Pro Res 422 (Proxy) in Adobe Premiere
Guys, I've been having the most monumental problems today and in order to have a back up in case the doo doo hits the blades can the following be done?
I've got 12 Sequences which have been edited in a mix of Pro Res 422 (Proxy) and Pro Res 422.
The original files are AVCHD.
I'm unable to either access Media Manager or Batch Capture as FCP 7 just crashes.
If I was to give the Pro Res Sequences to my client can he then convert them to a suitable format on Adobe Premiere?
I really am at my wits end
EDIT: OK. I've just read that Pro Res cannot be imported into Premiere
So, lads, what can I do to give a final format to my client so that he can then author a DVD?
Message was edited by: Alpesh Gor
WHo says Premiere doesn't import ProRes? It has since CS3.
And why not try to solve your problem? Trash your prefs?
#44: FCP acting weird - Trash Prefs
Shane's Stock Answer #44: FCP acting weird or unusual. Just not like is normally should
If the program was working fine, and now isn't, or just isn't working the way it should, the first things to do are:
1) Trash your FCP preferences. Download the Preference Manager from Digital Rebellion: http://www.digitalrebellion.com/pref_man.htm
http://www.kenstone.net/fcphomepage/trashing_fcpprefs.html
2) Open the Disk Utility and Repair Permissions.
3) Shut down for 10 min. Go for a quick walk around the block and get SOME exercise today. Come back, turn on the computer and see how things are.
4) (optional) Do the Hokey Pokey and turn your self about. Results may vary.
Shane
Similar Messages
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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? -
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. -
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... -
Exporting AVI to Apple Pro Res 422
I am using Adobe Premiere Pro CS4 4.2.1 and I would like to export my source file (AVI) to Apple Pro Res 422. Is that possible?
If not, which format do I export my video to be used on a Mac running Final Cut Pro. I realize I can export using Quicktime, but then Final Cut Pro would have to render the video. I am hoping to avoid the additional rendering step.Open the AVI file in MPEG Streamclip, and choose prores 422 as the export option, and see if that works.
Here Is A Link To A Tutorial On How To Do It -
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.
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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 -
Using Pro Res 422 .mov files
I'm going to have my 8mm film scanned onto DVD and/or hard drive into 1280 x 726 where the type of file furnished will be Pro Res 422 .mov. Will I be able to transfer it to and edit it using Premiere 12?
Alan
Premiere Elements 12/12.1 Windows 7, 8, or 8.1 64 bit.
You should be able to.
ATR -
Apple Pro Res 422 HQ export - "render at max depth" and "24 bit or 48 bit depth"?
I'm exporting my 90 minute feature for DCP using the Apple Pro Res 422 HQ codec. The film is 1920x1080 and that is what the export will be. We used a variety of cameras (Canon 7D, Sony XR160, GoPro, Blackmagic in HD) for the film.
For the export options:
Do I check "Render at Maximum Depth"?
Which do I choose - 24 bit or 48 bit depth? - one has to be chosen even when "Render at Maximum Depth" is unchecked
When I asked the DCP house, they said that "Render at Maximum Depth doesn't actually do anything when using this codec" and haven't answered the 24 vs. 48 bit question.
This discussion:
https://forums.adobe.com/message/4529886#4529886
says that you "never need to enable the Max Render Quality (MRQ) unless you are exporting in a format/pixel ratio different from your original video."
This discussion:
https://forums.adobe.com/message/5619144#5619144
adds insight into what 24 vs 48 bit depth means, but doesn't answer my specific question
Thanks for your help.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 -
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. -
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.
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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.
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Why won't my final cut 7 export my entire :30 movie in pro res 422 60i
Why won't my final cut 7 export my entire :30 movie in pro res 422 60i?
And some transitions are not rendering properly.Post this on the Final Cut Studio forum. This is the FCPX forum.
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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. -
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?
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