Prores 4444 Problems

Hi there,
I'm digitizing video from a 4:4:4 HDSR through an AJA Kona 3 card (ver 6.0.3) to Final Cut trying to create ProRes 4444 files. However when I look at these files on the scopes my black level does not sit at 0 but rather it seems to add a setup to 7.5. My white levels also seem to have dropped. This shows up on the FCP scopes and on outboard calibrated scopes (back out through the Kona card).
I've tried the same material with various other compressions (10 bit, Prores 422, etc) and all of those show the blacks at 0. As soon as I use ProRes 4444 the levels are raised. I've tried using Millions of Colors and Millions of Colors+ (although I don't need the Alpha channel) and I've turned the Gamma Correction off.
Is there anything else I could be missing? Is this just what ProRes 444 does? I can't find much documentation on this subject. Thanks so much for any help.
Ryan

From the ProRes white paper:
• Apple ProRes 4444: The new Apple ProRes 4444 codec preserves motion image sequences originating in either 4:4:4 RGB or 4:4:4 Y’CBCR color spaces. At its remarkably low data rate as compared to uncompressed 4:4:4 HD, Apple ProRes 4444 supports 12-bit pixel depth with an optional, mathematically lossless alpha channel for true 4:4:4:4 support. Apple ProRes 4444 preserves visual quality at the same high level as does Apple ProRes 422 (HQ), but for 4:4:4 image sources, which can carry the highest possible color detail.
Apple ProRes 4444 is ideal for next-generation video and the most pristine computer graphics sources for cinema-quality compositing. For projects that previously required the Animation codec, Apple ProRes 4444 is a modern replacement with real-time playback support in Final Cut Pro. Because color detail is preserved, Apple ProRes 4444 is ideal for color grading with 4:4:4 image sources.
• Apple ProRes 422 (HQ): Boasting widespread adoption across the video post- production industry, Apple ProRes 422 (HQ) offers visually lossless preservation of the highest-quality professional HD video that a (single-link) HD-SDI signal can carry. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while retaining its visually lossless characteristic through many generations of decoding and re-encoding.
Apple ProRes 422 (HQ) can be used both as an intermediate codec to accelerate workflows for complex, compressed video sources and as an affordable, high- performance alternative to uncompressed 4:2:2 video.
• Apple ProRes 422: Apple ProRes 422 offers nearly all the benefits of its big brother, Apple ProRes 422 (HQ), but at a significantly lower data rate. It provides visually lossless coding performance for the same full-width, 10-bit, 4:2:2 sequences as Apple ProRes 422 (HQ) with even better multistream RT editing performance.
• Apple ProRes 422 (LT): Like Apple ProRes 422 (HQ) and Apple ProRes 422, the new Apple ProRes 422 (LT) codec supports full-width 10-bit video sequences, but at a target data rate even lower than these siblings. Apple ProRes 422 (LT) weighs in at 100 Mbps or less, depending on the particular video format. It balances incredible image quality with small file sizes, and is perfect for digital broadcast environments where storage capacity and bandwidth are often at a premium.
Apple ProRes 422 (LT) is ideal for live multi-camera and on-location productions where large amounts of footage are acquired to disk. The low data rate of Apple ProRes 422 (LT) also makes it an excellent choice for transcoding complex camera codecs like AVCHD.
• Apple ProRes 422 (Proxy): The third new member of the Apple ProRes family is Apple ProRes 422 (Proxy). This codec maintains HD data rates below 36 Mbps, yet like its higher-rate Apple ProRes 422 siblings, it supports full-frame, 10-bit, 4:2:2 video.
Apple ProRes 422 (Proxy) is intended for draft-mode or preview uses where low data rates are required, yet full-resolution video is desired. It is the ideal format for use in offline editing workflows with Final Cut Server. The traditional offline-to-online workflow with Final Cut Pro has relied on the Offline RT codec, but today’s HD workflows demand offline video formats that support native frame size and aspect ratio. Apple ProRes 422 (Proxy) supports full 1920 x 1080 and 1280 x 720 resolutions, enabling full HD resolution while editing, and accurate representation of FCP motion effects from the creative stages through finishing.

Similar Messages

  • Problems with Apple ProRes 4444 and alpha channels in Motion 4 after upgrade to Snow Leopard.  Has anyone seen this?

    We've just now upgraded from Leopard to Snow Leopard and are having a problem with Apple ProRes 4444 and alpha channels in Motion 4.  A clip with an alpha which keyed perfectly before the upgrade, now will not key.  If I convert the clip to the Animation codec, it keys perfectly.  If I export the Motion project as a ProRes 4444 self contained movie, it will key when brought into FCP 7 but if I import the project into FCP 7, it will show the key in the viewer but not the canvas.  Has anyone seen this or have any suggestions on how to correct this?  Is it a bug? 
    Thanks,

    Motion 4.0.3
    It just doesn't seem to recognize the alpha at all. 

  • Problems importing ProRes 4444 files

    The original footage for my project is 16mm film, which I had scanned. I've been provided with two types of files: one set in ProRes 422 (proxy) with a timecode burn-in, and one set in ProRes 4444 with no burn-in. I've been able to import the 422 files without any problems, but obviously I greatly prefer the 4444 files. But when I've tried importing them, or even just previewing them in Media Browser, it's impossible to achieve fullspeed playback. I can't quite tell what's going on; the frame rate is definitely off for starters, it's too slow, but at any rate it doesn't play smoothly. Any idea how to start solving this problem? I've done a system resources test and I have plenty of horsepower, so I don't think this stuttering is due to that. I also have the newest version of QuickTime installed. I'm on a PC if that matters. Thanks for your help.
    Rob
    [Text formatting corrected.  Personal info removed.]
    Message was edited by: Jim Simon

    They are using a card reader, and the USB slot in an iMac.  It turns out that they have downloaded the cards first to their PC at home, then brought the same card to class to import to their LR catalog on their external HD.  Could here be something happening to the files to make them unreadable when the cards are downloaded to the home PC?

  • Audio drop-out in FCPX with 1920x1080 & 2048x1240p @ 24p (codec Apple ProRes 4444 (Linear PCM))24p

    Hi all...
    I'm new to this forum.
    Is there an audio issue (drop-outs) with FCPX (ver 10.1.2) for 1920x1080 24p, 1080p HD & 2048x1240 24p (2k) - note: films in FCPX are in codec Apple ProRes 4444, Linear PCM?
    Very recently I've been working on a show reel and I have imported a file (short film) to snip out a section to add to the show reel. 
    I set the project to the film's settings i.e.. "set based on first video clip"...(1920x1080 24p, 1080p HD).  When I play the film in FCPX the audio "hic-cups"..."dips to silence"..."drops-out" briefly (up to 0.5 secs in duration) and very frequently all the way through (approx 15 mins long film)...note: audio set is at stereo 48kHz. The audio monitors on the right hand side also show the dip taking place (if it's a long enough drop-out).
    I also have a version of the film in 2048x1240 24p at 2k, again Stereo 48kHz...and this does the same audio "drop-out" all the way through.  I'm unsure what other formats will create this problem i.e. higher or lower aspect ratios than those above.
    Is this a software and/or OS issue?  Or a hardware issue?  Or both!?
    About This iMac details:
    iMac 27 inch: OS X ver 10.9.4
    Processor: 3.5 GHz Intel Core i7
    Memory: 32 GB 1600 MHz DDR3
    Graphics: NVIDIA GeForce GTX 780M 4096 MB
    Fusion Drive 3.12 TB
    Final Cut Pro X was bought & installed with this iMac back in Feb 2014
    FCPX version: 10.1.2
    Note also:  I used Compressor (ver 4.1.2) to convert the files (movies) above to Apple ProRes 422 HQ, Linear PCM and the issue disappeared - the audio and visuals played with no problems.  All films play with no issue when opened in QT player.  They are also fine when exporting from FCPX.  The issue only occurs (as far as I can tell) within FCPX when editing or playing the audio there.
    Has anyone encountered this problem?
    Kind Regards,
    Hakan

    Hi Luis,
    Thank you for that.
    Seems like you have a point about the "hardware" issue.  I'm unsure (new to it all) at what data rate my (er...wonderful) fusion drive provides FCPX for smooth playback - or where I can find that info on the iMac.  Playing back movies in the 422 HQ codec seems to have no issues (when I converted the movie from 4444 HQ). 
    But playing the full 4444 HQ, the picture is smooth, but the audio has these drop-outs - even with "best performance" option ticked. Interesting that the audio suffers, not the picture in FCPX - so not sure what's going on there. I also read - perhaps - that to play a smooth ProRes 4444 HQ movie in FCPX the data rate should be min of 500 Mbs (based upon About Apple ProRes) for HD movies and up (i.e. 2k).  ProRes 422 HQ needs a data rate of 220 Mbs - so that is my upper-limit to smooth video&audio playback with the current system I have, I guess.
    Does anyone recommend a fast USB3 or Thunderbolt drive (500Mbs+) where I am able to run 4444HQ movies with no issues to picture or sound (away from the fusion drive)?
    KR
    H.

  • More CS 5 - ProRes 4444 Alpha channel nonsense

    Hi:
    Quicktimes I render out of After Effects CS 5 using the ProRes 4444 codec are tagged as having an alpha channel even though my settings in the Output Module are RGB and Trillions of Colors.  NOT RGB + Alpha and Trillions of Colors+.  It doesn't matter whether my project is 8 bit or 16 bit.
    When I bring such movies back into AE it shows them as having an alpha channel (Trillions of Colors+).  If I do a Get Info in QT player it shows Millions of Colors+, and FCP shows them as having an alpha, too.
    I just upgraded to Snow Leopard 10.6.8 (figured it was safe after two years) and in the process switched full time to CS 5 (I only used it in the past to open other's projects).  I never had these issues with CS4.  I have not installed any AJA codecs into this new OS (clean install over wiped HD).
    This appears to be the opposite of the problem most have been having, which is AE won't generate an alpha in ProRes 4444 without moving codecs and other nonsense.
    The reason this is a problem is because when I bring these Quicktimes with faux alphas into FCP for editing I can't export a reference movie.  FCP rewrites the whole timeline.
    Haven't these CS 5/ProRes 4444 codec/Alpha channel issues been going on for over a year?  Do I have to buy CS 5.5 to get this to work correctly?
    Thanks.
    Shawn Marshall
    Marshall Arts Motion Graphics

    PR422HQ is way overkill for 99% of the video and film producers in the world. It's there for a specific elite of the entertainment biz, those who work in 4k on 64bit systems, I guess, that' ain't me! It's one of those "if you have to ask, you can't use it" sort of things. Anyone who uses the advanced features of the ProRes family knows why. That's the theory. In my practical experience over on the FCP forum at Apple, 99% of those using ProResHQ believe they are improving their original footage.
    Apple ProRes 4444 
    The Apple ProRes 4444 codec offers the utmost possible quality for 4:4:4 sources and for workflows involving alpha channels. It includes the following features:
    Full-resolution, mastering-quality 4:4:4:4 RGBA color (an online-quality codec for editing and finishing 4:4:4 material, such as that originating from Sony HDCAM SR or digital cinema cameras such as RED ONE, Thomson Viper FilmStream, and Panavision Genesis cameras). The R, G, and B channels are lightly compressed, with an emphasis on being perceptually indistinguishable from the original material.
    Lossless alpha channel with real-time playback
    High-quality solution for storing and exchanging motion graphics and composites
    For 4:4:4 sources, a data rate that is roughly 50 percent higher than the data rate of Apple ProRes 422 (HQ)
    Direct encoding of, and decoding to, RGB pixel formats
    Support for any resolution, including SD, HD, 2K, 4K, and other resolutions
    A Gamma Correction setting in the codec’s advanced compression settings pane, which allows you to disable the 1.8 to 2.2 gamma adjustment that can occur if RGB material at 2.2 gamma is misinterpreted as 1.8. This setting is also available with the Apple ProRes 422 codec.
    Apple ProRes 422 (HQ)
    The Apple ProRes 422 (HQ) codec offers the utmost possible quality for 4:2:2 or 4:2:0 sources (without an alpha channel) and provides the following:
    Target data rate of approximately 220 Mbps (1920 x 1080 at 60i)
    Higher quality than Apple ProRes 422
    Apple ProRes 422
    The Apple ProRes 422 codec provides the following:
    Target data rate of approximately 145 Mbps (1920 x 1080 at 60i)
    Higher quality than Apple ProRes 422 (LT)
    Apple ProRes 422 (LT)
    The Apple ProRes 422 (LT) codec provides the following:
    Roughly 70 percent of the data rate of Apple ProRes 422 (thus, smaller file sizes than Apple ProRes 422)
    Higher quality than Apple ProRes 422 (Proxy)
    Apple ProRes 422 (Proxy)
    The Apple ProRes 422 (Proxy) codec is intended for use in offline workflows and provides the following:
    Roughly 30 percent of the data rate of Apple ProRes 422
    High-quality offline editing at the original frame size, frame rate, and aspect ratio
    High-quality edit proxy for Final Cut Server
    The Apple ProRes family of codecs provides these advantages:
    Quality indistinguishable from that of the most pristine sources: Maintains superb quality even after multiple encoding/decoding generations.
    Mastering-quality 4:4:4:4 RGBA: Provides a lossless alpha channel with real-time playback (Apple ProRes 4444 only). Mastering-quality 4:4:4 Y′CBCRcolor and 4:2:2 Y′CBCR color are also available.
    The quality of uncompressed HD at data and storage rates lower than those of uncompressed SD: Provides real-time editing performance comparable to or better than that of any other HD codecs in Final Cut Pro.
    Apple ProRes encoding at any frame size—SD, HD, 2K, 4K, or other: Apple ProRes codecs can also be encoded into nonstandard frame sizes, but nonstandard frame sizes are not supported for real-time playback in Final Cut Pro.
    Variable bit rate (VBR) encoding: “Smart” encoding analyzes the image. Efficiency is increased because excess bits are not wasted on simple frames.
    10-bit sample depth: Preserves subtle gradients of 10-bit sources (sunsets, graphics, and the like) with no visible banding artifacts. When you import a file using an Apple ProRes codec, you don’t have to first determine whether the file is an 8-bit or 10-bit file. Apple ProRes codecs always preserve the bit depth of your original source files.
    I-frame–only (intraframe) encoding: Ensures consistent quality in every frame, with no artifacts from complex motion, and speeds up editing.
    Fast encoding and decoding: Delivers high-quality, real-time playback and faster rendering times.
    Equipment affordability: Because of low bit rates, you can edit more streams with more real-time effects on slower drives, or have more users accessing the same media over shared storage devices.
    Workflow options for any video format that does not have native Final Cut Pro support: The Apple ProRes format provides an effective workflow for projects involving multiple acquisition formats when you want to standardize on a single codec.
    Better rendering for native editing: Can be used to render long-GOP MPEG-2 formats (such as HDV and XDCAM HD) to speed up editing and avoid MPEG-2 reencoding artifacts before output.

  • Alpha channel and ProRes 4444

    I have a number of AE files that I would like to render in Media Encoder with their alpha channels using the ProRes 4444 codec. I cannot figure out how to make ME give me an alpha channel. If I render in AE, I get the alpha channel without a problem. How can I get ME to give me an alpha channel? I am using ME 2014 on a Mac.

    Hi Remy,
    Choose QuickTime. Then from the list of formats in the Video tab, choose ProRes 4444. Scroll down to "Depth" and choose 32 bit. This will allow you to export with an alpha channel.
    Thanks,
    Kevin

  • Rendering to ProRes 4444 with alpha channel

    Hello Everybody,
    I have question? I have a green screen project finished. But when i render my footage to ProRes 4444 with aplha i got a mega file more then 5gb. In the specifications I found out that I have a bitrate of 203,57 Mbit/s. How can i lower the bitrate in the rendersettingd for this codec?
    I hop to hear some of your suggestions.
    Kind regards,
    Gowan Genis

    What Andrew said.... Production codecs are all going to have high data rates. That's why we use them in production. Storage is so cheap now that it shouldn't be a problem for anyone that is making a living making movies or for anyone with enough budget to support a movie making hobby. My first 4GB Ultra SCSI drive array cost nearly $20K, I just bought a 1.5TB drive for $89... It wasn't that long ago that I was paying $1 / foot to shoot, process, work print and sync 35MM film. (98 feet / minute @ 24 fps).
    If you want a smaller file size you'll have to go to a delivery codec. Just be sure you know what to use when...

  • CS5: ProRes 4444 Alpha issue rears it head again in a strange way

    So here's a strange one: I've found that if the first frame of a composition is completely opaque (such as using a solid to fade from black) then any QT Movie rendered with ProRes 4444 + Alpha will not include an alpha channel. I've replicated it on multiple machines and triple checked my MediaCoreQTCodecRulesCS5.xml to ensure that it's correct. Here's the steps to recreate this:
    create a new comp (Project bit depth = 16bpc)
    create a new solid with the same dimensions as the comp
    at Frame 0 create a keyframe for the Solid's opacity (Keep it at 100%)
    move down 5 frames in the comp and create a new keyframe by setting the Solid's opacity to 0%
    set the work area to 1 second
    Render a movie using ProRes 4444 RBG+Alpha
    The resulting movie will have no Alpha channel. If you watch the movie being rendered with Caps Lock off and 'Toggle Transparency Grid' active, then you can see the alpha channel while the render is going. If you render using Animation Compression RGB+Alpha, it will be correct. You can also replace the solid with footage as long as the first frame of the rendered comp is completely opaque and the issue is still there. Move the solid or footage down in the time line 1 frame so the first frame of the comp has a transparent alpha channel, then the movie rendered from that will be correct. This has only been tested and confirmed on the Mac and only CS5. If anyone can test and confirm the PC CS5 and Mac & PC CS5.5 it would be greatly appreciated.

    You've found a bug. I'm not sure where the problem is. If I render out an image sequence or an Animation Codec file, then drop it in Media Encoder or Compressor to render a ProRez 444 with alpha channel I occasionally get the bug. You can't tell anything from the Quicktime Player but you can see the error in AE.
    I discovered that if you put one even partially transparent pixel anywhere in the frame the alpha renders perfectly, but as you pointed out, when the first frame or few frames have a 0 alpha value the renders are funky. I just don't know if it's AE's problem, Adobe's problem, or an Apple problem because I can break it in compressor or Media Encoder or I can make it work in either.
    I'd file a bug.

  • CS5.5 | ProRes 4444 - Interpret Footage does NOT see Alpha Channel

    I thought this problem would have been taken care of by now.
    Guess the bug fixes in CS5.5 are few if at all
    1) Export any movie to ProRes 4444 and set to export alpha channel straight.
    2) re-import to AE
    3) Open Interpret Footage Dialog....
    One gets REALLY disillusioned when discovering that ALL alpha options have been grayed out.
    When is this ProRes MADNESS going to STOP !!!!!

    Dan,
    if you are ever in Hamburg, Germany. Let me know and the brews are on ME.
    In my testing madness I exported a movie WITH NO ALPHA.... That is the reason why I was NOT seeing any alpha options on import.
    I dup'ed the vid layer and moved it about and set the opacity to 50... Then exported. And imported. And THERE they were ....
    LE ALPHA OPTIONS....
    Best Regards
    M.

  • Premiere Not Interpreting Alpha Transparency ProRes 4444

    Hello,
    I've imported a graphic, ProRes 4444 with an alpha channel but Premiere 6.0.2 is not reading the transparency.  When I lay it on top of another clip the transparent part shows as black rather than being transparent and showing the layer underneath.  It seems like the same error is happening in After Effects.
    Final Cut 7 reads the transparency fine.  I read that the same problem was happening on earlier versions of Premiere and After Effects. 
    I'm working with a Mac Pro, NVIDIA Quadro 4000, Lion.  
    Any suggestions?
    Thanks!
    Gerry

    Hi,
    Thanks for responding and getting back to me guys  
    @ Fuzzy...Trust me... I didn't think it would work...it didn't make sense to me either but I misunderstood Gerry...he doesn't know that I am operating exclusively on a PC using only PC based software...I don't have a MAC.
    @ Kevin...as you have garnered by now I can't use APPLE MOTION because I am on a PC.  I used Sorenson Squeeze to convert the file to an Animation File.   For hours I tried importing and manipulating it in Premiere AND in After Effects with No luck whatsoever.  I tried everything I could think of.
    It is a virtual set and I was given 2 files:
    Per instructions from a video tutorial on YouTube titled:  "Adobe Premiere Tutorial Set  Alpha Matte" I successfully excuted the instructions but the ALPHA STILL DIDN'T WORK:
    File #1)  The alpha.mov file is on VIDEO LAYER 3: > I placed a Channel> Set Matte> set to "Use For Matte" > Luminance on the VIDEO LAYER 3 alpha.mov file > Take Matte From Layer> VIDEO LAYER 2
    File #2)  The fullHD.mov file is on VIDEO LAYER 2
    Should I send you the file to take look at Kevin?
    Thanks again

  • After Effects CC Render Errors with RED footage and ProRes 4444 proxies

    Working on an 8 Core, 2008 Mac Pro with 16GB of RAM running Mountain Lion.
    I just upgraded to After Effects CC and I'm having a whole bunch of errors ...
    -- the 'MooV' file is damaged or unsupported
    -- error getting package info for file "..." ( 3 :: 164 )
    -- Error (4) reading frame from file "..." ( 86 :: 2 )
    I'm trying to make ProRes 4444 proxies from RED files (sometimes as big as 4K), which will eventually end up in a 1920x1080 project. I'll make a 4444 proxy, work on it all day with no problems, then when I try to render (or save a RAM preview) any one of the previous errors will show up.
    My projects seemed to work just fine fine in AE CS6, and I've worked with RED footage in AE before with little issue. I've completly restarted my system, re-installed everything, worked off an external drive, worked on my internal (software) RAID, rendered to local and external hard drives, adjusted my multiprocesser render settings (on and off), cleared the cache ... nothing is fixing it.
    Does anybody else have any ideas? Or insight. Or anything?!
    Thanks for your time,
    Eliot

    I'm working on a MacbookPro, Early 2013, OS X 10.8.4, and I'm having the same exact error:
    However instead of using RED footage, I'm using a 3rd party plugin called Element 3D and Optical Flares from VideoCopilet.net.
    I'm not sure if the bug is related, I'm just wondering if anyone else has any idea on how to fix this problem. I have a fresh install of CC so I can't downgrade to CS6.
    Another error popped up during multiple trys in export:
    In case the old file was actually corrupted, I checked all my backups that worked perfectly fine with CS6 in the past, and I get the same error when I copy them over to my hard drive on my mac.
    My current setup is:
    Processor: 2.8 GHz Intel Core i7
    Memory: 16GB
    Graphics: NVIDIA GeForce GT 650M 1024 MB
    I really don't want to recreate this entire file from scratch. That would be a lot of hours wasted... any suggestions would be greatly appreciated.

  • Premiere CC eating up memory while playing back ProRes 4444

    We are editing footage shot on the Amira on two Mac Pros with Premiere Pro CC 2014.
    One of the Macs plays back the native footage fine at half resolution. Looking at the activity monitor, the whole system is using about 12GB of RAM and stays there.
    However, the other Mac seems to be gobbling up RAM very fast during playback until it hits the ceiling and everything starts to slow down and seize up. It will only release the RAM after quitting the program or forcing OS X to purge it.
    I’ve posted the specs for each Mac below.
    A few other things to note:
    - The media format is ProRes 4444 and size is 2048 x 1152
    - Disabling LUTs does not seem to fix the problem
    - Replacing the ProRes 4444 footage with ProRes Proxy fixes the problem, but with 120 hours of footage, this not an ideal solution as we are in the middle of an edit
    - The bad Mac is showing an error in the Activity Monitor (Adobe QT32 server not responding)
    - Removing plugins from Library/Quicktime does not fix the problem
    Any help or thoughts would be much appreciated!
    Thanks,
    Paul

    Hey Sam... just wondering if you ever figured this problem out.  I have the exact same problem, albeit with FCPX XML's.  It's driving me bonkers and nobody seems to know.  Any insight would be truly appreciated.  Thanks.

  • Red to proRes 4444+ in Media encoder

    hello
    I'm working Red Shots shooting on green screen. I keyed with the ultrakey in premiere and I'd like to export the result in Prores 4444 with alpha to edit more freely in a low HD resolution.
    The problem is that I can't find the way,( like in After) to check the rgb + alpha button in Media encoder.
    Could I find a similar way to export the sequence in a movie and not in a  image sequence ?
    Do I miss something?
    Thank you

    Thank you for your answer.
    In Prores 4444 + you have to check the "depth 64 bit"
    In animation codec you have to check the depth 32 bit.
    It's not so clear than after.
    I've tryed, it's working but my alphachanel get out BLUE???!!
    Is it normal?
    thanks

  • Snow Leopard Prores 4444 Gamma Shift Nightmare

    I've run into a nightmare with significant gamma shifts wrecking a lot of work we're trying to export using the Prores codec and After Effects CS3 (and CS4).
    I found this supposed fix, but it has not solved my problems: http://blogs.adobe.com/toddkopriva/2009/12/prores-4444-colors-and-gamma-s.html
    I appended suggested xml edit to the last line before  </MediaCoreQT...>  in both CS3 & CS4 files. Same infuriating darker gamma result after both edits.
    Scenario: large targa sequence we've been working on for months, established pipeline of compiling the targas in AFXCS3 (OSX 10.5.8), Project Settings/Color Settings/Working Space = none, exporting sequence as Prores 4444, gamma set to automatic. Colour matched targas perfectly.
    Now we're trying to use new Macpros we've bought specifically for this job that are run up as 10.6.2. Prores 4444 compiles are now coming out much darker! I've tried the XML edit (both CS3 & CS4), adjusting system gamma to 1.8 from new 10.6 default of 2.2, adjusting legacy gamma setting in project settings, etc... The colour is wrecked!! WTF?!?!?
    Really don't want to have to revert to "Animation" settings. Deadline looms. Any help would be enormously appreciated!

    I Think (but dont know) that I have found an explanation to this problem.
    It has to do with colorsync on OS X (cant talk windows as I dont use that)
    Scenario
    1) Encode any non-ProRes 4444-source to ProRes 4444 using Compressor(Only encoder able to provide accurate result)
    2) Be sure so DISABLE - Final Cut Studio color compatibility in the QT7 Player Preferences
    3) Open source.MOV and new output.MOV in Quicktime7 -> Set view of both to half size (So you have overview) and place them next to each other
    They should look/be identical
    sometimes placing them next to each other will lead you to believe that they are different. If so, place them on top of each other and flip back and forth via the Window menu to make sure that both movies are indeed identical-looking.
    4) Open OS X System Preferences
    5) Click 'Displays' and select the color tab
    Now, toggle through various color profiles. You SHOULD see the colors adapt on BOTH movies.
    Create new AE Project and make sure that your Project is set to NOT color-manage your workflow
    6) Create new AE composition and drag the Compressor-created ProRes 4444.MOV into it.
    7) Add to render queue and select the ProRes 4444 as output.
    8) Render out.
    9) Open Compressor-created ProRes 4444.MOV and new AE-created ProRes 4444.MOV in Quicktime7 -> Set view of both to half size (So you have overview) and place them next to each other
    10) They should look identical but they dont.
    11) Open OS X System Preferences (in case you closed it)
    12) Click 'Displays' and select the color tab
    Now, toggle through various color profiles. You SHOULD see the colors adapt on BOTH movies.
    They DONT. They ONLY adapt in the Compressor-created ProRes 4444.MOV not in the AE-created ProRes 4444.MOV
    And that even though color-mangement has been turned off.
    Turning color-managemen ON will have no different effect that leaving it off. The AE created movie(Color Management set to OFF) WILL not allow being color synced in OS X.
    The Expected behavior IS:
    1) when color management is set to OFF in the AE project settings and output module that the AE-Created movie would adapt to any color-profile change made within the OS X System Preference, COLOR Panel.
    2) when color management is set to ON in the AE project settings and output module that the AE-Created movie would NOT adapt to any color-profile change made within the OS X System Preference, COLOR Panel.
    As of NOW... There are no differences between above.
    I hope this helps to solve this nuisance !!!
    If I have missed something VERY obvious then please disregard my post and tell me what I seeing incorrectly !!!
    PS - ON my computer - this last part of my post looks ridiculously small and that even though I have done NO font editing.
    I find that posting and editing in this forum is as hard as getting Adobe products to encode correctly

  • I really need some After Effects Logic regarding ProRes 4444

    Regardinf ProRes 4444
    I cant unterstand why it is so difficult to make this work properly.
    It used to be that we could NOT select Trillions of Colors because they were grayed out.
    Thus giving us 16 Bit per channel...
    Then we had a fix althoug manual at first, we could then select 16 bit per channel...
    Now we have a NEW problem.... And it is exactly opposite.
    Now -- We cannot select Millions of colors thus 8 bit per channel.
    I have a project in 8 Bit and I want to render it to ProRes 4444 but NOT in 16 bit per channel but with 8 bit per channel.
    I cant do that as the Millions of colors (and Millions of Colors+) are grayed out...
    I have a really hard time understanding this never ending problem. How hard can it be... Or am I the one totally missing the obvious...
    BTW - Apples Compressor and Quicktime 7, correctly outputs 8 bit per channel incl. Alpha thus achieving 32 Bit (8 bit per channel)
    Why cant after effects...
    To the developers in case you are here ,-)
    If the AE project is 8 bit per channel we should be able to render 8 bit per channel ProRes4444
    If the AE project is 16 bit per channel we should be able to render 16 bit per channel ProRes4444
    Thanks for any clarification

    Rick Gerard wrote:
    Apple Pro Rez 444 is a 12 bit codec. It always encodes at 12 bit. You can't force Pro-Rez 4444 to any other bit depth. The behavior in CS5.5 is correct and makes sense.
    FYI, ProRez 422 HQ is a 10 bit codec. It won't encode at anything else. Changing the color depth settings in the Output Module won't change the way the codec works.
    Here's a link to the ProRez white paper.
    Hi Rick,
    thanks for chiming in.
    I have already read that paper many times. Perhaps I am just not smart enough.
    When you say that it always encodes in 12bit... Does that mean that if I have a 16 Bit per channel Image Sequence that it would truncate the 4 upper bits ?
    Here is the description of Apple's Compressor ProRes 4444 Setting. Indicating 32 bit which would be 8 bit per channel alpha included...
    Be really nice if you could explaing that to me
    Name: Apple ProRes 4444
    Description: QuickTime movie with Apple ProRes 4444 (with Alpha) and audio pass-through
    File Extension: mov
    Estimated size: unknown
    Audio: multi-track pass-through
    Video Encoder
              Width: (100% of source)
              Height: (100% of source)
              Pixel aspect ratio: Default
              Crop: None
              Padding: None
              Frame rate: (100% of source)
              Frame Controls: Automatically selected: Off
              Codec Type: Apple ProRes 4444
              Multi-pass: Off, frame reorder: Off
              Automatic gamma correction
    Progressive
              Pixel depth: 32
              Spatial quality: 75
              Min. Spatial quality: 0
              Temporal quality: 0
              Min. temporal quality: 0
    Compatible with Mac

Maybe you are looking for