Interrupting Importing and Transcoding....

I put some clips on my project and now Background tasks is telling me that Importing media is at 65 % and Transcoding and Analysis is at 3%.
I have to go away now, so I wonder: if I close FCPX and reopen it tomorrow.... will it resume this process and bring it to completion?

Interrupting transcoding is not a problem, but you should not interrupt importing. Generally it's not a good plan to run analysis or transcoding on import, especially if you know the process will have to be interrupted. I suppose you can't leave it when you go away.

Similar Messages

  • Tape Import and transcode to proxy

    I've been working with the tape import from an HDV tape and camera.  My preferences are set to auto transcode to proxy on import, but when FCPX captures a tape to the archive, I import that archive into an event.  The footage now shows up as offline until I manually right click on the file and click transcode and select proxy file.  Anyone else having this issue or am I not doing it right.  I was thinking it should automatically transcode it.
    Thanks in advance,
    Mike

    I'd leave the Project and files set to ProRes.
    Turn off background rendering as most newish computers should keep up. No real need to render even before export time.
    When it comes Export time:
    You can choose ProRes LT in the export options which is quit adequate for a DVD.
    Use that export to author in the DVD software.
    Al

  • Should it take 40 minutes to render and transcode a 3 min video?

    I was using FCE on a 2009 unibody MacBook Pro.  It was starting to drive me crazy, so I stepped up to the plate and bought a new Quad Core 2011 MBP and FCPX.  I'm editing 1080P from a Canon 60D and my typical video is about 3 minutes with several transitions and a graphic overlay.  I'm typically saving the video locally using compressor's pre-configured YouTube 720P format. 
    Doing this seems to bring my machine to its knees for about 40 minutes to render and transcode the 3 minute video.  All my other programs become somewhat unresponsive.  Is this what I should be expecting, or is my computer having issues?  I was hoping my shiny new $2300 machine was going to eliminate this problem, but it doesn't appear so.  I've seen people mention that Qmaster isn't worth it for short videos, but if it's taking 40 minutes, I'm wondering if clustering is needed, or my computer has problems. 
    Thanks!

    Well.. i'm using a 2009 unibody macbook pro and have no issues whatsoever. So lets try and see what your doing wrong.
    When you say "I'm typically saving the video locally using compressor's pre-configured YouTube 720P format" do you mean you are importing the files from the camera and then converting them to this format before working with them in Final Cut?
    Unless i'm mistaken, "YouTube format" seems to be .MP4 H264 codec. For working in Final Cut, that is a BIG no no, and might explain why your machines take forever. Final Cut likes ProRes 422. You can import and transcode to ProRes right in FCP in the Log and Transfer Window.
    Or save the raw files onto your computer and use MPEG Streamclip to convert them to ProRes.
    It is very important to do some research and figure out the best workflow for a particular NLE, before going out and spilling another 1.7k for something that still gives you trouble because of something you are overlooking.

  • ProRes files act crazy and transcoding to Animation codec gets ugly

    So, allegedly, the Animation codec is lossless. However, when I take something encoded with Apple ProRes 422 HQ and transcode to Animation within the Quicktime Pro software, I see noticeable differences. Including: color change and increased aliasing.
    The same is true when attempting to export stills from ProRes, even in the highest, most lossless formats. I am wondering if ProRes for PC is actually not quite ready for prime time? When I import a ProRes file into After Effects, I notice the same quality drop associated with trying to transcode it to a lossless format. It seems as though ONLY QT Pro has the capability to display ProRes files properly. If this is the case, this is largely useless, since I can't then USE these ProRes files for anything. What the heck guys? I wouldn't have had clients deliver me ProRes encoded stuff if I knew that it didn't actually maintain its integrity.
    Please help out as soon as possible. Clients with deadlines are waiting on a solution that doesn't involve me spending 4000 grand on a new machine and FCP.

    As a test, try nesting the problem sequence in a new empty sequence then export that new sequence using QuickTime. Let us know whether or not that succeeds.
    Cheers
    Eddie
    PremiereProPedia   (RSS feed)
    - Over 350 frequently answered questions
    - Over 300 free tutorials
    - Maintained by editors like you
    Forum FAQ

  • FCPX Project Render Settings - Can you edit in h.264 and Transcode/render only used clips on timeline to Prores during render?

    I have a question on the PROJECT RENDER settings in FCP X. It’s seems to me that one could theoretically import and edit entirely with original h.264 video files without needing to Transcode to ProRes422. Once you’re done with your edit and want to get the added benefits of COLOR GRADING in ProRes422 color space, it seems that FCPX will automatically render your edit in ProRes422 according to these preferences. In that case, a color grade could be applied to the whole edit, and be automatically transcoded/rendered into ProRes 422 during the render process. After rendering, what would show up on the viewer and what would EXPORT would be the rendered Prores files and not the original h.264 files. This saves a lot of time and space of transcoding ALL your media, and in theory should enable you to edit NATIVE video formats like h.264, with automatic benefits of ProRes during render.  I'm assuming the render may take longer because FCPX is having to convert h.264 video files to ProRes422 while rendering. This may be one drawback. But will you your color grade actually use the 4:2:0 color space of the h.264 native media, or will it utilize 4:2:2 color space, since the render files are set to render to ProRes422 ? Can anyone please confirm that this theory is correct and optimal for certain work flows?? Thanks!

    Thanks Wild. That's what I thought - in that the render files would be converted to ProRes422 codec. So do you or anyone else think that there is an advantage to having the 4:2:0 original file be processed in a 4:2:2 color space?
    Yes there is an advantage, any effects and grading will look better than in a 4:2:0 space.
    Most professionals online seem to think so. Also - will rendering of heavy effects and color grading take longer using this method because it's having to convert h.264 media to ProRes during render?
    Yes, it will definitely take longer.
    Can anyone verify from a technical standpoint whether editing and color grading in this workflow will see the same benefits as having transcoded the h.264 media to ProRes in the first place?
    Same benefits from a final product view point, you lose on rendering time though and if you have lots of effects things will seem slow as it will have render everytime from the h264 file rather than a Pro Res file for every change you make. This may be fine on a higher end mac but I'm sure just pummels an older lower end mac as to being almost useless.

  • Original and Transcoded (ProRes 422) Media

    Hi all
    Can anyone explain to me what exactly is the point of having both original (say H264, for example) and transcoded media in a library? I fail to grasp the point since I am only interested in dealing with prores files.
    Thanks

    Hyphen.
    If FCP has the choice between original and optimized versions it will always use optimized.
    It is not necessary to copy both versions  to your library. If you check leave files in place in the import window and also check create optimized, it will link to the external original media and copy the Pro Res version to your library. Of course, it the clips are still on the camera, (or if you are importing from a camera archive) there will be no leave in place option and you would need to manage the library files after import.
    Final Cut Pro X: Manage optimized and proxy media files
    Russ

  • Conferencing and Transcoder Resources in Campus Environment

    This is my first time working in a campus environment, and have some questions regarding best practices especially regarding conferencing and transcoding resources.
    The central office consists of several buildings, all connected via gigabit fiber. It houses a single CallManager Cluster, IPCC and Unity servers, and 2 2821 voice gateways. Each gateway has a connection PRI to the PSTN, and also a PRI to the legacy PBX.
    The two remote offices (50 users) are located within one mile. Each office is connected to the main office via metro ethernet, but also has a 2821 with FXO ports to handle 911 calls. In addition, the 2821 has a Data T1 terminated on a 2821 at the central office. Routing is configured so all Voice VLAN traffic goes over the Data T1 rather than the Metro ethernet.
    Due to the 1.5 MB limit on the data T1, calls to/from the remote offices use G.729. Calls in the same office use G.711.
    My question is where conferencing and trancoder resources should be configured. Currently, all 2821s are configure as MGCP gateways in CCM, but none have conferencing or transcoding configured. Should I configure this on the 2821s in the central office and have the remote offices use them, or configure them on the remote 2821s as well? Keep in mind the remote offices do not have PRIs, just a couple POTS lines for 911 and SRST calls.

    John,
    Usually if IPCC is in the mix without Transcoders, then IPCC ports are put into it's own Device Pool/Region with G711 to all. Even though at the HQ to Remote you might be running Device Pool/Regions with G729 in between. Check that to be sure.
    Also later IPCC versions have the option of being installed with either G711 or G729, just to make you aware of the options. If you want to verify this in IPCC 4.x, goto AppAdmin/System/System Parameters and look for the installed codec.
    As far as conferencing, my original recommendation was based on normal installs. I really didn't notice in your original post that you had limited PSTN access at the remotes. So this is going to come down to your total resources. Do you have limited WAN bandwidth? Do you expect more parties on the Conference Bridge to be remote PSTN or local IP Phones? Really its going to come down to your DSP resources compared to your WAN resources.
    With all that being said, from your last post I would gather that your conference calls mainly are with more participants from the PSTN. So I would configure the 2821s at the main site with enough sessions to transcode my calls to IPCC. Then configure the remainder for conferencing. Then the DSPs in the remote I would configure for conferencing. The I would create MRG for the main site resources then another for the remote. Then create a MRGL for the remotes using the main site MRG then the remote MRG.
    The reason I suggest this is mainly because you feel more calls will traverse the WAN if you have the remote site initiate it's conference with a local bridge. Most importantly you want to make sure you have enough for transcoding and worse case scenario if you run out of HW conf resources at the main site you can failback to the HW resources at the remote. Of course you should really try to trend this with CCM Perfmon, looking at stats like Location utilization and the conference bridges utilization.
    Hope this helps
    Thanks
    Fred

  • How to roundtrip and transcode footage for Davinci Resolve and others

    Hello,
    I'm cutting a project using multiple codecs in Premiere CC, but I want to grade it in Davinci Resolve- a software that can't handle MXFs and MP4s and H264s in the same sequence. My colorist is asking for a sequence in a single codec- preferably Pro Res.
    I'm trying to do the equivalent of "Media Manager" in FCP to simultaneously move and transcode the footage from my finished sequence to a new location, but I'm having trouble finding this.
    The "Project Manager" feature in Premiere Pro CC was incredibly buggy.  It took 15 minutes to export a test sequence that was 15 seconds long and it didn't even trim my clips- even though I selected that box. This took up a ton of hard drive space.  More importantly:  It doesn't give me the option to transcode on export.
    Does anyone know if this feature exists?  I'm a professional editor and Premiere needs to play nice in finishing if I'm going to continue to use it.
    [Text formatting removed.  Please type your posts here rather than copy/paste.]
    Message was edited by: Jim Simon

    psion99 wrote:
    Hello,
    The "Project Manager" feature in Premiere Pro CC was incredibliy buggy.
    Hi psion99,
    Sorry that you didn't have a great experience with the Project Manager. It does work with some caveats.
    psion99 wrote:
    It took 15 minutes to export a test sequence that was 15 seconds long and it didn't even trim my clips- even though I selected that box. This took up a ton of hard drive space.  More importantly:  It doesn't give me the option to transcode on export.
    Does anyone know if this feature exists?  I'm a professional editor and Premiere needs to play nice in finishing if I'm going to continue to use it.
    Yes, it takes awhile to copy the clips with Long GOP codecs. With footage like you are describing, Premiere Pro must copy the entire piece of media because of the codec. If you shot, say, ProRes in an ARRI Alexa camera, the Project Manager would only copy what you needed (plus handles) instead.
    ProRes in an intraframe codec which allows the consolidation of media. Since Long GOP footage requires surrounding frames, you cannot consolidate it (therefore, requiring the entire media).
    Do you recall that FCP could not playback Long GOP footage natively? It could not. In FCP 7 or earlier, Long GOP footage had to be transcoded to ProRes so it could be handled in the timeline. FCP's Media Manager seems faster because all the footage got sent through Log and Transfer making it into intraframe footage, which can be consolidated and exported quickly. In fact, the Project Manager is equally snappy if you only include intraframe footage.
    You do have a point regarding managing the media and transcode it to a new codec. Please make a feature request: https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform
    Most people that want to consolidate footage in Premiere Pro transcode the footage before starting the edit. It would be nice to be able to manage that media and transcode it at the same time.
    Hope that helps explain things.
    Kevin

  • Why does my imported and optimized footage still say h.246?

    I have imported my footage from my Canon 5D MarkII, I checked optimized media and copy. FCPX has now created two folders on my harddrive, "Original media" and "Transcoded media", so far so good, but when I check the codecs column in my event window it still says h.264 and not ProRes 422?? I also tride to transcode the footage after import but it still said h.246 (Tried to edit the h.264 footage but it didnt work for med so I think I need to transcode it)
    Do I need to import my transcoded media to a new event?
    I cant figure this out so could some one please explain this for med?
    All the best/ Tom

    Info shows the original media format, not the transcoded file. To check that you're using the transcoded file, select it in the timelike and use reveal in finder to show you the file. It should be the ProRes version.

  • Importing and editing footage with two different cameras

    I am editing a film that has footage caught and imported from two different cameras. Some of the footage is from a handheld HD camera that I have worked with before and use an "Easy Setup of Apple Intermediate Codec, 29.97 fps, HDV Apple Intermediate Codec 1080i60." I want to add some video footage that I shot with my Canon Rebel t2i. I searched a number of threads and concluded that when working with a project shot with the t2i, I should have the the Easy Setup be "HD, 29.97fps, DVCPRO HD 1080p30" (side question: is this correct?). My question is when starting a project where I will be using footage from both cameras, what Easy Setup should I use and is there anything else I should keep in mind?

    Shane-- Thanks for the willingness to help. I am in Helena, but travel all over the state for work--I am a fly fishing and bird hunting guide who likes to do some amateur filming and editing on the side. Love Missoula, Bozeman, Flathead area, etc! And since you are willing to be so helpful, I guess I should start with a go Cats!
    I am brand new to FCP, having previously worked a fair amount with FCE4. I actually do have FCP 7 and work with it on my Macbook Pro. My handheld camera is a JVC Everio that captures in AVCHD (1920x1080). I had my Easy Setup in FCE4 as Apple Intermediate Codec. If I use footage from this camera in FCP7, should I continue to do this?
    So not only am I new to FCP7, but I just bought the T2i and really am not totally sure what I am doing yet. I just got the Canon EOS Movie Plug-in and modified it according to some threads I read so that it works for the T2i. I also found directions on the Canon website on the proper way to Log and Transfer for T2i footage (side question: can I dump the files off my T2i onto an external HD and then Log and Transfer them into FCP7 from the external, and is there anything I need to know about when doing this?)
    So now that you know that I am very knew to FCP7 and the T2i, maybe I should start from scratch. When I log and transfer, what format should I use when I transcode? ProRes 442? And then, however you suggest I should transcode, what should my Easy Setup look like for footage from the T2i?
    Wow, if you are still reading at this point, and I haven't exhausted you with all of my questions and naivety, my final question is...once I have become comfortable with importing and editing footage from the T2i, what should I do if I want to log and transfer and then edit footage from both cameras? Do I need to change the Easy Setup? Do I need to make other changes?
    Thanks again in advance for all of your help and patience!!!

  • Consolidate and Transcode problem

    Hi,
    I'm having a strange issue with a 10 minute sequence. The original media has come from many different sources, but it is all QT, albeit in various different flavours. When I project manage the sequence it looks to be fine, however, when I play it back the audio on some clips is out of sync. On some of the clips I can re-link to the audio in the project, on other clips it still re-links to the correct audio, but with incorrect in & out points.
    I have tried different methods of Project Managing (altering the Source/Format/Preset drop downs) and the only box I have checked is: Exclude Unused Clips.
    Here're 2 screen grabs of the first instance in the sequence where this occurred. The first is the original sequence, the second is the Project Managed version - both with the Metadata panel open. This particular version was Project Managed using the following settings:
    Source: Individual Clips
    Format: Quicktime
    Preset: Match Source - Apple Pro Res 422 (LT)
    Has anyone encountered this? Does anyone know of a work around/fix?
    My system details:
    Adobe Premiere Pro CC 2014 (8.2.0)
    Mac Pro (Late 2013)
    3.5GHz 6-core Intel Xeon E5
    16GB 1866 MHz DDR3 ECC
    AMD Firepro D500 3072 MB
    Yosemite OSX 10.10.3
    AJA ioXT v.12.2.0
    Thanks in advance!

    Okay,
    I'm back to square one. I have tried a number of possible solutions, but nothing has worked. I either get the original synching problem outlined above, or PP links to incorrect channels.
    One of my methods was to (painstakingly) convert all of the clips, create a new project, and create a new sequence:
    1. Modify Clip > Audio Channels >
    Preset: Mono
    Channel Format: Mono
    2. Create a new project. In Premiere Pro > Preferences > Audio >  select Mono as the default Audio Setting
    3. Create a new Sequence and create 10 x new Mono audio tracks
    4. Imported the sequence from the original project which I had converted to Mono. The audio looked the same as the original sequence (2 x channels on A1 – a Mono track), but it did at least play out as Mono – I was hoping at this stage to see mono waveforms on mono tracks.
    5. Then I attempted to consolidate and transcode. No dice. The problem seems to be that one of the problematic clips (which originally had 3 x stereo pairs) is defaulting to the original stereo channel on track one. I used the audio from track two. When I convert it to mono, it’s looking at the wrong audio. This is extremely frustrating as the audio I don’t require doesn’t exist in the sequence at all! It is simply associated with the source clip.
    I have a clean and split version for safety, but I really need to preserve my edit, and decrease the project size. I’m stuck…

  • Consolidate and Transcode in Cineform workflow: A great feature... if it worked properly .

    Hello,
    So my company recently acquired 17 licences of Creative Cloud teams, we were all very excited for the new 2014 features and capabilities of Premiere Pro CC and the new cineform codec workflow, plus all the connection between video apps on Cc..
    Although it doesn't seem the most important feature, for us, the Project Manager on the presented cineform option of Consolidate and Transcode is a Big Deal for updating and preparing for archive older projects.
    But the thing does not work, and its warnings and results are anything but clear or functional.
    Example 1:
    A full HD project 1920*1080 progressive 25pfs, mixed footage of apple ProRes and Quicktime Animation. Go to consolidade and transcode > sequence > quicktime > match source goPro Cineform :: FAILS..
    Example 2:
    Full HD project 1920*1080 progressive, mixed footage of Quicktime H264 (full hd) and RED 5120*2700, fails.. same error...
    Example 3:
    Full HD project, mixed footage 1920*1080, progressive jpeg sequence + MFX with fields.. fails.. same error..
    IF INSTEAD of choosing "match sequence" i choose "match individual clips" sometimes it works partially but some MXF´s are not converted (premiere does not say why on the Events panel) and those are copied in all the original format. It does not makes much sense.
    Now i can go on and on.. giving more examples.. Trent Happel, on a similar post here, explained that this error appears because the selected Format (my case Cineform) does not support the combination of frame size, frame rate and field combination.. Wish is ridiculous because its failing transcoding, standard full HD resolution, with or without fields, or experimented different fps and quicktime´s, MFX´s , Red´s or even sequences..
    EVEN when i create a preset (based on cineform or any other) most of the time it fails.. and if a transcode a individual clip (that Premiere Manager was failing on examples described above) in its own solo sequence timeline (just that single individual clip), ironically it gives no error.. so what the heck is happening??
    So now.. the company is really happy.. happy they are on the 30 day full refund period, for 17 licences bought based on a workflow adobe promotes, but fails consistently on real world application.
    Help if possible is appreciated

    I'm having issues similar to the original poster.
    When I first saw "Consolidate" when it was released I was very pleased, but when I dug into it and found I HAD to transcode I became quickly frustrated.  I don't want to transcode the footage.  In my case, most of the time all my footage is already in the codec I want.  And if for some technical reason I have to transcode, the Project Manager will not see my ProRes Preset under Match:Individual Clips, even though it will see it under Match:Sequence.
    Trent, while I understand your explanation of Match:Sequence v. Match: Individual Clips, it doesn't work as advertised.  I have a simple, single layer sequence in Apple ProRes HQ, and all the clips are also ProRes HQ.  When I run "Consolidate and Transcode"/Match:Sequence on it, I get full copies of the source, not trimmed clips.  I may as well have run "Collect Files and Copy."  When I attempt to run "Consolidate and Transcode"/Match:Individual Clips, it won't recognize my ProRes imported preset, so I get trimmed clips, but at a lower resolution.  That's not acceptable.
    So now my single layer 1:20 sequence (no audio) that should have about 2.5 gigs of footage "consolidates" with 52gigs of source material.  We are needlessly filling up archive drives with gigs and gigs of unnecessary footage because Premier wouldn't, and now won't properly, consolidate projects.
    If I'm missing something please let me know, I've lost another half inch of hairline on this one.

  • When I attempt to log on to I tunes I get the following message  "The registry settings used by the I tunes drivers for importing and burning CDs and DVDs are missing  This can happen as a result of installing other CD burning software  Please reinstall

    When I attempt to log on to I tunes I get the following message:
    "The registry settings used by the I Tunes drivers for importing and burning CDs and DVDs are missing.
      This can happen as a result of installing other CD burning software. Please re-install I Tunes."
    To my knowledge no new software has been installed.  I have tried un-installing and re-installing I Tunes but I still
    get the same message.
    Can anyone offer any suggestions?  Do I need to download a new driver?
    Bill Martin

    I can get down as far as step 11 but it shows nothing about upper filters and when I type on "If the Upper Filters entry is missing follow these instructions" nothing happens
    Do you mean you can't see the instructions on what to do if there is no UpperFilters entry?
    If so, here's the relevant instructions for that step:
    On the right side of the Registry Editor window, right-click the UpperFilters entry and choose Modify from the shortcut menu.
    Right-click the empty white space within the right-hand portion of the Registry Editor window. From the shortcut menu, choose New > Multi-String Value.
    Name this new value "UpperFilters" (without the quotes). Then, right-click the newly created UpperFilters entry and choose Modify from the shortcut menu.

  • What is the difference between import and merge?

    When setting up my wife's new account on my son's MBP, I did not migrate all of her photos as they were in 2 or 3 separate iPhoto Libraries.  I researched this forum and found the best way to merge all of her libraries is to buy iPLM.  According to a post by Terence Devlin, if I don't use iPLM, thumbnails, previous editing, keywords, etc., will not be imported.  OK, but if we only want the originals photos and there was no editing or ratings or keywords, can't we just use the "Import" feature?
    According to Apple's instructions, the way to import one library is to first switch iPhoto to open using that library (hold down the option key when opeining iPhoto and selecting that Library).  Select your photo's, and the go to File>Export.  Then quit iPhoto and switch to the new iPhoto Library and go to File>Import and select the file that was made during the Export.  I suspect this is the approved method if you are not concerned with importing the edited photo's, keywords, etc.  Is this correct?
    I recognize from LarryHN's posts why you can no longer just drag and drop the files using the Finder, but if we don't use iPLM, I wanted to make sure I use the correct method to combine Libraries.
    BTW, speaking of using the Finder, do any of you remember the Multi-Finder?

    Yes that's correct. Remember you are not importing libraries or merging them or combining. You're exporting from one and then importing those exports to the other. That's getting the photos from one to the Finder. Then importing them.

  • Best app to import and study multiple choice questions.

    Hi,
    I'm searching for an app to help study for an exam.
    Part of the studying strategy is to study by the previous exams questions. I have those (a lot of them) in text format.
    The app would need to have:
    - Support for multiple-choice questions;
    - Easy, fast and automated way of importing the questions;
    Would be nice to have:
    - Ability to include a rich-text comment along with the right/wrong answer;
    - Support for tagging each questions.
    I've used the search function and found this:http://forums.macrumors.com/showthread.php?t=1041085 but it's been a while since then.
    thanks in advance

    Hi Konrad;
    What approach would you recommend to import and export EBS data? Open Interfaces, PL/SQL, web services or anything else?For your question please check below notes:
    Export/import process for R12 using 11gR1 [ID 741818.1]
    Export/Import Process for Oracle E-Business Suite Release 12 using 10gR2 [ID 454616.1]
    General Notes For E-Business Suite Release 12 [ID 986673.1]
    Please also check below thread:
    how to export data from ebs
    how to export data from ebs??
    Also check below search which could help you about your issue:
    http://forums.oracle.com/forums/search.jspa?threadID=&q=import+export+&objID=c3&dateRange=all&userID=&numResults=15
    http://forums.oracle.com/forums/search.jspa?threadID=&q=export+data&objID=f475&dateRange=all&userID=&numResults=15&rankBy=10001
    Hope it helps
    Regard
    Helios

Maybe you are looking for