Pro Res format in camcorders?

anyone think the camcorder companies will put this in their products? could the pro res format be the future HD format for consumer cameras?

That's right. Take a deap breath. There's a lot to learn in this release of FCS.
Here's my highlight summary of what I've learned.
The most interesting geek tech is the new codec. Pro Res 4:2:2 they call it... it's looking good. Variable 1 and 2 pass bit rate. Comes in two flavors too. shrinks uncompressed HD to about 1/6th the size. Apple says it's visually lossless. Intraframe.
It's media looks lossless from what was displayed by Apple at NAB to me... wow.
and it's about the same size as uncompressed NTSC. lt will play from self powered FW dual mini drives.
Let me say it agin... looks lossless from the demos I saw at NAB. It's the biggest news of all actually for our pocket books. no more fast of the fastest expensive arrays? Are the day's gone? Maybe.. maybe not in some cases. jury has to stay out on that one. The Pro Res Codec was still unfinished, but it looks good enough to lick. man. ain't tech great?
The 3D in Motion is extremely elegant. It's a great UI in which I never got lost... cool. Round tripping with the new template stuff and FCP is nice too. New particles, new all sorts Motion 3 has come of age.
AJA thinks enough of the codec to create IO HD with it. The HD box uses it thru FW 800. (it's completely native in all formats too if you like) I was the demo artist for it on the show floor much of the time. My feet are three times their normal size and I have no voice now.
I must have spoken to literally thousands about this box. HD THRU FIREWIRE it' cross converts all forms of video to any other form Up, down, cross convert HD between 720 and 1080i etc... has analog and digital inputs sans firewire (you already have that) Accepts external timecode so you can record the TC from recording cameras and get media files that match the tape by the end of the shoot.
Then FCP also works in mixed formats and EVEN FRAME RATES guys... wow. There's a lot more there too to gander on.
We had it hooked up to a MBP running media from a dual sata array attached with the express card adapter. This is enough setup to work in the new codec in HD sourced, or even SD sourced... It's an intraframe codec for you super geeks.
It was best of show at NAB Viddy award winner too. It's a hit guys. HD from external SATA... yeah. cheap storage for it. Yeah. my o my...
This means..
for well under 10k you're doing HD on a MBP... has to be one of those, no power PC support. It's an intel mac only box.
Jerry

Similar Messages

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.

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

Apple pro res formats question

Is it ok to use apple prores 422LT and Apple Prores 422 in the same sequence or will that mess anything up.
Thanks in advance!

I just realized some of the frame rates are 29.97 and some are 59.94. The footage that is 59.94 has a frame size of 1280x720 where the 29.97 is at 1920x1080. Is this going present a problem when I get to the editing stage?
Thanks!!

MACBOOK PRO and PRO RES

Hello all!
I am researching buying a 15" middle tier, macbook pro for video editing. I understand you need an HD video card to capture the HD video to convert into Pro Res. But once its in the pro res format, can you use a macbook pro to edit it?
And if you can, is it extremely slow that's it's not really worth it?
Or do you that AJA I/O to edit the pro res video with the mbp?
Also, I looked into the eSata external drives to use the mbp, but when I checked out the specs on G-tech, the pdf comparison for speeds between esata and firewire 800 was miniscule. Isn't esata supposed to be much faster than firewire?

You can most definately edit ProRes on a MacBook Pro. FW800 RAIDED drive would be required for this, like the G-Raid, FirewireVR, LaCie D2. However, eSATA is faster and MUCH better. I don't know where you got your numbers for FW800-eSATA comparison, but if they are single drives, eSATA is 20MB-40MB/s faster. Get Raided drives and it is VASTLY different. 75MB/s for FW800 Raid 0 hardware raided drives (G-Raid) vs 140MB/s eSATA (S2VR Duo).
I can edit ProRes with my Powerbook G4 laptop...I just can't capture it.
And with the I/O HD, you have the perfect remote ProRes setup...and because it is a Firewire capture device, you must have an eSATA drive...well, you can get a firewire card, but eSATA is much better.
Shane

Can i use pro res files in iMovie even though i don't have Final Cut Pro?

Hello,
I'm expecting some film footage to be delivered to me thats being delivered in a Pro Res format. Since my request to the company I've realised that it seems that I might not be able to import the Pro Res files into iMovie on my iMac if I don't have Final Cut Pro (FCP) installed. Is this correct? If so, is there a simple way I can import the format without having to go to the expense of buying FCP?
Thanks
Steven

Hey Henmans,
Thanks for the question. Apple ProRes is a format developed for high-quality, high-performance editing in Final Cut Pro X. To gain access to this codec, you’ll want to purchase Final Cut Pro X or a licensed third-party product:
Apple ProRes Authorized Products - Apple Support
http://support.apple.com/HT200321
Additionally, you may want to learn about unauthorized codec implementations:
In some instances, unauthorized codec implementations have been used in third-party software and hardware products. Using any unauthorized implementation (such as the FFmpeg and derivative implementations) may lead to decoding errors, performance degradation, incompatibility, and instability. If you're using or considering the purchase of a product that encodes or decodes ProRes but is not on the list below, please contact us at [email protected]
Additional Information:
About Apple ProRes - Apple Support
http://support.apple.com/ht5151
Thanks,
Matt M.

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

I'm trying to log and transfer from a pro res file (HQ) final cut s7 is telling me it is an unsupported format. What the?

i have a 58 min pro res hq file that is a .mov. it is in a folder on my hdd. i'm trying to syn rushes by logging and transferring clips from this file but i cannot bring the said file into log and transfer. final cut putsup a window that tells me the file is in an unsupported format. and to bring in a file with a supported pathway. this i do not understand. any simple explanation as to what i'm missing?

Thanks meg. I'm trying not to have to sync all the rushes in a timeline. All rushes are in the one 58 min prores file. I wanted to, I guess, log and capture the rushes as clips that I logg in the log and transfer winnow and that it would then log and sort out the material as proxy files. I'm guessing I'm just being lazy or it can't be done. Thanks for the reply but I was looking for a differentbway round than a straight import of the whole file.
M

Need to export MAC PRO RES HQ footage out of FCP and into premiere friendly format

Ive been forced to switch platforms mid project (mac -> PC) and luckily have obtained picture lock so theres no loss to having lost my FCP project. The problem has been that when i went to load my footage into premiere or to even play the files with VLC nothing worked, and i discovered that it was infact the codec, which was a MAC only PRO RES HQ codec, so now i need to re-export my footage out of FCP into a windows usuable format.
What is the best codec/format to use that will maintain the original quality? Filesize is not an issue.

As Jim mentioned, you'd have to use an uncompressed codec--probably QuickTime Animation, as I'm not sure you can encode to an uncompressed AVI on the Mac.
You might also consider something like
Sheer Video. It's a QuickTime codec for both Mac and PC. You'd have to purchase the Mac encoder component, and I think you could then get the free playback component on the PC--though you might actually have to buy the PC version, too. There's also Digital Anarchy's
Microcosm. Both of these codecs are perceptually lossless, but offer far greater compression ratios (and manageability) than Animation. Not saying either is the best option, but they are options, nonetheless.

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 in M2TS container

We have very large Pro Res files that we would like to break into manageable chunks. M2TS seems the best container for such a scenario. Is there a spec for putting Apple Pro RES video into an M2TS container?

for our information, not yours, these conflicting Internet definition and help posts:
M2TS is Sony high definition video file type. M2TS files are raw AVCHD videos recorded using Sony's camcorders, such as the HDR-SR1 and HDR-SR5 models. Panasonic, Canon and other brands of AVCHD camcorders also record in M2TS format.
Currently, M2TS files can be played using the Picture Motion Browser, which is an application video player provided with Sony AVCHD camcorders. M2TS files can also be played with Mplayer, Windows Media Player and other media players if there is a codec for DVD playing installed. But the file type M2TS is not always automatically associated with the player, so it may be necessary to open it from the player. That's to say, it's not convenient to play and enjoy your M2TS video.
*File extension M2TS description:*
*BDAV MPEG-2 transport stream used by Blu-Ray discs.*
*BDAV refers to either the transport stream format used for all Blu-ray content, or the plain format intended for home video with no interactivity.*
*The BDAV Container format is based on the standard MPEG-2 TS (transport stream) Both Blu-ray and HD DVD use transport streams, compared to DVD's program streams, to store video, audio, and other streams. This allows multiple video programs to be stored in the same file so they can be played back simultaneously, giving a Picture In Picture effect.*
*The BDAV disc format is the consumer oriented alternative to the BDMV discs made by professional Authoring houses for movie releases. Although early Blu-ray players were released with Firmware allowing playback of non-AACS encrypted content on BDMV discs, current Blu-ray specifications will result in that feature being removed, and BDAV discs being the only unencrypted Blu-ray format supported on players.*
*BDAV was designed in part to provide compatibility between AVCHD digital camcorders and Blu-ray players. It's comparable to the DVD formats used for standalone DVD recorders, DVD+VR and DVD-VR because it's designed primarily for authoring simple Video/Audio content with no menus.*
and a conversion utility:
http://www.iskysoft.com/article/m2ts-converter.html
bogiesan

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.
Anyways if somebody can please look into this that would be great, this seems to be an issue where I can't continue at this moment to use Media Encoder. Making my source files Uncompressed every time to do an export is just not a real workflow I want to do.
On a side note I've also recently noticed on a clip that had text over a grey background that there are lines going all down the screen evenly when exporting to even a non scaled 1080p .mp4. Once again, this issue goes away with any format but Pro Res. The weird part is this happens even with Cuda enabled. This is why I am thinking Media Encoder is having some sort of issue with the Pro Res codec.
I am on a current new 27'' fully loaded iMac with the latest Adobe CC updates.
Has anyone else experienced this?
thank you

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.

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

FCP Pro Res Super 16mm -- Compressor -- DVD Studio Pro (Nightmare Workflow Critique)

Hello,
I figured I post here rather than the DVD Studio Pro forum; I've posted on Creative Cow as well but haven't gotten any responses yet.
Before I mention my problem, I'd like to mention that I've tried several types of compression methods and bitrates and unfortunately, my disk still freezes in my player, generally around the same area.
(I have two, minute long clips with Smoothcam there).
I'll try to be as specific about my work-flow as I can and I've posted the photos of my FCP and Compressor settings below.
30 Minutes. Super 16mm.
2K DPX Scans -- > Graded In Color --> Pro Res 4444 23.976 --> Sent To Compressor --> Mpeg 2 + AC3 --> Build & Format With DVD Studio Pro
I set blue compression markers at the start of each Smoothcam clip.
I've recompressed my footage without Smoothcam as well - with the same end result.
I've sent my timeline to Compressor and used both the 5.5-7 VBR setting and the 6.5 CBR settings (with everything under Frame Controls set to the highest quality).
(I've also used the 6.2-7.7 built in settings with the ninety-minute high quality preset).
I am using Sony DVD-R disks. 16X/1X. When I play them in my PS3, the film freezes at different points in the first two-three minutes - then skips ahead exactly to the same point in my film - about halfway.
I've set Chapter markers and it skips to the halfway one; from there it plays fine.
1. I wanted to ask if I should maybe export my entire sequence first through FCP (an .mov file) and try Compressing that?
(I've done this and the result is still the same)
2. Should I set it to Pro Res 422 HQ first?
(I've done this and the result is still the same)
3. Perhaps I should just try to Compressor with the 90Min-HQ setting without changing anything?
(I've done this and the result is still the same)
4. Should I remove the Smoothcam?
I'm currently compressing the entire sequence void of all Smoothcam.
When I bring the files into DVD Studio Pro, I see under preferences that Studio Pro also has VBR settings. Do those have any effect on my DVD encode? There is no CBR there - only VBR set from 5.5-7.
5. Is there anything I'm doing wrong with regards to my workflow? There are several options that may be causing this; I'm not sure if its the progressive footage to interlaced standard definition disk, or modifying field dominance, gop structure, etc.
Any help would be greatly (that's greatly) appreciated.
Thanks!
-Boris

My first impression is you're trying to make this too hard...
You have a high quality timeline which is downconverted to 1080, no problem. Once rendered, SmoothCam
should not represent a problem. If anything, SmoothCam will reduce the sudden movement that can cause problems. Any scenes where you have a high rate of change per frame (like in an explosion or a background of leaves flapping in the wind) should be marked with compression markers.
Export as a QT movie using sequence settings (include markers for DVDSP) so you have a completed source file for compression. I'm not aware of anything that will improve the quality beyond what is in the timeline, so current sequence settings are fine. Test this for playback issues.
If you are having playback problems with the sequence after export and compression, the most probable cause is excessively high bandwidth requirements. Try using the DVD: Best Quality 90 minutes preset. It generally produces a very good quality product. Any attempt to increase the quality will likely increase the bandwidth requirements that are the probable cause of the skipping.
While Sony is a big name, their DVD substrate is only mediocre. If you think the substrate is a problem, switch to Verbatim or JVC/Taiyo-Yuden.
If you are dissatisfied with the quality of the Compressor output, look into the Cinema Craft encoding products.
Hope this helps.

Pro Res format in camcorders?

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