No Go Pro Rez

Ladies & Gentlemen,
I installed FCS2 to a clean boot drive and it works very well. I am trying to capture uncompressed 1080i HD-SDI with the Kona LHe to Pro Rez sq and it drops 30-50 % of the frames. I tried 720p and the same thing. My G5 is a 2.3 dual core with 2.5 ram, it's real not that old or is it?
Has anyone tried capturing in real time to PRsq?
Do I need an Intel to do this?
Or do I need a card with PR on board like the AJA I/O HD coming out in July?
I haven't tried this yet and I'm sure I can't but, Can you transcode from firewire into PRsq?
Thanks very much
Z1&V1user

Yes I have the raid (4-500gig sata drives and Rocket Raid card), I can capture 1080i uncompressed. I was really hoping someone has experience with real time capture/transcoding to Pro Rez. I actually was hoping you would have experimented with this Shane.
Does anyone know if it is possible with a Mac Pro Intel?????
Before I go rushing out to get the latest 8 core do you think Apple would put a PR codec on a chip on future mother boards and create their own hardware solutions?, or will they keep this for 3rd party products only?
I would expect more hardware devices are on the way from BM and AJA and others?
Thanks Again

Similar Messages

Exporting HDV to Std Def - h.264 or Pro rez?

Can do the 'share' option but the idvd menus are far superior. So exporting thru QT (not QT conversion), which would yield the better results h.264 or Pro rez 422? And will set the idvd prefs to Best Performance.

Export to QuickTime using Current Settings (same as your Timeline) and Self Contained.
iDVD will recompress to MPEG 2 -the basis of a DVD Video disc.
Exporting to H.264 means that your video will be compressed twice. This is bad.
Imlearningalot wrote:
Can do the 'share' option but the idvd menus are far superior.
Taking the time to learn DVD Studio Pro, which comes with Final Cut Studio will give you even more control and completely customizable menus.

All my settings are Apple Pro Rez 422 but when i log and transfer, i'm getting dvcprohd. what's going on?

All my settings are Apple Pro Rez 422 but when i log and transfer, i'm getting dvcprohd. what's going on?

If your camera shoots DVCPRO HD to P2 cards...like the HVX200, HPX170, HPX500, HPX2000...then it will come in as DVCPRO HD. Only AVCIntra P2 comes in as ProRes. DVCPRO HD P2 comes in native.

Pro Rez v HDV ....Am I missing something.......

I am trying to find the best workflow for editing HDV filmed from my Sony HC7....
i have captured using HDV codec (firewire) and Apple Pro rez (Hq) via Blackmagic....
The Apple pro Rez is 10x the file size and doesnt seem to be any better quality....
I am monitoring via a SD Sony monitor (via the Blackmagic intensity pro)....
When will I see the benifits of Apple pro rez???
I have my 1st big job editing a commercial release for my band ,that was shot on Sony HDV..
i am looking for the best quality result DVD...any thoughts..
Sorry if I have missed the obvious...
ROB

The obvious is render times. ProRes will render faster and it doesn't have to "conform". You can just capture native HDV and select it's sequence settings to RENDER to ProRes which will result in no quality loos and will render 40% faster just by doing so. The render files will be large.
The plus is an all "i" frame format instead of a CPU hogging format like HDV. It's lossless, and will also convert to MPEG faster because it's an all i frame format. You'd have to render everything to get to this nirvana... If you start with ProRes, you don't have to render it all to be ProRes because it already is.
Jerry

Apple pro Rez vs proxy files workflow

Hi all
I have a question , I have hours and hours of footage coming in on apple pro rez (hq) for a doccie, I dont want to have to work with all that footage as it might cause problems with the machine and external drives been so large should I:
A. convert it to say a proxy file (if that is possible with (HQ) ) or LT.
B. edit then and reconnect to the original (HQ) files making sure it is frame accurate.
C. if i worked with say just a pro rez file and not a pro rez hq will it make a difference when using color for grading?
I would imagine all the HQ files need to be converted in Compressor to LT first , then edited , then media managed and reconnected to HQ files is this the right way to do it?
Thanks in Advance

If the footage already exists as HQ, and you don't have enough room to store it...how are you storing it? I mean, it already exists as HQ...why not edit that? Because it would be too many drives attached?
DO NOT USE COMPRESSOR!
If you want to do the offline/online workflow, then use the MEDIA MANAGER to RECOMPRESS the footage as ProRes Proxy...not LT. Edit, then take the PRoxy offline, bring all the HQ footage online, and reconnect.

Apple Pro Rez Codec with Logic Pro??

Has anyone used or seen the Apple Pro Rez codec (HD quicktime codec I believe?)? I will need to be working with this very soon, and while it's 23.98fps and I know Logic doesn't support that frame rate, I need to know if it can be used via a canpous FW box with Logic? Does it need to be exported? Etc?
Any thoughts or experiences anyone has would be greatly appreciated. thanks so much-
Josh

I presume you will be producing music for picture(?).
I have not used it myself but I know that any movie encoded with it will be very cpu intensive. The codec was developed for video editors, to enable (practical) high quality hi-def editing. Most folk believe a new high-end macpro is the only computer that is capable of using this codec successfully, but that is with regard to video editing.
A movie encoded this way would be definately unsuitable to use alongside logic. There would be just too much CPU power going to the movie playback, leaving very little for logic.
Your best bet is to re-encode the movie with a more efficient codec. You'll see picture quality reduce but this should not be a problem.
Personally I would never use a codec thats any more demanding than DV. And DV is pushing things on lesser computers.
I suggest you get quicktime pro if you haven't got it yet and export the movie with a different codec. I have used the codec Photo-JPEG with great success. It's gentle on CPU resources and provides proper full frames - important if you are doing frame accurate sync.
The other way you could do it is to run the original movie on a second syncronized computer
Your BIG problem is that logic itself will NOT work with 23.98fps properly. From what I recall, this means Logic's timecode will not match the movie's (as it can't be set to 23.98fps). There really is not a fix for this other than getting "production" to allow for it and (somehow) provide movies with an alternative frame rate. To be honest this is one (very good) reason to use a different DAW.
I wish you luck. This is the sort of thing that could prove a nightmare!

How to transcode H.264 to apple pro rez 422

What's the best way to transcode H.264 video footage from a Canon DSLR to Apple ProRez 422 and inport into FCP 7?
thanks,
Eve

No problem. In this screen shot, the disclosure triangle has been twirled open so you can see more details for the plug-in.
Good luck.
Russ

Balckmagic Intensity Pro Vs. HDV Firewire capture

Assuming a suitable computer and FCP6.
what are the benefits , if any, of capturing via the Intensity Pro card using the HDMI input?
so far what i know is that it uses mjpeg compression (better than HDV compression?)
and you can capture using ProRes codec.
thus avoiding the GOP timeline and long renders.
some suggest the image quality is quite a bit better too.
plus you get a HDMI output for a monitor which seems a big plus for the low cost.
anyone used this card like this?

The big plus with HDMI is an all digital uncompressed signal in a full raster 1920x1080 resolution 4:2:2 color space hardware conversion into the capture card. It is my opinion that the quality is the best it will ever be. Yes you can transcode to Pro Rez given you have an Intel unit or quad G5 to keep up with the software conversion. Yes by transcoding you will avoid HDV conforming. It is well known that converting to an all i-frame codec like DVC Pro HD or Pro Rez is a great way to work from HDV sources. And yes you can either monitor HDV or any other HD format with this card.
Good Luck
Z1

Exporting Pro Res 422 HQ

I have a customer that wants his output files to be delivered as a Pro Res 422 HQ .MOV file.
I have given him every possible output for Quicktime that is available in the Media Encoder for PPro5 and he has rejected every one
He refuses to even look at any file that is NOT in a .MOV container.
Does CS6 include Pro Rez outputs? Is there an aftermarket transcoder or plug-in that can do the job? Any help?

Hi Dave,
but the "hardware recorder" have a valid licence - for sure they don't use the Apple SDK because there is no MAC OS to run it on ;-)
"The group behind FFMBC have reverse-engineered the codec themselves, which places them at risk of legal action (particularly in the USA where software patents apply)."
If you plan to incorporate this into 2000 NLE's or plan to sell software with Prores support you better get a licence.
If you are a individual or small company using ffmpeg to render some Prores files...
If you just live you are placed at risk of legal action esp. if software patents apply.
"Adobe certainly isn't about to engage in that type of thing."
How does this help? What is adobe about to engage? Are they offering a solution to the problem or do they only don't suggest the passengers of the Titanic to take a liveboat because there isn't a captain on board to ensure secure operation?
Lot's of questions and still not a good answer for Premiere on Windows users to export Prores...

Canon 60D saved footage files in H264...need to convert...is there a way to automatically shoot and save as a different codec?

Hey,
My friend has the Canon 60D. We shot some footage and I uploaded it to my computer and saw that it was H264 codec. I now have to convert it all to ProRez Lite. I'm not too familiar with the camera but - is there a way for the Canon 60D to automatically save the files it shoots to a better codec so that when I upload them to my computer it's ready to go?
My friend only has an 8GB SD card. The stuff we would be shooting would'nt be too too much footage but if there was a way to make it save as something like Pro Rez lite where it can be editable in FC and still a decent file size that would be great.
Thanks

Thanks for the replys. Since it's not my camera he was just letting me borrow his sd card, so I wouldn't be able to do the log and transfer thing because I won't have the camera/usb etc. But that seems like the transcoding would take some time regardless since it's still converting.
I usually use the regular Prores 422, but I mentioned trying out pro res lite cause I hear the quality is similiar and less on the file size.
I guess I will have to just deal with waiting to convert footage everytime I want to edit. It doesn't make sense to me why their default is a delivery format on a prosumer product... I can understand iphones being h264 cause they need it small compression on just planning to upload it raw to youtube or something but with a dslr which would most likely be used with editing is in a delivery codec... So is that the standard workflow with everyone to spend hours converting first?
Thanks

Job Chaining and Quickcluster

I always get
Status: Failed - HOST [Macintosh.local] QuickTime file not found.
after the first part of the job is successful.
If I just submit with "This Computer" it works fine. Original file is ProRes 422, first job uses ProRes 422 to scale it down to 480x270. Second job compresses to h.264. I found some info on this board from 2008 saying that job chaining and quickclusters don't work together. Is that still how it is? that's really useless..
I also found this from Jan 2009
David M Brewer said:
The reason the second rendering is failing is.......this has happen to me a few times until I figured it out.....make sure you set the dimension to the video in the h.264 settings, set to the same size as the Pro Rez dimensions.
For the most part the dimensions are left blank for the second link, h.264. And don't use 100% of source. Put the physical numbers into the spaces. When you link one video to another, the second codec doesn't know the specs settings you made for the first video settings.
Also make sure you (at least check) set the audio for the second video. I usually have the Pro Res do the audio conversion and just past-through to the second video settings. Again it can happen the the audio is disable in the h.264 settings. This has happen a few time for me........... Check and double check your settings!
He doesn't mention anything about with or w/o Quickclusters, but I tried what he said and could not get it to work with quickclusters...
Anyone got any new info on this?

Studio X,
Thanks for taking the time to run some tests and post your results.
I'm finding the same results with converting ProRes422 to mp4, But...
Other codecs are giving me very different results.
I've run some random tests to try to get a grip on whats happening.
First I was playing around with the # of instances. I've read here and on Barefeats that (at least for my model MacPro) the instances should be set to (# of processors/2), so I've been using 4 for quite a while now and thought I'd test it for myself.
A single 5min ProRes422 1920x1080 29.97 file to h.264
This Computer- 15:28
2 Instances- 14:56
3 Instances- 13:52
4 Instances- 14:48
5 Instances- 13:43
6 Instances- 13:48
7 Instances- 13:58
In this case 5i was the fastest but not using a Quickcluster wasn't far off
A single 2m30s ProRes422 1920x1080 29.97 file to h.264
This Computer- 3:19
2 Instances- 3:45
3 Instances- 3:45
4 Instances- 3:45
5 Instances- 3:50
6 Instances- 4:00
7 Instances- 4:00
Interesting...not using a Quickcluster is fastest
A single 2m30s ProRes422 1920x1080 29.97 file Scaled down using original codec
This Computer- 5:20
4 Instances- 4:10
5 Instances- 4:10
7 Instances- 4:11
A single 1m30s ProRes422 1920x1080 29.97 file to mpeg-2
This Computer- 2:12
5 Instances- 2:10
When Quickclusters are faster, 4-5 instances does seem to be the sweet spot(again for my setup).
In the mpeg-2 test, I should have used a longer clip to get a better test but it was getting late and I was just tring to get an idea of the codecs usage of my resources. I was also monitoring CPU usage with Activity Monitor in all tests.
Now multiclip batches:
I forgot to write down the length of the clips in this first test but it consisted of 8 ProRes 422 clips. 3 about 1m long and the rest between 13s and 30s
8 ProRes 422 clips to mp4
This Computer- 11:25
4 Instances- 5:16
Same results as Studio X
Next tests with 5 clips(total 1m51s)
5 ProRes 422 clips to h.264
This Computer- 5:00
4 Instances- 4:52
5 ProRes 422 clips to mpeg-2
This Computer- 2:55
4 Instances- 3:01
5 ProRes 422 clips to DV NTSC
This Computer- 6:40
4 Instances- 5:12
5 ProRes 422 clips to Photo Jpeg
This Computer- 2:44
4 Instances- 2:46
I re-ran the last test with 7 clips because of the time it took reassemble the segmented clips
7 ProRes 422 clips to Photo Jpeg(total 3m14s)
This Computer- 4:43
4 Instances- 3:41
One last test,
A single ProRes 422 clip to Photo Jpeg(4:05;23)
This Computer- 5:52
4 Instances- 4:10
Let me start off by saying it is clear that there are many factors that effect compression times such as # of clips, length of clips, and codecs, but here are some of the things I noted:
1)Some codecs themselves seem to be "more aware" of the computers resources than others.
When I compress to h.264 w/o a cluster it will use about 80-85% of all resources
When I compress to h.264 with a cluster it will use about 90-95% of all resources
When I compress to PhotoJpeg w/o a cluster it will use about 20-25% of all resources
When I compress to PhotoJpeg with a cluster it will use about 80-85% of all resources
2)The time it takes to reassemble clips can be quite long and could effect overall speed
In the very last test, compressing a single file to photoJpeg using 4 instances took 4m10s. Watching Batch Monitor I noted that it took 2m0s to compress and 2m10s to reassemble.Wow...
It would be interesting to see how the disassemble/reassemble of bigger and larger batches using clusters effect overall time. But that would take some time.
I think the thing I will be taking with me from all of this is your workflow is your own. If you want to optimize it, you should inspect it, test it and adjust it where it needs adjusting. Now if anyone has the time and was to run similar tests with very different results I'd love to know about it...

I Need Suggestions On Capturing, Timeline Settings and Final Rendering

Okay folks, this is me confused! I've been editing videos for the past two years and that isn't saying much as I've only trained myself through trial and error and reading manuals. I simply pretend that I know what I am talking about:) I have purchased the 5D Mark II and have FCP7. I think I'm doing okay, but I know there must be a better way of doing things and need help in doing so.
I film 1920x1080 30fps. I capture my footage with the default settings on the EOS disc that comes with the camera (works great), then I run my footage through MPEG Streamclip and convert them to XDCAM HD 30. From there I allow FCP to auto set the timeline to match the footage and then I edit away. So far so good and I'm really not complaining. However, since I have been making things up as I go along for so long, I have several missing pieces to my understanding of best quality film. I've been trying to figure out the use of ProRes codecs. My limited understanding (what I've heard and read) is that ProRes provides some of the highest quality. So my question is, should I then scratch the XDCAM codec conversion and go straight to ProRes, then edit ProRes and then final render as such? I'm confused because there are people that have said that you should edit in a lesser format and then render in the higher quality of ProRes since ProRes takes up more space on the hard drive (bigger files), yet, when I read official info on ProRes, the claim is that the files are small. So there is confusion number one. Then, confusion two, is if I edit in XDCAM or ProRes, what then? Meaning, is it best to send to compressor upon rendering or do I send it to QT or QT Conversion and then send that file to Compressor, or do I leave it at that and send to DVDSP? I know this is elementary, but all the conversations that I have found seem to be based on the understanding that I should already know this. So, I'm embarrased to say, I don't know, "this".
I have however, taken an edited a XDCAM timeline and then changed the Render Setting to ProRes and sent it to QT or QT Conversion (I can't remember which one sorry). The video had some text at the very end, and it looked incredibly jagged (no bueno). So I know that I was assuming or doing something wrong, and my "trial and error" has run its course as I have nearly run out of time. Therefore, I call upon the Discussion Board for help.
To sum up my questions:
1. Should I convert to ProRes to begin with instead of XDCAM?
2. Do I edit in ProRes and what should I make the settings for the Sequence (or should I allow FCP to auto select based on video files settings)?
3. What next? Do I send that sequence to QT, QT Conversion or to Compressor? If QT or QT Conversion, should I send it to Compressor after that?
4. What should I have my settings be over all on my Sequence?
I hope I'm not too annoying with my questions, and any help would be great.
Thanks,
Crayton

1. Yes, absolutely. By immediately converting to a long gop format you are throwing away TONS of information.
2. Auto-select. By all means match clip and sequence settings
3. You haven't said what your deliverable is, so can't advise you how to export.
4. See #2.
Pro-rez will be larger files than what you are getting from the camera. Get used to it, drives are cheap.

Need a good recommendation on an external drive

Digitizing DVCProHD footage. Our internal 3TB Raid keeps getting filled up. Wanted to capture straight to an external Drive. Was going to use LaCie bigdisk quadra via FW800 but FCP kept dropping frames during capture and would bust the capture. Currently capturing to Internal Raid (using Apple Pro Rez(HQ)) Then transferring files to external drives. Would like to skip this step.
If I use the eSATA connection with this drive can I capture straight to it or is there another external drive that would be fast enough to capture directly?

Why are you capturing DVCPRO HD as ProRes HQ? That is a HUGE waste of space. Capture DVCPRO HD as DVCPRO HD...zero quality loss. You gain nothing by going to ProRes from DVCPRO HD.
And ProRes HQ is for 2K workflows...all you are gaining over regular ProRes are files twice the size.
http://forums.creativecow.net/faq/applefinalcutpro#75
You are wasting a lot of space needlessly. And the ONLY external drives that can play back HQ are eSATA, Fibre and miniSAS. Firewire won't cut it.
Shane

Adobe Media Encoder Rendering Issues

Ok so I am using Adobe Media Encoder version 7.2.2.29. I have been having issues with encoder for awhile now. When I go to queue my videos the encoder doesn't render the file correctly either it be like the example below where a simple imported logo into premiere looks completely different or updates I make to a AE dynamic link... These AE dynamic links update in Premiere but when rendered in the encoder it doesn't update. So I have been having to export in Premiere for each video which is wasting a lot of time.
When exporting I am using different presets to see if that would fix the problem first a Youtube 1080p 23fps preset then a Vimeo preset still same problems.
What is going on how can I fix this.
Thank you,
Logan

A higher quality queue doesn't work... match source hit bitrate, pro rez nothing seems to work. Also using a higher quality export doesn't fix the issue of why Adobe dynamic links aren't updating in the encoder...
Direct export from premiere works but like I said above it is a huge waste of time. I pump out multiple videos a day with multiple re-edits so I need to work while exporting. So while it works it is not a solution that will work for my situation.
Thank you,
Logan

HDV NTSC/PAL machine with HDMI output ???????????? To hire????

I live in the UK where we have PAL...I have a big job to do that is NTSC HDV...
What can I use to play out the tapes into my FC2.....
I have a sony HC7 buts its PAL....I also have access to couple of bigger sony cameras that play Ntsc/Pal but dont have HDMI to access the full HDV to capture it using Pro Rez via my Blachmagic card/HDMI////....
What is best to hire>>>>>

Thanks for your reply....
NO the material is in NTSC and that is what i want to keep it in for NTSC DVD release....Its just that the camera i have is PAL....
And I need to find something with HDMI out to access the raw HDV format....
Cheers
ROB

No Go Pro Rez

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