Log & Transfer of .R3D to Apple Pro Res HQ stopped working

I had been successfully Transferring my .R3d footage to Apple Pro Res HQ and now that I'm about half way through I am unable to bring my footage into the Log & Transfer queue. When I select the appropriate folder via Directory and click Open, nothing happens.
Any suggestions?

50 views and not 1 reply...doesn't anyone have a suggestion??? I've tried all the normal troubleshooting and I haven't made any progress

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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.
Open the Log and Transfer window. On the upper region there will be a gear, pick that and pick preferences. Find the camera type you're using and change the Target Format to ProRes422 LT if possible. As you did not tell us what kind of camera this is it is impossible to tell which one you need to change.
All that said, storage is pretty cheap. If you don't do a whole lot of editing a 320gb G-Drive Slim for $80 would be a great investment. If that isn't an option and you really need small files I would suggest editing in iMovie. I believe it converts everything to H.264, which is very small in comparison to ProRes. Don't try editing H.264 in FCP.

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

HOW DO I CONVERT F4VS TO APPLE PRO RES?

Hi, I need to transfer a premiere pro project as a XML to FCP so i plan to convert the files into premiere pro into Apple prores so they can opened in a Apple Pro Res project in FCP. The files I need to convert are the original MOVs and F4vs so the movs won't be a problem but the I've tried converting the f4Vs in Adobe Media Encoder and it seems to suggest I need FCP installed on my computer to convert them to pro res bu there must be a way of getting F4vs in to FCP. This is a project I'm transferring to be opened on someone elses computer in their FCP so how is this done?
PLEASE HELP!
I have the apple pro res codec already installed on my computer and downloaded a free trial of Pavtube but when I tried converting a F4v file into prores it said I need Final Cut already installed on my computer so would wondershare say the same thing. Sorry but I just want to be clear so...If I convert all the movie files in my Premiere Project into Apple Pro Res then export that as a XML then send all the individual files along with the XML project file to another computer they would be able to open the XML project all good and fine in FCP7?... There isn't any speed adjusted clips in the project as with those I nested and converted them into f4vs in Media Encoder then reimported them into the Pro project, then there are a few clips that I have adjusted the scale and postion and put on a slight fade on some clips- would those effects transfer to FCP7 ok ?
The project files I used in Pro are-
Editing Mode: DSLR,
25fps,
frame size 1920 x 1080, vertical 16:9,
Pixel Aspect Ratio, Square Pixels (1.0)
Fields : No Fields(Progressive Scan)
Sample Rate 48000,
Video Previews-
Preview File Format I-Frame Only Mpeg
Codec Mpeg I-frame
So if they open a project in FCP7 with as much of those settings as possible and in Apple Pro Res and then import the XML would that work?
Any advice would be extremely welcome and I'll be very greatful.Cheers
Simon

Try using MPEG Streamclip. Seems to work for a lot of folks.

Uncompressed QT vs Apple Pro Res

Hi All
We are about to venture into 16mm transfer to HD for the first time. The telecine house can give us Uncompressed QTs or Apple Pro Res on a hard drive.
These are the pro's and con's as I far as I can tell:
Uncompressed QT:
- Large Files
- Cannot be used (without conversion) on our current FCP set-up
- Highest quality, which is great for archiving and future use of the media
Apple Pro Res:
- Smaller files
- Can be used directly on our set-up, without any conversion (there are some time constraints on the project
- Almost the same quality as Uncompressed (???)
The workflow I am considering is to get the files back as uncompressed qt's (to make sure the Masters are the highest quality possible) then convert them to Apple Pro Res in Compressor, then edit. Does that sound right?
Is there any point to doing a 'neg match' (editing in Apple Pro Res then upconverting to uncompressed qt's as if in an off-line/on-line environment)?
And, lastly, what Apple Pro Res format should I ask for?
Any other golden nuggets of information you ca add will be greatly appreciated.
cheers
-j-

Hi Jokke, If it's not too late, I've just been through exactly the same decision: shot on super 16 and had to worry about what to do with it. For me the decision had a lot to do with speed of editing, size of files and the way the final thing would be presented (HD Mpeg projected in my case) For all these reasons, the Prores codec worked fine. All the film buffs will scoff at this but very often the differences are really indiscernible and you won't need a bunch of supercomputers to crunch through the uncompressed footage with filters and dissolves applied to it. If you choose to go with Prores, you should definitely take the 422 HQ variety, although I think there's a newer better Prores codec coming out. Maybe one of the more tech-savvy persons on the forum would know about that.

After burning a successful DVD in iDVD out of FCPX, how can I see the settings it used? So I finally burned a DVD out of a Apple Pro Res file into iDVD in PAL format. My question now is how can I find out what the exact burn properties were so that I ca

After burning a successful DVD in iDVD out of FCPX, how can I see the settings it used?
So I finally burned a DVD out of a Apple Pro Res file into iDVD in PAL format. My question now is how can I find out what the exact burn properties were so that I can apply the same burn properties to a project in Compressor 4?
Is it possible to see what iDVD did?

I don't know any way you can interrogate iDVD to reveal settings to the extent that you can in a Compressor project. What you could do is open up the show's VOB in MPEG STreamclip, go to File and Reveal Stream Information; that will at least give you some rudimentary info like average bit rate. Perhaps someone, with more iDVD experience, can chime in here.
The broader question is why use Compressor at all if your current workflow is doing the job to your satisfaction?
The value of Compressor is that it gives you control over the many parameters that affect size quality. and playability. The Compressor presets can give you a starting point for DVD delivery, Web, etc. From those presets, people typically experiment by adjusting the parameters until they get the desired results for their specific show. It's a little bit science and a little bit art. After experimenting, you may be able to get slightly better quality for the project you've successfully burned in iDVD by using Compressor and something likeToast…or maybe not.
Good luck.
Russ

Vixia HF200-apple pro res?

I've searched online and throughout the apple forum, but I can't find any info that discusses the best sequence and project settings to use with a Canon Vixia HF200 camera. I bought ten of the Vixia HF200's for our school to use with Final Cut Pro 6.06 running on Quad Core and a few 8 core Intel Macs. We can ingest perfectly. No issue. And I am probably using the wrong settings, but I set the sequence preset to Apple Pro Res HQ 1920x1080 24p. Our cameras are all set to cinema mode24p. For easy setup we have been using Format:HD, Rate:all and Use at DVCPro HD-1080pA24. Our sequence settings are 1920x1080 Custom 16:9, Pixel Aspect=1440x1080, timebase=23.98 and compressor apple Pro res HQ. I've played with other settings and editing is fine and the video looks fine. However, on most of these settings we are seeing some weird by product. All exported 1920x1080 video has flash frames throughout the video. You can watch the video on an NTSC monitor or on the computer monitor and there are no flash frames. But once you export using Quicktime Movie Apple Pro Res HQ 1920x1080, then that exported file shows multiple flash frames. Again, I'm sure I have all the wrong settings. Can someone respond with the optimal settings for editing AVCHD @ 24MB from a Canon Vixia HF200 within FCP 6.06?

Did it work before?
If so, what did you change?
If not, have you tried installing the latest ProRes Codecs?
x

Apple pro res 422 file consuming more space than usual

hi everyone!
I've been working with FCP 7 since 2008 and at the same time I started working with Canon T2 from 2 years ago and I haven't had any problems with my FCP workflow files, editing and output used to be H. 264 based files until I started to have problems with my hd DSRL projects. Recently when editing the audio went out of sync and I was suggested to change the Quicktime video settings from FCP 7 to imovie (which is th application I commonly use to create chapters and share to iDVD) this worked perfectly. It was the first time I which I had to change the Quictime Settings to Apple Pro Res 422 The Out of sync problem was resolved but the space consumed by the file was enourmosly ncreased instead. ie. A 5 min project usually would take like a 500 mbs quicktime file and now using the Apple Pro Res 422 this 5 min project went up to 5.3 Ggs!! And also the exporting process is taking forever!! For instance I'm working with a 30 min project and the Quicktime conversion never ends. It's taking about 12 hrs and is not taking more than the 20% of the process. Is there something I'm doing wrong? I need help in a extremely urgent way! Thank you all guys! And best regards from Mexico!!
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
Software OS X 10.8.4 (12E55)

>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.

Converting 7D camera footage to Apple Pro Res 422 HQ

I shot footage with the Canon 7D. I brought the footage to Compressor (latest version as part of Final Cut Studio). I am transcoding the footage to Apple Pro Res 422 HQ for editing in Final Cut Pro 7.
A few clips have been transcoded. I open up the original file and the Pro Res HQ file and compare them side by side on my Mac Book Pro. I would like to attach the screenshot but don't think I can do it that here. Anyway, the Pro Res clip is slightly smaller when opened with Quicktime 7 and 10. Also, the colors seem to be darker and the clip a lot muddier than before.
Has anyone had any experience with this? Thanks.

My clips do experience a slight color shift but nothing nominal. However, I have no problems converting my files using the preset and opening them up in FCP 7. When I open them in QTX they appear the same size as their original. Have you checked the inspector pane on your MBP? I have had issues where QTX will not open a video full size due to screen resolution limitations and would always downsize instead. That could be your issue since the MBP cannot display a 1080p file at full resolution.

Where is apple pro res format in mpeg streamline??

i'm brand new to this. have a canon 5D Mark II and final cut express 4.
am using mpeg streamline to convert files to work in FCE.
people here seem to suggest "apple pro res" format but i don't see it in mpeg streamline.

ProRes is only available with FCP. For FCE you have to use the Apple Intermediate Codec.

Is Apple Pro Res viewable on computers WITHOUT Final Cut installed?

I have used Apple Pro Res to compress 3d animation and it looks great, far better than any codec so far. Now I find that it is only viewable on computers with Final Cut Pro 6 installed.
I am planning to exhibit the work as quicktimes, but need to use computers without Final Cut installed. Is there any way to import the codec into a Quicktime pro library so movies with Apple Pro Res are viewable on computers WITHOUT Final Cut on them???
Thanks!

ProRes is only licensed with FCP, and can only be installed along with FCP. You could transcode your clips into the Animation codec and try playing them on the other systems.

Apple Pro Res Export

I am exporting a project that I am sending to be authored. I have already exported the menus in Apple Pro Res 422 (1280x720). This was the most efficient way to preserve my 16:9 anamorphic setting.
When I export the entire movie however, I get dozens of -av.mov files that are linked to the primary mov file which is only 2gigs. What exactly is going on here? If I send a hard drive out with all these av.mov files, can the guy who is authoring read the primary file?
Any info is much appreciated.
Thanks!

In your FCP System Settings (Shift-Q) check to see if the option to Limit Capture/Export File Segment Size is active. It's normally toggled off, but the default size limit is set to about 2 GB (2000 MB), so that's why I'm asking.
One caveat: if you're exporting to a hard drive that is formatted for Windows use, leave the setting and box checked because many Windows drives (formatted by Macs, especially) won't do larger than 2 GB files. And no Windows system will recognize files larger than 4 GB.
So I guess what I'm saying is, before you 'correct' your issue, confirm with your authoring folks what system they'll be using. If they are using a Windows box, they definitely won't be able to read your files - the ProRes codec isn't available for Windows.

Apple Pro Res (LT)

Hi all
Can you tell me if there is a big quality difference between Apple Pro Res and Apple Pro res (LT) , is LT a acceptable format for broadcast?
Thanks in Advance

http://images.apple.com/finalcutstudio/docs/Apple_ProRes_White_Paper_July_2009.p df
It's a bit old but still current.
bogiesan

Apple pro res 4444 info?

COuld someone tell me the data rate for apple pro res 4444 codec? how many megabytes per second does it demand? Will I be able to run it from a 7200 rpm firewire 800 single mobile drive?
Thanks!

http://www.apple.com/finalcutstudio/finalcutpro/apple-prores.html

Apple Pro Res "Render at Maximum Depth"

From my understanding, Apple Pro Res maxes out at 12 bit with DSLR cameras in movie mode not even reaching that. Yet, the setting for "Render at Maximum Depth" offers 24 to 64 bit. Anyone know what the story is with this setting?
And does anyone know the settings for Apple Pro Res 4444 at its highest quality when coming from H.264?
Thanks.

For your reading enjoyment -
http://forums.adobe.com/message/4529886
http://images.apple.com/finalcutpro/docs/Apple_ProRes_White_Paper_October_2012.pdf
A question for you - what is your workflow where you think you might need this? Keep in mind that the majority of cameras only record 8-bit color, and also in a very highly compressed format, so you won't necessarily gain anything by going to 4444, as the source video is of limited quality already.
Basically, if you don't have any high-bit-depth sources in your timeline to preserve the quality of, there may be little or no benefit to enabling "Max Depth".
Thanks
Jeff Pulera
Safe Harbor Computers

Log & Transfer of .R3D to Apple Pro Res HQ stopped working

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