If I imported proxy media to edit in fcpx, can I export a hight resolution (apple pro res 422 (hq)) version of the project ?

OK, let me re-answer here. You HAVE to have either original or optimized media, you can not have Proxy only media, when using FCPX's inport options. You will switch between which FCPX is using; in 10.1 via the Canvas menu option called "Media", or in 10.0.9 and earily via the Preference's "Playback" settings.
When set to Proxy, FCPX only references that medai, which is 1/4 resolution, and not full quality. When set to Original Or Optimized, you'll get full resolution output, as FCPX is not referencing those files.
The only way to have Proxy only media is to convert it in Compressor and then import that. And that would just be a huge mistake.

Similar Messages

EDIT in HDV 1080i60 or CONVERT to apple pro res 422?

Hi all --
I'm starting a project today shot in HDV 1080i 60. Working in fcp 7
The client has imported MANY hours of footage into fcp at that codec in preparation for the edit.... of course, there's still alot of material
to import including dozens of hours of h264 files shot on an SLR.
So my question is -- should I keep the project in the hdv codec or attempt to convert everything to prores 422 before proceding?
Is there an advantage to working in prores?
If conversion is the answer, what is the fastest and simplest way to batch convert this material?
Thanks in advance,
Mark

thanks Studio X... what is it about HDV that's so heinous? I have to say -- some of the file sizes I'm seeing for the clips are huge.
Is it that the HDV requires more processing power from the machine?
Anyhoo -- I'm feeling that you're right and it might be a good idea to convert the entire project to ProRes LT. The Qmaster rendering services -- basically that's a way to assign processing power from the cores to the compressor conversions?
This is the beginning of the long term project and I don't want to set off in the wrong direction. The client did a good job loading the HDV material into the fcp, but I'd feel better if we were working in ProRes -- as you suggest.
cheers,
Mark

FCX transcoding media is only in apple pro res 422? how to choose proper apple pro res format

I have imported some footage shot witha dslr camera in FCX [(1280 × 720, H.264, AAC, HD (1-1-1)], I have immediately transcoded in high quality to have better format to edit with, my question is can I choose other apple pro res (non for this case) quality format, (422 high quality or 4444) to convert into?
whats is the the proper apple pro res format to choose relating any codec?

Filmbarber wrote:
So now what I do is, I use Final Cut Pro 7 to ingest and transcode the footage. The rest in Final Cut Pro X. Is there any better solution?
Just to throw another 2¢ into this.
Agree with what AndyNick
says about PR HQ being overkill for footage originally shot in 4:2:0. – with the possible exception that in some cases graphics and the grading of those might benefit.
If storage isn't an issue – and if your computers are beefy enough to push these big files around – then it''s hard to see any downside, if you decide to use the HQ flavor. In which case, I would say there is no better solution than using the Log & Transfer function of FCP7 for the transcode. It could also be done in Compressor (slower) or MPEG Streamclip (faster), but in neither case would it give you the combination of control and speed as FCP 7 L&T.
Good luck.
Russ

Green screen keying layer does not export with rest of media in apple pro res 422

green screen keying layer doesnot export with other media in the sequence when using apple pro res 422

You really will need to explain this a bit more carefully, pretend we have no clue what you're doing, and phrase this in the form of a question. For all we can tell, this is exactly the result you wanted and you're just telling us about it.

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?

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

How can I set FCPX to import my footage as Pro Res 422?

I am having difficulty getting nice clean chroma keys due to the fact that all my footage is being imported with the H.264 codecs. I have the project properties to render as Pro Res 422, but that as I understand it, will only change my footage for the final output.
I tried to find a place in the Properties->Import to see if I can tell FCPX 10.0.8 to import the footage at a higher quality so that the keyeing effect creates better masks. Where can I set FCPX to import my footage as ProRes 422?
I would greatly appreciate anyone's input as I have been trying to figure it out and am at a complete loss at this point.
Thank you so much in advance for your help!
~Heather
PS:
Here is where it says my footage is H.264 - where can I change this?

I do always check the optimize media box, but still have a hard time smoothing out jagged edges on greenscreen footage. I assumed it was because the keyer was being applied to H.264 footage instead of ProRes 422 footage.
Which codecs is the effect being applied to if I drag it onto the clip in my timeline? I am doing playback with optimized media if that makes a difference. It is quite possible I confused myself.
Thanks for your help, Tom!

When sharing through the export media option as pro res 422 i get error code 108

when sharing through the export media option as pro res 422 i get error code 108 and message saying could not complete because an error occurred when encoding frame 3297 - error 108!!!
what is this frame...is it a jpeg file i have imported...how do i locate it... its a 40 minute movie and it will share to dvd just wont let me create a quicktime .mov file... any suggestions.

What frame rate is the project? Divide the 3297 by the frame rate to get an approximate location? What are the specs of the media at that location, video and audio?

Uncompressed vs Pro Res 422 (LT) as archival codec and as editing codec

Hi -
I'm working on a project where we will be capturing 600 hours of footage from Hi8 tapes. The tapes are in somewhat iffy condition so we're only going to get one pass with them and that's it.
We've agreed with the owner of the tapes to digitize all of them for archival purposes, after which we will make a backup copy for us to edit with. We want to use Pro Res 422 (LT) as our editing codec, but there's some question about what codec we should use for archival purposes -- Pro Res 422 (LT) or uncompressed 10-bit 4:2:2.
Basically, the debate is, given that the Hi8 format retains a relatively small amount of data, is there a benefit in terms of quality if we archive the tapes in uncompressed, or will the quality be just as good if we deliver in Pro Res LT to the archive?
Thanks!

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 --
Is Pro Res a good codec for archiving material, and how much if anything would be lost if we delivered to the archival house on Pro Res rather than uncompressed?
What argument, if any, can we make to an archival house that is leaning toward uncompressed that Pro Res will work as well for them? At the risk of answering my own question, would we be correct in saying that the image quality would be effectively as good with either codec (given that we're digitizing from Hi-8 tapes) and that delivering in Pro Res would save them a great deal of storage space?
As a reminder, we're talking about 600 hours of Hi-8 footage here. Thanks.

Making sure FCPx uses proxy media during editing

I read the manual on this and it is vague, so . . .
The proxy media has been created (I've checked that the files actually exist.) How do I ensure that these files are being used when I setup my multicam clip?
How do I ensure that they are being used while editing?
Anything special to do while exporting the final product to ensure best quality?
I've gone through the project properties and nothing jumps out at me as requiring a change except perhaps the render format.

Rusty Rat wrote:
That was one of my concerns - how to ensure I didn't produce the final product from proxy media. I suppose though that the proxy makes a good choice for producing a 'draft' version.
Yes, you can export in proxy as a draft version.
Render Format is in the Project Properties > Audio and Render Properties > Render Format.
Thanks. I had never noticed that. ProRes 422 seems to be adequate in most cases. Not sure about speed. In fact, in most cases you may not need to render at all. I always keep "background rendering" turned off and only render a section of the video if playback is not smooth.

Which sequence pre sets to use if importing Apple Pro Res files

Hello,
I just shot a music video with the BMCC using apple ProRes format and want to import them into Adobe Premiere Pro CS 5.5.
I am not sure which sequence pre sets to choose from when I am at the New Sequence box at the begining.
Anyone know's which pre sets to choose from?
Thank you.

Hi domingolamarre,
Welcome to the forum!
Here is what I would do:
Click "Cancel" and do not choose a Sequence Preset just yet.
Premiere Pro opens.
Import clips.
Drag one of the clips to the New Item button at the bottom of the Project panel.
A new sequence matching the settings of the clip is created.
Continue editing in that sequence.
Hope that helps.
Thanks,
Kevin

Pro res 422 footage to be edited on windows 7 in Premiere CS6

Will I run into any trouble importing and reading/editing this footage?
I won't need to export to the same format. .mov will be just fine when all is edited.
Thanks for your help.

You should not have any problem importing and editing ProRes 422.
When the time comes for export, you might consider Avid DNxHD.
Avid Codecs 2.3.7 - DNxHD (pc or mac) / 'virtually lossless'
http://avid.force.com/pkb/articles/en_US/download/en423319
All you need to know about encoding DNxHD by Fuzzy Barsik:
http://forums.adobe.com/message/5331048#5331048

Why does the fire fox page change, sometimes it is just an orange fire fox button and othr times it says file, edit, view History, bookmarks, tools, help? I barely learn how to run one version of the page and then it changes

Why does the fire fox page change, sometimes it is just an orange fire fox button on the top left that opens a panel with all the things listed in it and then it sometimes has a bar across the top that says File, Edit, View, History, bookmarks, tools, Help? I barely get used to using one type of set up and then it changes to the other without me doing anything??

[[Menu bar is missing]] and [[Preferences are not saved]] may help to you

Editing with proxy media

Does editing with proxy media files affect the video quality once its time to export project?
I shoot 1080P HD video, import both optimized and proxy media files. When its time to export the project or share to yutube the video comes out grainy and dull. I color correct during the edit process. I don't use compressor because I don't create dvd's.
This is a bit frustrating. Any comments or suggestions?

John Lyons wrote:
Even if I checked optimize and proxy video at the same time?
Do I lose the color corrections I did when I go back to optimized?
You don't lose anything. Edit in proxy mode, then before exporting go to preferences->playback and select Original/Optimized media. FCP X will keep all your edits, but will then use the high quality media so that you export your work in full glory.
If you choose this workflow, you really do not need to create optimized media.
I don't see any point in creating both proxy and optimized versions of your media. Either edit in proxy (if your mac or drive is relatively slow, or if you use multicam with several angles) - and then you don't need optimized - or edit in optimized and you don't need proxy.

Proxy-media vs optimized media

Hi Folks,
Upon importing my media I'm able to choose between proxy and optimized media. The difference between and the sense of those is understood. But what I'm not understand - why I'm allowed to select proxy-media AND optimized media at the same time? In my opinion you need EITHER proxy (on a laptop) OR optimized media but never both of them together...
Because if you import as proxy AND optimized, FCPX will take the proxy for editing and the optimized files are useless, right?
So why is that, why can I choose both and not one of them?
Best regards
Jörg

You only need optimized media if your computer has problems working with the original media. Optimized media will transcode your original media to Prores 422, which is much easier CPU-wise to edit with as compared to H264. However, it takes up LOTS of space, so if you have no problems editing with your original media, you don't need to generate optimized.
Proxy media is a low-res version of your original media -- 1/4 resolution I believe, and it uses a reduced quality codec meant only for "offline" editing. e.g., using a laptop. However, like Tom says, if your machine is underpowered and you don't have the space for the optimized media, it's another alternative.
I would not recommend only using proxy media for editing since the resolution is much lower and you won't really be seeing a true representation of your content. I'd say though if your computer can handle editing in H264, there would be no reason for generating optimized media.

If I imported proxy media to edit in fcpx, can I export a hight resolution (apple pro res 422 (hq)) version of the project ?

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