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

Similar Messages

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.

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.

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!

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.
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.

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.

Pro Res 4444 to Pro Res 422

I have Pro Res 4444 footage that I want to edit in FCS for the web. My understanding is that it would be better to work in Pro Res 422 (easier to work with etc). Would it make sense to import the Pro Res 4444 in FC and used compressor to export it to a Pro Res 422 format? Or is there a better way?
Thanks in advance for your help.

Take the footage directly into Compressor and convert to 422. No reason to go to FCP first. OR...better yet. With the footage in FCP, use the media Manager to RECOMPRESS to PR422.

Specs for cutting in Pro Res 422 HQ

What sort of system specs do I need to edit in Pro Res 422 HQ with decent non-nightmarish results? I'm getting a FW800 G-Raid drive loaded with a large (80 minute) Quicktime file in HD, Pro Res 422HQ. I'm running a 2.8ghz Quad Intel, with 8gb of memory. I also have a CalDigit S2VR Duo that I can move the footage over to if necessary. Any thoughts would be sincerely appreciated. Thanks

For having just thrown yourself off a bridge, your grammar, spelling, and punctuation are impeccable.
You are correct. A ProRes sequence will not go to HDV. You must place your ProRes sequence into a new HDV sequence, render/conform, and print that to HDV tape.
When you're going out via firewire, you pretty much have to match your sequence settings to your deck settings, DV>DV, HDV>HDV. Hardware capture cards/boxes by AJA & Blackmagic can up/down/cross convert on the fly, but not a direct firewire connection.
So, use your ProRes sequence to create the DVD, and create an HDV sequence to archive it to a tape.
And stop throwing yourself off bridges.

Apple Pro Res 422 / FCP7 render issues

Hello,
I do a lot of timelapses and have pretty good workflow for all this. However, I am experiencing one issue that makes everything a bit difficult. I appreciate if anybody could help me.
My workflow is:
1. Shoot some stills RAW
2. Develop in Adobe Camera RAW
3. Import stills sequence and render in AfterEffects CS4 to AppleProRes 422
4. Import to FCP7 and edit
5. Grading / color correction
6. Publishing
All works fine, however I am having very often an unpredictable issues with the Apple Pro Res 422 codec under FCP7.
I always render a bunch of sequences from AE using the same settings for all files. The only difference is resolution.
My render settings for exporting from AE are:
- Apple Pro Res 422 wrapped in MOV
- render in 10-bit YUV from RAW 16 bit sequence files
- AE project in 16 bit
- Resolutions of rendered all files around 3500x2500 px, this vary from file to file.
The sequences render fine in AE.
The sequences play properly in QT, I can import them to FCP properly, play in FCP properly. I can drag to timeline, scale, rotate, scrub etc.
However: Some sequences fail to render in FCP7.
When I drag them to my working sequence in timeline (Usually a Full HD 1080p, Pro Res 422, YUV), scale down (usually) and try to render timeline footage (don't mean exporting here yet) I get the following error:
"Codec not found. You may be using a compression type without the corresponding hardware card."
This happens on many computers including iMac, MacbookPro and a Mac Pro.
I discovered that setting the footage size to even width and height figures when exporting from AE eliminates the problem sometimes, but it does not help in all cases.
Also it sometimes help if i take such sequence, crop and export using QT under the same settings, just a few pixels less in size. But again - it helps sometimes.
Can anybody help me with these?
Anybody experiencing similar issues?
Thanks a lot.

I had the same problem when we started to edit on Pro Res timelines. The solution I found was to go the Sequence Settings > Video Processing > and change the Render setting to "Render in 8-bit YUV" that allowed me to actually render the timeline and view my work. Hope that helps.

Burning a dvd h264 versus pro res 422?

Hi everyone, I have a "film" project I put together. It is comprised of many mini scenes and clips. For each clip I have exported (FCP 6.06) an H264 (720x480) version and a Pro Res 422 (HQ) version. The Pro Res was better for editing and the H264 was better for uploading to the intrawebs. Both versions play just fine, but now it's time to burn to DVD.
I was not going to burn a blue ray just yet, so a SD DVD should be just fine. I was going to use Toast/ DVD Studio Pro on my mac 10.5.8 Os to make a DVD of all the clips. Will the Pro Res footage look better than the H264, or since its compressed to SD is it better to use the H264 footage?
Thanks in advance

A DVD uses ALWAYS Mpeg-2. A DVD-Rom can take anything, it takes data.
Sound on a DVD is usually AC-3. Also, you have to decide on NTSC or PAL format, in your case (480 lines) it would be NTSC.
SD is not a compression, it just means NTSC or PAL as opposed to HD (720 or 1080 lines)

HDV to Pro Res 422 HQ, how would you do it?

I am shortly going to short some HDV 1080' and deliver it to the customer after I've edited it, on a hard disc as Pro Res 422 HQ 1920 x 1080.
Last time I simply ingested the HDV in the normal way and exported to Pro Res using "make Quick Time Movie".
Should I have injested the footage from HDV, direct to Pro Res 422 HQ and edited this and then outputed the Pro Res 422 HQ edit master? In other words did I needlessly encode the material twice when I did it before?

Why can't I simply change the "Capture settings" to Pro Res HQ?
Because FCP doesn't do that via firewire. The data rate is too high. It only does ProRes 422 via firewire.
Now you are getting into professional workflows, and for that you need professional hardware.
Why do I need to sling my Macbook Pro in the bin and start all over again, because I presume a capture card wont go in a laptop.
You presume incorrectly. The Matrox MXO2 and MXO2 LE will work on a laptop just fine. I use my MXO2 all the time on mine. BUT...here's the rub. You can't capture 1920x1080 29.97 at ProRes HQ. Well, you can, but not for long durations. Because the encoding of that needs to be handled by the processor, and you need at least a Quad Core to do that, laptops are Dual core. BUT, you can get the AJA IO HD, that works on a laptop too, and has a ProRes encoder built in. Issue is that it is $3400, while the MXO2 LE is $1000 (that encoder adds a lot).
I think it would be best to capture as HDV, then use the Media Manager to Recompress to ProRes HQ. Because they might want full raster ProRes and HDV>ProRes gets you anamorphic ProRes. I believe the Media Manager will make it Full Raster. As will Compressor.
Shane

Pro Res 422 Project Stalls Compressor & Matrox

Gurus, stuck on this one. FCP7.0.3 project with a series of clips edited into a 18 tracks from 90-seconds to 8/9-minutes. No big - just cleaned them up. The Inspector shows the clips to be "Apple Pro Res 422, 12800x720, 60fps, 141.86 MB/sec (lovely HD TV) and the Browser confirms (although the data rate does not show), and Pixel Aspect is Square. Dense, but good.
When sent to Compressor 3.5.3 to encode to Best Quality (2-pass) DVD, Compressor wants an probhibitively long amount of time, like two days. This on a MacPro eight-core. More specifically, a 90-second track would take Compressor better than an hour.
When sent to Compressor using the Matrox MX02 with MAX H.264 hardware accelerator the same thing occured. It wanted 18+ hours to encode on the Mac Pro 8-core.
It feels like there is a hidden process occuring -- some sort of other conversion that I just do not see. Adivce?

Michael amd Shane, using Michael's advice to Export as a self-contained movie, I took a 1:53 1280 x 720, 60fps track in the Project and it made a nice 1.85 GB clip, which I then brought onto Compressor. I applied the Best quality DVD 2-pass, and it made the m2V file in elapsed time of 1:35 on the whiz bang MacBook Pro 4 core. Have not tried H264 yet. But here's an unusual thing I've discovered -- most likely the cuase of this hang-up:
I went back to the FCP Project and transferred this same 1:53 track my usual way -- highlight the Sequence in the Browser, Control-Click, Send To Compressor -- and when it arrived in Compressor, the timing or the time code in the Preview screen hs a start time of 16:00:00:00 and an end time of 23:23:20:03 showing a duration of 07:23:20:04 on the same 1-minute-53-second clip. I have no idea why. Any guesses?

DVCPRO HD/Apple Pro Res 422 HQ slow to transcode to DVD on 8 core Mac Pro's

I've been conducting some tests and narrowed down the slow transcode times I'm having specifically to DVCPRO HD or Apple Pro Res 422 HQ clips when transcoding to 90-150 MPEG-2 DVD Presets. These formats take forever to render on a Mac Pro 8 core when compared to a G5 or a quad 2.66GHz Mac Pro. DV and DVCPRO 50 are transcoding at very fast speeds on a Mac Pro 8 core. I would like other Mac Pro 8 core users out there to confirm this... that way Compressor developers can do soemthing about these slow MPEG-2 transcode times. A 6 minute DVCPRO HD clip is taking 52 minutes to transcode to a MPEG-2 90 minute DVD Best Preset in Compressor. This is in comparison to 20 minutes on a G5 and 10 minutes on a Mac Pro 2.66GHz for the same transcode. This problem does not happen while transcoding to MPEG-1 or HD DVD MPEGs.
I've tried everything:
1. Wiped the system
2. Switched memory
3. Tried virtual clusters.. still slow even at 750% cpu utilization.
4. Tried with updates and without updates.
5. Tried with multiple other clips.
6. Looked at my file permissions for each clip
7. Made sure that each file is self contained.
8. Tried custom presets.
9. Googled to see if other people are having the same problem... found this: http://forums.creativecow.net/thread/155/866630
10. Compared times to DVD Studio Pro's encoder... DVD Studio Pro is way faster.
11. I've written to Ken Stone and Mike from HDforindies.com... just to confirm the problem... waiting for their response.
12. I've also written a suggestion/problem report to Compressor developers.
Message was edited by: Trancepriest
Message was edited by: Trancepriest
Message was edited by: Trancepriest

I've had the same chooppy/ipxelated results that you are having with DVD Studio Pro's encoder at different settings. If DVD Studio Pro had worked well... I would have dropped this issue somewhat. I'm so irritated that a Mac Pro 8 core... top of the line machine is getting floored by G5's and Quad Mac Pro's. Even though it's just with the DVD 90-150 minute presets... its still a major issue because i need to make DVD's on a regular basis. I woud feel so much better if I knew someone was looking at the problem. Including you I've found 3 others with the same issue. I'm hoping to get them on this thread.

Scaling bug, Pro Res 422 codec

So I've come across a rather unique bug, that has cropped up a few months back when our company switched over from Premiere Pro CC to Premiere Pro CC 2014. I suspect it has something to do with the new "set to frame size" feature, when you right click a clip within the timeline.
When scaling footage in the effects panel, if the scale is not set to above 50.0, the clip will display zoomed in in the program monitor on playback and also in the rendered video file after export. However, on pause, the clip will shows up at scale. Please see images below.
Clip at playback:
Same clip at pause:
This seems to only happen with files round-tripped from our colour grading program. Relevant information about the files is below.
•Apple Pro Res 422 Codec
•.mov format
•4k resolution (4096 * 2160)

I'm having the same scaling issues with ProRes files. When I bring in the original R3D files, they scale down fine. I tried ProRes 422 HQ and ProRes 4444 and had the same issues. I was rendering out the ProRes files out of AE. No color correction done yet.
Premiere Pro CC 2014.1
OS X 10.9.4
2 x 2.93 Ghz 6-Core Intel Xeon
29 GB 1333 Mhz DDR3
ATI Radeon HD 5770 1024 MB

Quicktime PRO-RES 422 Files... What is the best format for output in Adobe Premier?

I have recently enrolled on a university film makers course and up until this point i have been a Windows user. At the university everyone uses Final Cut Pro as this seems to be the standard software, at least at my level. My question is this; I have a bunch of Quicktime Pro-Res 422 files and i was wondering what would be the best Adobe Premier preset to export it as, In order to achieve the best quality possible?
Jak.

I have a bunch of Quicktime Pro-Res 422 files and i was wondering what would be the best Adobe Premier preset to export it as, In order to achieve the best quality possible?
You're going to have to clarify this a bit more. Do you have ProRes files you want to edit with in Premiere? If so, you don't need to convert them--as long as you have QT installed, you can edit them, even on a PC.
Or are you saying that you've already edited, and now you want to do a final export for viewing, or for editing elsewhere?

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

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