permissions.
(I'm also assuming that you followed Tom's advice to make sure both FCP and Compressor were updated to their latest versions.)
Russ

Similar Messages

  • How to mix time lapse with still images and imported movies ?

    Hello
    I have been shooting photos (time lapse with Camera Pro) and movies with a Nokia N8 and would love to use iMovie to mount all that.
    Unfortunately, for the time lapse I cannot get the duration of the photos to 0.03s, it just won't accept it. I have been looking around the forum and could only find sort of solutions when you have a transition or effect on the pictures but not when they are just fit to the screen...
    So now the time lapse looks much slower and broken than the movie itself... and it does not look nice.
    Another way would be to make the time lapse with QT Pro and then import it but I am affraid I am loosing quality in the process.
    Anybody knows how to fix this duration problem ?
    Thank you in advance for any helpful answer.
    Petri
    Mac OS 10.6.8
    iMovie : 9.0.4

    Able, Jim,
    thanks a lot, both solutions work just fine.
    Take the first image, adjust the Effects, copy it, select the other images and past attributes
    and
    just put all images together, make a new sequence and use that first sequence as nested sequence and put the effects on that

  • First time working with fcpx

    first time working with fcpx; how to get my drives ( internal & external) visable in libraries?

    RudolfC wrote:
    first time working with fcpx; how to get my drives ( internal & external) visable in libraries?
    may I throw in some really 'Evangelistic' thought?
    Stop thinking in 'drives' (folders/files)!
    .. or any other 'manually' organizing structure. FCPX is first-of-all a database; tagging, keywording, smart-list - all faster, better, more flexible and much more convenient than any 'drawer based scheme'.
    ... ok, that was a bit pathetic, and for sure, you should know how to utilize external drives...-
    But when you keep starring on the Finder, you'll soon will be surprised, how FCPX manages to store 10Gigs on a 5GB-drive! (keyword 'hard/sym links')...
    ... no more 'drives'! Just Libs!

  • Time Lapse with iMovie 11

    I was really hoping to be able to build a time lapse movie with iMovie 11.  But, it looks as if it isn't possible.  There are two big issues:
    1.  It would appear that there is a maximum number of 'clips' that iMovie 11 will accept.  So, when importing still images, iMovie freezes at the maximum.  I'm not sure what that miximum is, but it's somewhere between 500 and 1000.  Does anybody know?
    2.  It would appear that the shortest period that I can allocate to an individual image is 0.04.  So, each image lasts for four frames.  It means that the effective frame rate for the time lapse is 6.25 frames per second (assuming a 25fps PAL movie).
    It's so annoying.  It was possible to develop time lapse movies with iMovie HD.  It took a bit of messing around, but it was possible!  I can't seem to find anyway to do it in iMovie 11.  Anybody got any suggestions?

    Thanks.  I'll look into getting Quicktime Pro ... although I was hoping to take advantage of iMovie so that I could interweave time lapse footage with standard footage.
    I did manage to come up with a workaround, but it isn't particularly elegant.
    I found that I could import around 500 still images without a problem.  Before importing, I adjusted the project properties so that Photo Duration was set to 1 and Initial Photo Placement was set to 'fit'.  I then dragged the images to the project and they imported.  Once they were all imported, I adjusted the clip properties so that the clip duration was 0.04 (the shortest duration I could get it to accept) and made sure that I checked the 'apply to all clips) box.
    I now had a string of 500 images at durations of 0.04, and I exported this as an HD quicktime movie.
    I then tried to do the same thing again, but found a weird anomaly and iMovie wouldn't import clips.  On a hunch, I deleted the project.  Exited iMovie.  Emptied the trash.  Restarted iMovie.  Opened a new project, and tried importing the next 500 stills.
    It worked!
    So, it's a bit of a fuss, but after each import of 500 stills, I exported an HD movie then deleted the project, emptied the trash, and started a new project.
    Eventually, I'd got through 1,799 images.
    So, finally, I created an entirely new project, and imported the four movies that I'd created.  I imported at 'full' quality to try to avoid as much degredation as possible.  I was then able to bring the four movies into the new project, speed them up (x4) and I've got a half-way decent time lapse.
    It isn't perfect, but it does provide a method of using iMovie 11 to generate time-lapse segments within broader movies.
    I will try Quicktime Pro too.
    Does anybody have any suggestions for best export settings from Quicktime so that the time lapse could then be imported into iMovie 11?

  • Finite pulse-trai​n generation with variable time lapses with NiDAQmx

    Being a newby in Labview and NiDAQmx, I find it tedious to program the application I need to drive my experiment : I want to generate a finite pulse train, with variable delays between two consecutive pulses. These delays are known before the experiment starts, summurized in a table (element 0 decribes the time lapse between pulse 0 and 1, element 1 between pulse 1 and 2 ...). I would like to use NiDAQmx to program this. I had in mind the following scheme : two counters, first one counting time between pulses, the second one generating the pulse once "counter one" has finished his job. What I don't figure out is how to reprogram "counter one"'s register, without introducing unwanted delays in the time
    sequence of my finite pulse train. I am using a 6052E DAQ, and I want to generate delays in a same pulse train ranging from 1 microsecond up to 20 seconds.
    Thank you for ANY help :-)

    Hello !
    Well, I will try to be more precise while answering your questions. But first let me thank you very much for your help : your comments, questions and remarks are very helpful to help me shape my project, as you shed light on particular problems I strictly had no idea before !
    1) I can certainly get on well with digital output as my flash device is triggered by TTL signals.
    2) The lighting device is home-made, and I think it will be better for my needs to produce light throughout the duration of the input at the “on” level. In any case it will be driven by TTL-like signals. The intensity is manually set, so no analog control is required.
    3) I will use Labview to collect the experimental data. The signal will be sampled during the light pulse : the rising edge of the TTL-like output signal will trigger both the lighting device and the data acquisition, the latter being stopped on the falling edge. The light emitted by the lighting device is called a “probe” for the following reasons : the photons are absorbed by the photosynthetic sample and “immediately” re-emitted at a longer wavelength. A photodiode acts as a signal transducer, and I monitor the intensity of this fluorescence. Knowing precisely when light pulses occurred after the initial start excitation (which is also a brief pulse of light but of a much greater intensity than the “probe” light) and the intensity of light emitted during theses pulses, I can reconstruct the kinetic of fluorescence decay. This kinetic reflects the behaviour of my biological sample. Thus no continuous acquisition is required as between two light pulses there is nothing to monitor. And all the half-time reaction are timed relative to the same “start” excitation as they reflect a jump sequence of an electron extracted by the “start” excitation : first jumps are quick ones (half-time in the 10 �s range) and last jumps are slow ones (half-time in the 1 s range). With respect to these kinetics, I would like a 1 �s precision. If not achievable, I could skip the quickest jump (but it would be a pity) and focus on the second one which has a 10 ms half-time reaction and a 100 �s precision would then be enough. But as we say in French : “Qui peut le plus, peut le moins !” (roughly meaning that when you can achieve the best, you easily can do the least). This precision relates to the position of one flash with respect to the others. I don’t need to be very precise on the duration of each individual light pulse : a typical value is 100 �s duration, but I can get on well with 90 �s or 110 �s, my data being an average of the light intensity emitted during the light pulse). All I want to know precisely is when it is fired.
    4) Concerning the hardware, I already have a NI 6052E DAQ board, and unfortunately my laboratory cannot allow me to spend more money on this. I also have a fast acquisition board (IMTEC T3012) I intended to use to acquire my photodiode signal in place of the 6052E A/D converter. It has an old Labview driver, and I managed to upgrade it to suit my needs. It has an onboard segmented memory and can keep track precisely (it has a 60 MHz sample clock) of a trigger event. I am wondering if I can overcome the timing precision issue with this board, knowing that I strictly don’t care that flash n�1 is triggered at (t0 + 10 �s) or (t0 + 11 �s), provided that I know it, allowing me to place precisely my data point on the time scale. I can program the number of memory segments (i.e. the number of light pulses) and each one is filled with data coming from the photodiode upon receiving the rising edge triggering the light pulse. The precise date at which each triggered is received is stored in the board memory, allowing time reconstruction.
    I do hope this is much clearer than my previous attempts ! Believe me, it is quite hard to leave biology for a while and enter the cryptic world of data acquisition !
    Gritche

  • Time lapse with Smart Control?

    If I use the time lapse app for my A7 camera, can I also use the smart remote control from my smartphone to adjust the exposure and other settings while the time lapse is running?

    QuickTime Player Pro ($30) can import an "Image Sequence".
    An Image Sequence is a folder of same dimension, sequentially named image files (of the same format). I've done as many as 64,000 in a single .mov file.
    If your camera was set steady on a tripod when shooting and you had some type of "automatic" frame capture then the files may already be sequentially named and would be the same dimension so all of the hard work is already done. Just move the entire folder from the iPhoto Library to your Desktop to start work with QuickTime Player Pro.
    Pro can create an image sequence at varying frame rates. If you shot one frame per second you could use a variety of export settings to help "speed it up".

  • Problem using Time Machine with Seagate BackUp Plus Pls HELP!!

    I have a late 2006 iMac (running OS 10.5.8) & am trying to back up using Time Machine with a new Seagate BackUp Plus drive. When I select the Seagate drive in Time Machine it tells me I msut first erase the (Seagate) disk. When I hit ERASE, I get a Time Machine error : COULD NOT UNMOUNT DISK. I see from various posts that 10,5 & 10,6 have issues with some external drives so want to upgrade to Mavericks (to get around this incompatibility issue): HOwever apparently my iMac is too old (by 1 year) to allow this. Can anyone give me any advice on how to get my iMac content backed up via Time Machine using the Seagate BackUP PLus drive I  bought (becasue it is supposedly "compatible with PCs & Macs".
    Thank you!!
    Wendy

    Your Seagate drive should work just fine. If it doesn't have any important data on it, try re-formatting it with Disk Utility to blank it out. Or run the Disk verify/repair and see if you can get it to fix any problems.
    I have a Drobo FS too. You probably need a firmware update, they issued one a while back to fix problems with Time Machine. Use the Dashboard or download it from their support site, http://www.drobo.com/support/updates.php
    Just curious how long you let it run after it "stalled". If it is a big file it could just be taking a while to copy over, do you see activity lights on the USB drive? The first time you use time machine let it run overnight, it's going to take a while, after that it will update quickly.
    While you're at it, you might want to verify your start-up disk too with Disk Utility.

  • Time lapse with Camileo P10 or Camileo Pro HD

    Hi,
    I have both of these camcorders and I understand that time lapse photography is possible with them????? I've certainly seen a few sequences on youtube that are supposedly done with the P10.
    I've been right through the menu's on both and I cannot see how it is done! Anyone able to help please?

    I had to googled for +time lapse photography+ because I did not know what it is.
    Now Im a little bit slier ;)
    I assume both camcorders dont support such feature I also checked the user manual but could not find any details about that.

  • Problems exporting Premiere Pro with SWFs in as .mov files.

    Hi,
    I'm not the most competent with Premiere and am having a few problems exporting my final movie.
    I am having problems with an animation (Screen size: 1024 x 576) I am producing; I've produced all the animation in Flash then exported the files as SWFS, and want to composite it in Premiere and export it as Quicktime Movie (H.264), as this seems to give the best image quality for the final movie. All the SWFs export from Flash and import into Premiere fine, and in the main the SWFs export fine from Premiere, however a few of the SWFs don't export into the final finished movie, leaving just a blank screen, and others only partially export, either stopping halfway through the shot or exporting with some of the layers from the SWF missing. I've tried re importing the files but I still encounter the same problems.
    Can anyone shed any light onto where I may be going wrong and what I can do to get the entire movie to export fully? Or if there is a better way of exporting the files from Flash to a final finished movie?
    If you need any other information let me know,
    Many thanks
    Josh

    Hmmm...
    I did a quick test in your behalf with a test project with and without "alpha glow" applied to all of the media.
    The results were actually kind of strange:
    - export to .mp4 utilized all cores (6-core box w/ Hyperthreads) with a smooth 82% utilization for the whole export; memory usage (also from task manager) went up and once it hit a maximum, it stayed there
    - export to .mp4 with "alpha glow" applied -> CPU usage started out pretty good, then memory usage maxed out and then actually cam down; after a bit, the CPU usage stabilized at around 22%, or about 25% of what it had been at the start of the export
    Smells to me like an Adobe bug or design-flaw.
    Anyway, good luck with your testing.
    I totally agree with Bill's suggest to do a full PPBM7 test on your new rig and report the scores back here - and to the PPBM7 site of course. This will help you to have confidence in your new hardware and setup. Once your hardware and configuration (for Win7, drive caching, Premiere settings, etc.) are working fine, then your particular workflow, etc. can be a separate troubleshooting step.
    Good luck!
    Regards,
    Jim

  • Project manager - problem exporting a project with AE compositions.

    I have a problem exporting my project to another disk, this is what happens:
    I needed to move the project from the windows partition of my Mac to the Mac partition, in order to be able to continue my edit under MacOS, my sequences include a series of After Effects compositions of footage that has been stabilized in warp stabilizer using the option "replace with AE composition" from the timeline.
    Using the project manager I started my backup operation, with these options:
    Source: all sequences selected
    Resulting Project: Collect files and copy to new location
    Include Audio conform files
    Destination: a folder in the Mac partition
    The resulting project had a message popping up saying that AE rpject file is missing (it was, I had to manually copy and paste it from ithe win partition to the mac) and once copied obviously AE couldn't find the source video clips of its compositions, so I had to manually re-link them all  (quite difficult job to do among almost two years of footage).
    What have I done wrong ?
    Why AE lose the connection with the fils?
    Thanks

    Thanks Jim,
    I understand that Adobe Anywhere solves this, but there should be this fairly basic functionality (which exists in Avid and FCP) in a non-enterprise edition of the software.  I have submitted a couple different feature requests about this, going back to CS5, so hopefully enough people make similar requests for a fix to be implemented.  Adobe Anywhere is really not a solution for our small shop as currently configured/priced, especially when we can have editors working remotely with very affordable USB 3 drives.  The only hangup is the markers, which just isn't worth a 5 figure fix.  As such it's hard to consider the problem solved for either us or any small shop or post crew.
    Best,
    Jon

  • How to create a time-lapse with Premiere Elements?

    To whom it may concern,
    I have a DSLR (Rebel T3i) and I am planning to set it to take pictures every so often. I heard there was a way to do it within Premiere Elements and would rather save money since I already own this great software. I would like to have the steps to do so as soon as possible.
    Sincerely,
    Adobe Pat 206

    Adobe Pat 206
    Lots more details, but for starters please check out my blog post on Premiere Elements Time Lapse basics.
    http://www.atr935.blogspot.com/2013/07/pe-time-lapse-video-basics.html
    More later.
    ATR

  • Problems exporting as DNG with LR5

    (use a pc)  Just upgraded from LR 3 to 5, for some reason when I export my worked on files to a DNG, some of my changes made from the xmp/raw file do not stay saved when I export as a DNG example the exposure changes are not save. (I do this all the time with LR3, no problems.) Am I missing something? thanks!

    I believe that the problem is that LR5 uses a new process version (called Process Version 2012), which CS3 and CS4 do not understand, and so cannot display your edits. You would need to send a TIF or JPG file to CS3 or CS4 to have the exposure appear properly.
    I have not tried this, but I believe that if you edit the photo in Lightroom 5 but select Process Version 2010 to do your editing, then the DNG export will be readable by CS3 or CS4. Of course, you lose the benefits of Process Version 2012. (use Settings->Process->2010) Note: changing the process version on photos you have already edited will change the appearance of the photo.

  • Problem exporting Quicktime Mov with Premiere / Media Encoder

    I have a MOV-file which has been exported from Final Cut. I imported and edited it in Premiere CS 5.5 and then tried to export again to Quicktime Mov. Problem is that the output looks terrible. There is some kind of "Motion bluriness" or fuzziness in the video and looks like there is a maybe "frame rate problem".
    Does anyone know what the problem is? I use "real" Quicktime from Apple website.
    Here is the information of my Premiere project:
    Editing mode: DV PAL
    Timebase: 25,00fps
    Video Settings
    Frame size: 720h 576v (1,4587)
    Frame rate: 25,00 frames/second
    Pixel Aspect Ratio: D1/DV PAL Widescreen 16:9 (1.4587)
    Fields: Lower Field First
    Here is the information (Mediainfo) of the original MOV:
    Format                           : MPEG-4
    Format_Commercial_IfAny          : DVCPRO
    Format profile                   : QuickTime
    Codec ID                         : qt 
    File size                        : 2.06 GiB
    Duration                         : 9mn 42s
    Overall bit rate                 : 30.3 Mbps
    Encoded date                     : UTC 2011-08-17 18:12:37
    Tagged date                      : UTC 2011-08-30 17:05:26
    Writing library                  : Apple QuickTime
    ©TSC                             : 25
    ©TSZ                             : 1
    Video
    ID                               : 1
    Format                           : DV
    Format_Commercial_IfAny          : DVCPRO
    Codec ID                         : dvpp
    Codec ID/Hint                    : DVCPRO
    Duration                         : 9mn 42s
    Bit rate mode                    : Constant
    Bit rate                         : 24.4 Mbps
    Width                            : 703 pixels
    Original width                   : 720 pixels
    Height                           : 576 pixels
    Display aspect ratio             : 16:9
    Frame rate mode                  : Constant
    Frame rate                       : 25.000 fps
    Standard                         : PAL
    Color space                      : YUV
    Chroma subsampling               : 4:1:1
    Bit depth                        : 8 bits
    Scan type                        : Interlaced
    Scan order                       : Bottom Field First
    Compression mode                 : Lossy
    Bits/(Pixel*Frame)               : 2.414
    Stream size                      : 1.95 GiB (95%)
    Language                         : English
    Encoded date                     : UTC 2011-08-17 18:12:37
    Tagged date                      : UTC 2011-08-17 18:15:18
    And here is the information about exported video:
    Format                           : MPEG-4
    Format_Commercial_IfAny          : DVCPRO
    Format profile                   : QuickTime
    Codec ID                         : qt 
    File size                        : 2.06 GiB
    Duration                         : 9mn 42s
    Overall bit rate                 : 30.3 Mbps
    Encoded date                     : UTC 2011-09-24 19:59:53
    Tagged date                      : UTC 2011-09-24 20:01:56
    Writing library                  : Apple QuickTime
    ©TIM                             : 00:00:00:00
    ©TSC                             : 25
    ©TSZ                             : 1
    Video
    ID                               : 1
    Format                           : DV
    Format_Commercial_IfAny          : DVCPRO
    Codec ID                         : dvcp
    Duration                         : 9mn 42s
    Bit rate mode                    : Constant
    Bit rate                         : 24.4 Mbps
    Width                            : 720 pixels
    Height                           : 576 pixels
    Display aspect ratio             : 16:9
    Original display aspect ratio    : 4:3
    Frame rate mode                  : Constant
    Frame rate                       : 25.000 fps
    Standard                         : PAL
    Color space                      : YUV
    Chroma subsampling               : 4:2:0
    Bit depth                        : 8 bits
    Scan type                        : Interlaced
    Compression mode                 : Lossy
    Bits/(Pixel*Frame)               : 2.357
    Stream size                      : 1.95 GiB (95%)
    Language                         : English
    Encoded date                     : UTC 2011-09-24 19:59:53
    Tagged date                      : UTC 2011-09-24 20:01:56
    And final information about my computer:
    CPU
    Intel(R) Core(TM) i5-2500K CPU @ 3.30GHz
    RAM
    8.0 GB
    OS
    Microsoft Windows 7 Service Pack 1 (build 7601), 64-bit (Professional)
    Video Card
    AMD Radeon HD 6900 Series

    Thank you for your answers! I'm so confused about this. It seems to be problem with field orders, but original video is lower field first, my project is lower field first, sequence is lower field first and export is lower field first.
    Here is the screenshot of my Sequence settings
    And here is Export settings:

  • Imovie Export Time Better with More RAM ?

    I have an Imac, one before latest release, 3.06 CPU and 2 Gig RAM. A 17 minute video is exporting right now using H.264 and 1920 x 1080 settings and Imovie is telling me that it will take 3 hours. Also, the source video and the exported file are both on an exernal firewire drive (which I know was a mistake).
    Question, if I installed 2 gigs more RAM, would it make a big difference ?

    I'm a strong advocate for maximizing RAM, but It won't shave that much time of the processing. It still takes a long time to process hd. You will feel the RAM while you work and use multiple applications. It will take out the lag. However, becareful on choosing the RAM. A friend of mine went a really inexpensive route and wound up with conflicts and problems. Its not worth the dollar savings...

  • Export time lapse for Premiere

    (I'm a switcher from Final Cut Pro to AE/PrPRo, normally I would assemble timelapses in QT 7 pro as Prores then import and edit/"pan" in FCP.)
    I have shot a bunch of timelapses as jpegs.  I gather that I want to assemble the image sequence in After Effects and then export a video from AE to be imported into Premiere. 
    Qs:
    How would I assemble the timelapses in AE?
    How do I save them out of AE for use in Premiere?   (format, settings, etc..)
    I want the native resolution of the 18 megapixel image which is approx 5200x3500 px, not scaled down to 1080p, can Premiere work with that resolution?
    Thanks for your time.

    Rick Gerard wrote:
    There's no need to convert an image sequence to ProRez. Image sequences load just fine in After Effects, Premiere Pro, or Final Cut.
    Your best option would be to do a batch resize in Photoshop to something close to the final size the un-cropped image will be in your project.
    The reason for downsizing the images is to improve the look and to speed up rendering. AE and Premiere can easily handle the full resolution images but neither will do as good a job as a nicely written action in Photoshop.
    Check the preferences and see what frame rate your APP assigns as a default to image sequences. In AE it's 30. If you're project is something else (23.976 for example) then either change the setting in the preferences or change the file interpolation after the image sequence is imported.
    Thanks for your reply Rick.
    I was thinking that just importing the jpegs as an image sequence would be more taxing on the computer than "baking" them down to a video file, even though that video file would be 5200x3500px. 
    Ideally, I would like to retain all the resolution of the images so I have more options in Premiere for doing pans/zooms.  If I do want to convert to a video file, what format would be appropriate? 
    Is there a way I could use Adobe Camera RAW in conjunction with After Effects to export a graded, full resolution video file of my image sequence for Premiere?
    If I use your workflow, could I bypass the Photoshop batch resize step and just import the image sequence into Premiere?  Is there an Interpret Footage dialog inside Premiere like in AE for me to set framerate to 23.976?
    Thanks again.

Maybe you are looking for