Media Manager - H.264 & Pro Res

I was trying to media manage a sequence today without much luck.
When it was managed, instead of just taking the sections I had used in the edit, it had placed all the clips in their entirety into the managed folder (I had wondered why a 2 minute video was 31GB in size).
Same settings I always use but checked them several times several times to make sure.
Only 2 differences in my workflow
1. ProRes (usually we use XD Cam EX footage but can't see why that would change anything)
2. ProRes from H.264 files shot on a Eos D5, encoded using Mpeg stream clip.
Does anyone know of any issues Media Managing from this format.
One of my other editors here has had exactly the same problem, again with ProRes from H264.
As always, thanks in advance.

Hey Shane, Not sure this is still true. I've media managed a couple of projects recently that included digital files without reel numbers and FCP seemed to handle them ok (unless of course I had a senior moment). Of course, I always test the integrity of a media managed project before deleting any of the original material.

Similar Messages

  • Media manage h.264

    Can anyone tell me why I cannot media manage GoPro h.264 footage to convert it to ProRes, even with a reel name?
    I selected the project itself, opened Media Manager and set everything the way it's supposed to be set (I think). The first project I tried, with five clips in it, three of them exported to ProRes but the other two exported as requested but remained h.264. The three that converted were 720p, and the two that failed to convert were 1080i.
    The next project I tried had four clips, all 1080i. Media Manager said it would convert them, but its file size estimate was exactly the same as its starting size.
    Anyone know what's going on?

    The GoPro isn't AVCHD.
    Ah, OK. Duly noted.
    But still... importing H264 directly (which we know is a bad idea) and then Media Managing out to ProRes? Sounds like a recipe for disaster.
    OP, do what Tom says and then bring it into FCP.

  • 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?

  • Issue with Pro Res sources when encoding in Media Encoder.

    There seems to be a big issue with Pro Res sources in Media Encoder. I've noticed that when exporting using the 'software only' mode my graphics and titles look horrible, they are pixelated around the edges and the compression looks bad. This issue only happens when it's being made from a Pro Res source, if I make the exact same file Uncompressed this issue is resolved. If I use the 'Cuda' option (which I already know is the better option) this issue is resolved. The thing is, in a work environment not all of our systems are Cuda enabled and I would like to use Media Encoder as a exporting option overall. I love Media Encoder, it's fast and easy to use but this Pro Res issue is huge because the majority of the time we are working in Pro Res. I also did a test out of Avid Media Composer to Media Encoder, I sent a reference file referencing the Avid MXF material and the issue is gone, this seems to my knowledge to be a Pro Res only issue. The settings I am exporting to is 960 x 540 h.264 and also .mp4. This is coming from a 1080p source and yes I do have the 'maximum render quality' checked for best scaling. I understand that Software only vs Cuda and Open CL use different algorithms when scaling but this seems crazy to me that it would look  this much worse.
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    No, it is why advance users do not use the wizard.
    Have a look at OpenOffice.org and its form creation. Once you add your fields in OpenOffice.org, just export to PDF and the form fields will be named just like you named in them in OpenOffice.org and the drop down values carry over.

  • Duplicating a portion of Pro Res media for use in another project

    I'm working on a compilation video which is drawing from many different interviews.   I need to duplicate certain sections of 1080p 29.97 Pro Res timelines and then bring them into a new FCP 7.0.3 project. 
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    So my question is...when I am on the FCP timeline of one of these older projects, how do I best copy a section of it while keeping it in Pro Res and hopefully not having to recompress it?   I don't want to go back to the AVCHD camera files that it was generated from.
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    Or would I "Export as a Quicktime" movie off the timeline?  Settings info?
    I am trying to preserve the image quality but at the same time this will not be for broadcast.   It's for a non-profit's website. 
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    If you are trying to Media Manage selections from a sequence that span multiple clips, then create a new sequence and copy and paste all the selected parts into the new sequence so that it contains only the selected sections of content you want to copy and consolidate.
    Then, with that new sequence selected, open the Media Manager and make sure that Include Master Clips outside selection and Include Affiliate Clips outside selection are unchecked, and the Delete Unused Media from Duplicated Items is checked.
    Unless you are leaving room for handles in your selection process,  check Use Handles and dial in a duration, so that your clips have some padding.
    MtD

  • How to set up Final Cut Pro, Pro Res and H.264 project

    Before I dive into this edit, I want to be sure it will all be compatible.  Here's what I have:
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    JR

    Many of us will tell you it's no big deal to mix your media codecs. Your modern Macintosh can handle the job. Mostly.
    Myself, I use workflows that carry over from ye olden days. I transcode everything to my planned release codec before beginning to edit and the timeline is the release medium's codec. In this case, I'd be moving everything to ProRes422 (not HQ) because you can't really gain anything by converting your DSLRs' MPEG4 to ProResHQ. I have really good reasons for this step but my reasons probably are not valid to anyone else.
    Whatever advice you receive here, you must design and conduct some useful tests to determine if said advice is any good for your workflow and machine's specs. Know what your release medium is going to be; how high does the editing, rendering, and sharing quality need to be before you hit the ceiling?

  • Convert h.264 to Pro Res

    I was having a problem editing h.264 shot on a DSLR....
    Some on this forum kindly answered my question suggestiong I convert
    the video to pro res.
    What is the best way to convert the video to ProRes.
    I have edited a sequence and do not want to start over again.
    Thanks

    Try again…
    If you've managed tio edit a h.264 sequence, you've already jumped through some hurdles. Try exporting, You may be lucky.
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    In the future, best practices are to use Log & Transfer, assuming you have intact card.
    If you don't, convert the clips in Compressor or MPEG Streamclip. Then bring them into FCP.
    Good luck.
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  • FCP 7.0.3 XDCAM media in Pro Res sequence-implications?

    We have 1.5TB of XDCAM [email protected] Post facility suggested offlining at DV NTSC but it was decided to cut native (before my time). I've inherited XDCAM 422 sequences. Using a 4 TB G Raid enclosure with both FW800 & eSATA/HD Link card & 12 core 2.66 Ghz MacPro w/6GB RAM. Intermittent crashes, 9 today, but then it will play back fine for a few hours before resuming the crashes. It will crash both on sections with FX or more than 1 stream as well as single stream sections. I thought it was the FW800 choking but the eSATA is worse. Digital Rebellion Crash Analyser attributes crashes to Mpeg media, which apparently I'm stuck with as the transcode time implication is 'too high'
    What if I switch the sequence codec to Pro Res HQ & re render, will this be helpful in any way? It seems to playback ok with very little rendering on Safe RT.
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    thank you for your responses-I tried transcoding everything to xdcam in a fresh project-no difference, crashing at the same rate, despite changing storage to fibre channel raid. so MM'd to Prores LT (no obvious difference to prores HQ on the cinema display) and all good.
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  • Premiere Pro CS6: Media Manager Issue

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  • Converting H.264 files to Pro res 422

    Hi
    I've been given some H.264 files (.MOV and .THM) that were dragged onto my harddrive.
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    I tried to create a droplet to do this by: FILE - Create Droplets and selecting the Apple Pro Res 422 option in the Quicktime settings folder.
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    Do I need to convert both the .MOV and .THM files?
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    Thanks.

    If you import these files into Final cut just go to your sequence settings and transcode to APR.
    Jeff

  • 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!!!
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    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?

  • Final Cut Pro Compressor: Pro Res to H.264

    Hi, I'm a business / startup guy ramping up a knowledge base of all things digital video. We'll be receiving a good number of Pro Res files, all of which we'll need to compress to H.264. My question is about time. I'm looking at the Mac Pro four core. Here are my thoughts:
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    2. If we were to run four instances of Compressor, one for each core, would there be an increase in compression time
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    The first question is one with too many variables for a single answer. Here is an article that discusses H.264 compression speeds on a MP compared to an iMac and which takes into account some of those variables.
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  • If I imported proxy media to edit in fcpx, can I export a hight resolution (apple pro res 422 (hq)) version of the project ?

    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.
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  • 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.

  • 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?
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    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
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    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.
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