Prores Proxy?

Is There a way to transcode to proves 422 proxy in prelude

Hi Rob,
Thanks for your post!
Below are the steps to transcode a clip to ProRes Proxy.
When you install Prelude, the Adobe Media Encoder will be installed together. So launch AME first;
Click '+' button on the top right corner to create a preset; Please see screen shot below
   3. Click 'Video Codec' dropdown list and then you will see the 'Apple ProRes 422 (Proxy)', select it;
   4. Click 'OK' button;
   5. Launch Prelude and open ingest dialog;
   6. Select format 'Quick Time' and the preset created at step4;
   7. Use this preset you could transcode a clip to ProRes Proxy.
Hope this will be helpful to you!
Thanks,
Jenny

Similar Messages

To save time, could I get away with just using ProRes Proxy?

Might be a dumb question. But please play along with me...
I've been battling with FCP-X since it first came out. Beach balls, crashes, failed auto saves, you name it. Sluggishness is my middle name. But I think it might be because I'm trying to force too much quality through my older, less powerful machines and my little firewire 400 hard drive. All three of my Mac are 3-4 years old, all are from the old "Core 2 Duo" era (not quad core processors), and are all maxed out at 4GB of RAM. While I've read that many people are having performance problems with FCP-X even on brand spankin' new suped-up Mac Pros with lots more horsepower than I'm running, I've long thought that my machines and their lack of power by today's standards may be at the heart of my sluggishness problem, especially given that most of the material I work with is shot in 1080 HD. (I've never actually tested it in FCP-X, but I'm assuming that things would speed along more like I've been used to in the past if I would just do everything in Standard Definition 480, but that ain't gonna happen.)
Like many, I shoot most everything in 1080 HD (usually 24p, sometimes 30), unless I'm occasionally shooting 720 HD at 60i for later slowing down to slo-mo.
Here's my question: Most everything I edit is for web delivery, and 99 percent of it is for my own use (not clients). Mostly podcast-like stuff, although occasionally I'll create something for my business website. Most of what I do is talking head type stuff, not a lot of motion (except for the 720/60i slo-mo stuff, which usually has some motion, which is why I shoot it at 60i for slowing down). Most of what I shoot is green screen talking heads, intended to be keyed in front of some innocuous background like some of the generators in FCP-X. I want it to look good. Even great. But given the limitations of power on my machines, I also don't want to invest an eternity in rendering and processing time. The work I'm doing with video just isn't that important. It's mostly for grins.
Until last night, I had been working exclusively in ProRes422 (aka "Optimized"). But last night I shot some footage and imported it into FCP-X, encoding it ONLY in ProRes Proxy. And frankly, I couldn't discern any difference. It looked every bit as good as the 422 stuff I'd shot before. There was absolutely no difference to my naked eye. That said, the footage I shot last night to test this out was not shot in front of the green screen (I'll test that out today or tonight), so maybe the Proxy footage won't key as well. (I've been stunned at how good the keyer is in FCP-X, but up to this point I've only been keying ProRes422 footage, not Proxy.) But really, based on just eyeballing the footage, I couldn't tell the difference between the Proxy footage and all the other footage I'd shot previously that had been imported and converted to "Optimized" ProRes422.
I'm not looking to deliver anything for broadcast television (if I were, I'd for sure use 422). I'm not doing any feature film type stuff. My video work consists mainly of stuff just for me, for my own personal amusement (and for the amusement of anyone who might watch it on the web). It's intended for YouTube, Vimeo, or occasionally (in smaller dimensions than 1920x1080) for deployment on my company website. Mostly, it's just me doing podcast-type stuff. Occasionally I'll shoot and edit something for church, or for friends. I like to think the production values of my stuff tend to be higher than, say, the footage Aunt Delores shot at Uncle Ralph's birthday party (okay, A LOT higher than that!). But my stuff isn't going to air on "Good Morning Flatbush" either (unless, on the off chance it should happen to go viral).
So let me make my question as clear as possible: Could I not get away with just using ProRes Proxy throughout my entire work flow, end to end, never switching over to ProRes 422 even when exporting? Honestly, it has taken hours just to render the keyed green screen footage on a 15 minute video, and just the other night, it took the better part of 4 hours (after it was already rendered) to export a 15 minute ProRes422 sequence to YouTube (and then the darn thing timed out, essentially wasting all my time). I'd rather just stay in Proxy the whole way through if doing so would streamline my workflow without compromising too much quality in the "look" of the video. Based on my very limited use of Proxy (just testing it out last night for the first time), I couldn't tell the difference. Maybe for web deployment, Proxy is all I really need.
Have any of you just stayed in Proxy the whole way through, never switching to 422 even when exporting? Might this be an acceptable work flow for some of us, especially those of us on older, less powerful machines? Is this a viable solution? Do any of you work this way? What's your level of satisfaction?
Thoughts?

A lot of what I'm shooting is being shot on a Canon XA-10. Some (and certainly all of the 720 footage, but some of the 1080) is shot on a 7D. And still more is shot on either an iPhone 4S, or even on a Flip Ultra (720p, 30fps).
Most is shot on the XA-10.
What I'm trying to avoid is the excessive render times (doesn't the ProRes 422 footage have to render as well?), and the ridiculously long times it takes to export. Would all that not be reduced significantly by sticking to Proxy the whole way? And what would the trade-off be? I mean, I honestly can't see any discernible difference. Maybe I will when I try to pull a decent key. (Haven't gotten that far yet in my Proxy experimentation.)
Of course, editing in Proxy and outputting using 422 requires that FCP-X encode to BOTH when importing, right? Doesn't that add yet another bit of time to the overall process?
I'm trying to streamline, and to reduce the overall amount of time I'm spending doing this stuff.

Problem exporting Prores proxy files in CS6

I have a bunch of Apple Prores proxy files which were created from RAW DNG files in DaVinci Resolve. I have completed an edit of a music video with these files in Premiere Pro CS6. However when I try to export the files from the timeline, the exported file seems to have linked to all the wrong clips, and the whole video seems to be a random mish-mash of clips. The timecodes of the clips all seems accurate, and they display perfectly within CS6 and in quicktime.
Wondering why the clips display fine on the timeline, allowing me to edit the video in-sync, however will not export properly?

From here: InfoPurge Programming Tips, What is StackHash?
What to do if you get a StackHash?
First configure Problems Reports and Solutions in Control panel to Check for Solutions automatically and Automatically send more information. Then check if there are fixes available for your application. If there are then download and install them.
Make sure your Window Operating system has all the latest service packs, security updates and other fixes installed.
Most applications have a Check for Updates feature. Use it to make sure you have the latest version of the S/W. Alternatively visit the company website and check for new versions and patches.
Run an up-to-date virus checker on the machine and fix any issues. If a virus is detected in the application then you may need to reinstall the application.
Re-install the application. Through Control Panel \ Programs \ Uninstall a program. Right click the application and click Uninstall / Change. This should launch the installer which may give the option to Repair the installation. If not then you will need to uninstall and reinstall - make sure you have the original installation discs available before uninstalling.
Disable any Virtual Drive software that may be hooking in to the application. If the problem goes away, contact the developer of the Virtual Drive software.
Disable any Virus checkers on your machine (temporarily) and run the application again. If the problem goes away, contact the developer of the Virus Checking software.
Check if the problem is reproducible (after a reboot). If it is, then attempt to narrow down the exact steps that cause the fault, write them down and contact the support department for the company that developed the application providing as much information about the crash and what you have done so far to attempt to resolve the issue.

H.264 and prores proxy question

I've read through a ton of posts about proxy and h.264 workflows but didn't find any that answers my specific question.
My raw video from my camera is mp4 (h.264). I understand that h.264 is not good to edit with, so I have a few options. I use a macbook pro for editing so I have been toying around with prores proxy for editing and it makes a difference on RT playback and rendering while editing, so that's good. When I get ready to output my movie after editing, I relink my project back to the original h.264 source files and that seems to work fine.
I'm wondering if that's not the right workflow though. Should I transcode the h.264 into prores HQ or LT and then ALSO to proxy, edit with proxy and then relink my project back to the HQ or LT files to output? Or is linking back to my source h.264 files and outputing the right way to go?
Since the original files must be in the best possible quality that I'm going to get (since they're my original clips), I assume that relinking to them right before output is the way to go but I really don't know much about codecs to know if I'm missing something.
Thanks in advance for the advice.

Thanks for your response. I'm shooting with a Sanyo FH1, mostly in 1080p, but I've scaled back to 720 since 1080 was overkill for what I'm doing to save some space.
The thing I don't quite understand yet is the issue with pointing my project back to the source files after all the editing is finished with prores proxy and just before output. That way, FCP would only have to uncompress the source files to render for final output only one time (besides the initial transcoding), albeit, probably longer than it would be for prores. I'm sold on proxy because it was so much faster to edit with than h.264 and I didn't have to keep any video files after I was finished except my source files....trying to budget hard drive space. I transcoded one file a while back to prores but the file size was more than I wanted to deal with since I only edit on my macbook pro so I didn't try to edit with it. Like you said, maybe just converting to prores and dealing with the space juggling would be the best way to go, or try prores LT to see how the quality is.
Does converting from h.264 to prores buy me any quality or a better final result, or just a cleaner workflow? Don't misread my questions, I'm not arguing, just trying to understand from you guys that know a lot more about this than I do. Making my living as a developer, it's just ingrained in me to understand this one
Message was edited by: kenmoberg (updated macos version)

Quicktime not playing Apple ProRes (Proxy) 1080p video - help!

Hey guys I have a Apple ProRes (Proxy) 1080p video sent to me via Firevilla from a friend in the states - which simply says - "will not play - quicktime does not understand the format and may need additional software." All my software updates have been made. Does anyone know if I actually need a specific ad on??!! Or what is going on here!!??
Many Thanks

Because you're using QT 6.5.2 you can't view all QuickTime content. Quite a lot of pages are now using H.264 video and it can't be viewed using 6.5.2.
Try one of my pages to test your browser plug-in and QT version:
http://homepage.mac.com/kkirkster/California/index.html
The file is about 3MB's. If it plays correctly your browser and QT version are OK.
The plug-in settings can be found in the QT Control Panel (under MIME settings). You can also check your browser preferences for "helpers".

Capture in prores proxy or H.264

So here's the qusetion, I'm capturing footage from a HD broadcast (from cable, TWC), being that it's already a compressed signaled would it better to capture it as pro res proxy or a high bit rate H.264? ProRES 422, LT, just seems like overkill. Which would give me better qaulity?

appleconfuse, i would like to help answer your questions, and i hope that what i say is helpful to you from a professional that knows how this works. :-) you should never use anything higher quality than h.264 for recording a tv show from tv. its completely ridiculous to use prores to do this for the following reasons.
1.) i work at a tv station, and i can personally testify that tv shows are already compressed into h.264 at my station. so by the time it reaches you its already in h.264 anyways.
2.) once a video is in a compressed format, it is 100% impossible to add the removed information back into the video feed by encoding it in a higher quality format. it is also impossible to make a 1080p video signal into a 4k video signal just by upscaling it.
3.) prores is meant ONLY for creative professional to create content, not for viewing or storing for personal use. this is not what it was meant for. h.264 is a consumer format intended for the everyday use and will be much more friendly for your purposes. ;-)
you are not making the video better in any way at all by encoding it in prores proxy. the compression process they use to send a video out over the internet either on youtube or at a tv station is already highly compressed h.264. i know this because its my job to receive the video signals as h.264 video files and then to compress/encode them AGAIN before they are broadcast.
i hope this is helpful to you and i certainly am sorry to break this news to you. but unfortunately all you are doing is taking up more space on your hard drive and creating unnecessary work for yourself. to clarify, 4:2:2 footage is completely useless to you unless you are actually color grading footage. otherwise you receive zero benefit from it.

How do I transcode 1080p60 clips to ProRes Proxy or something similar?

Hello!
I have some footage shot at 1080p60 using the Panasonic PX270 (AVC Ultra - LongG25 50Mbps 10 bit, 4:2:2). When I try to edit a 4 camera multicam my computer stutters and lags like crazy. Can't get much more than 5 seconds even on 1/8 resolution without it starting to freeze/lag. Back in the day, I used to transcode everything to ProRes Proxy, then edit, then transcode to ProRes 422 and be done. I'd love to do the same here but I'm not sure how to get a proxy codec at 1080p60. The one's I have on my mac as options in AME/Prelude only go up to 1080i60...no 1080p60. I also have FCP but it's so old now that it doesn't recognize this new codec. Any ideas on how to do this? Does ProRes even have a 1080p60 proxy/422/HQ option? If so, how can I get that?
I have a 2011 iMac 27 inch 3.4Ghz i7, 16gb ram (1GB VRAM), and I'm using a Samsung SSD as my scratch drive. Running Premiere Pro CC 7.2.2 on OSX 10.8.5

Hit the Firefox Button>Options>Advanced>Network>Settings. Check "Manual Proxy Configuration" See Screenshot.

ProRes Proxy compared to HDV?

I've just done a few tests, and ProRes Proxy seems to give exactly the same quality, or better, as the HDV I converted from. Is this the case? Both had the same settings.
I'm doing a complicated 19 track multiclip (original source HDV) - which actually works when the HDV is converted to the ProRes Proxy (Michael Trauffer's suggestion). I'm trying to determine whether or not there is any point in finishing off the project in ProRes HQ -- given the final output will be mainly for the web (HD)?
Ben

ProRes HQ is overkill. ProRes LT or ProRes 422 might be better. Proxy is an offline, meaning low quality and not meant for final quality, codec. It might look good on a computer monitor now, but there is artifacting. I have compared it to ProRes 422, and I can see the difference. If you can't, no worries.
If this is for the web, just use ProRes LT.
Shane

Understanding ProRes Proxy to ProRes

Trying to get my head around the proxy thing. In FCP X I have - create Optimized Media & Proxy Media Checked. So I am doing all my editing in Proxy right?
So now it come time to export my project. I use compressor and select ProRes 422 (regular quality) and it appears to work BUT takes 8 times the length of my clip to transcode! So it is basically taking the proxy, seeing what I've done to it and then adding those changes to what version of the clip? the ProRess Std verions?
Just wondering how Compressor / FCP X goes from a ProRes proxy version to a Std ProRes version or HQ or 444 version - what is actually happening?

Proxy media is a proxy to the original media. FCPX always retains the original media.
When you edit the proxy, the edit is only applied to the proxy data, not the originals. When you export (cmd-E), frame rate is set in the project, and the output quality (eg ProRes, ProResHQ, etc set in the export dialog box. The output file is created by re-applying the edits in the timeline by rendering those to the original media as per these settings.
If your original media was 720p60 H264 (from AVCHD ingest), for example, you could set the project to 30fps (730p30) and export to ProResHQ if you liked. This would require your Mac to decode the original, apply the changes, and recompress to ProResHQ. However long this takes is however long it takes. But your Mac will be 'snappy' while performing the edits, because the proxy file is small and low on CPU during edits.
If your mac is a little faster, and you're happy with standard ProRes quality, then creating optimised media on ingest will slow your mac down a bit, but exporting to standard ProRes will be much quicker, as clips, transitions can be rendered in the background while you fiddle around editing, and when you're ready to export most of the heavy work is already done, so it will be much quicker. But your Mac must be fast enough to edit in standard ProRes quality.
Hope this makes sense.
Chris.

ProRes to ProRes Proxy White Border?

Hello,
Just wondering why compressor adds a white border to the right side of the image after conversion from ProRes to ProRes Proxy? I'm sure this is 'User Error', but was hoping someone could help me out here- is this unavoidable, or possibly a settings mistake? Thanks for any advice you can give.

I see the border after the conversion in Compressor, on the output file (the ProRes Proxy). I should also state that the original file was PAL, then converted in a Terenex to NTSC. Maybe that has something to do with it? Although I don't see how since the Compressor conversion is NTSC to NTSC.
There is no crop applied- I did fool around with it a bit and discovered that a 640 x 480 crop gets rid of the border, although the aspect changes.
I may just wait to see what the editor says about it before I worry about it. Thanks for responding.

ProRes & Proxy Workflow

I am editing a bunch of multicamera shoots using multicam editing. All the footage is in ProRes Format. I import the ProRes files into FCPX as proxy footage and do my multicam edit. Some clips however, I want to take into After Effects to apply the warp stabilizer. I do this to the original ProRes footage not the proxies. I now want to replace the original proxies with new proxies of the stabilized versions. How do I do this?

Hi,
you can start reading at this section of the online documentation:
http://documentation.apple.com/en/finalcutpro/usermanual/index.html#chapter=91%2 6section=7
Regards,
Armando.

Why is fcpx rendering even with prores proxy?

I am using proxy with a multicam, but both angles are proxy. how come it still has to render?

Please give the complete specs of your media from the movie inspector of the QuickTime player and the exact project properties.

Media Mismatch when relinking from Proxy to ProRes

Hello,
For some reason, when I relink identical ProRes Proxy and ProRes 422 files I occasionally get media mismatch start/end errors.
Does this make any sense? Is this even possible? They were generated with Compressor from the same exact source video.
Data is stored on a SAN, and ProRes and Proxy files have their own volumes. Could this be the issue?
Help! Thank you!!!
-Alex

Well, Compressor doesn't always carry over the same timecode information. That can lead to this. The best way is to use the MEDIA MANAGER to make the PROXY files. I guess that in your case most of them linked up, but only a few didn't? Any way to check and see if the timecode matches? You might have to manually cut in those few clips.

Final Cut Server Edit Proxy

Hi,
I need to do remote editing (with FCP7) over small bandwith WAN (1Mbps) therefore I configure Final Cut Server (V1.5.1) Edit Proxy to use a Quicktime H.264 codec with the following parameters:
File Extension: mov
Estimated size: unknown
Audio Encoder
AAC, Stereo (L R), 48.000 kHz
Video Encoder
Format: QT
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: H.264
Multi-pass: Off, frame reorder: On
Pixel depth: 24
Spatial quality: 0
Min. Spatial quality: 25
Temporal quality: 50
Min. temporal quality: 25
The workflow is:
The remote editor choose on Final Cut Server the FCP project he has to work on, do a Check Out of the project on his Final cut Pro 7 local station by selecting "use: edit proxy" and "keep media with project". Project and associated footage are then uploaded from the server to the remote FCP7 station with no problem.
When the upload is complete, the editor simply open the project file to start editing on his station. This workflow was working allright till january: when opening the project the FCP7 doesn't reconnect the media with an error message:
"one or more of the updates requested by Final Cut Server could not be applied. (one or more replacement (s) had unexpected track setting.)" and media files are Offline! When trying to reconnect manually by indicating the proper path for the missing files, I have to uncheck "Matched Name and reel only" to select the edit proxy files. It looks like it was still linked with the original media...
Looking at the project file, the paths for the proxy files are the proper ones...
<!DOCTYPE plist PUBLIC "-//Apple//DTD PLIST 1.0//EN" "http://www.apple.com/DTDs/PropertyList-1.0.dtd">
<plist version="1.0">
<dict>
<key>fileSubs</key>
<array>
<dict>
<key>newurl</key>
<string>file://localhost/Users/XXXXX/Desktop/testbdw10/media/_FCS__XXX.XXX.XXX.XXX/dev/3/1670_179_004301.mov</string>
<key>originalurl</key>
<string>file://localhost/Macintosh%20HD/Users/XXXXX/Documents/Final%20Cut%20Pro%20Docume nts/Capture%20Scratch/Untitled%20Project%201/179004301.mov</string>
</dict>
<dict>
<key>newurl</key>
<string>file://localhost/Users/XXXXX/Desktop/testbdw10/media/_FCS__xxx.xxx.xxx.xxx/dev/3/1674_179_003601.mov</string>
<key>originalurl</key>
<string>file://localhost/Macintosh%20HD/Users/XXXX/Documents/Final%20Cut%20Pro%20Documen ts/Capture%20Scratch/Untitled%20Project%201/179003601.mov</string>
</dict>
</array>
<key>version</key>
<integer>0</integer>
<key>versionMin</key>
<integer>0</integer>
</dict>
</plist>
If I change the Edit Proxy setting for ProRes 422 (Proxy) on Final Cut Server edit proxy setting then the reconnection is working OK. I cannot use this workaround as the files are then far too big to be tranferred over a 1Mbps WAN.
The setup with the Quicktime H.264 edit proxy was working fine after, it seems, the installation of Pro applications update 2009-01 issued end of october 2009, but since january 2010 it does not work anymore.
Final Cut Server is version 1.5.1 with Mac Os X server is 10.5.8
Editing station are running Final Cut Pro 7.0.1 and Mac Os X 10.5.8
What could be wrong ? Does anybody encountered this type of problem?
Any suggestions welcomed!
Thanks.

I'm dealing with this issue right now (FCSv 1.5.1 latest pro app updates, 10.6.2, FCP7). I was under the impression that you could make edit proxies that were 25% resolution (as opposed to just using an efficient codec), but Final Cut Pro is having a rough time getting it right. I too am only getting success with ProRes-Proxy, audio passthrough, and 100% res/everything else. I tried using Apple Intermediate Codec with default "100%" settings and audio passthrough but had no luck. It's way heavier than ProRes Proxy anyways.
The only suggestion I can make is try your h264 solution with audio passthrough (or Linear PCM) instead of AAC. If that makes a difference we're on to something. Some people started having this issue after an iTunes update, so maybe AAC is the source of the problem.
The edit proxy workflow really needs tweaking from Apple to cater to internet-based solutions rather than fiber/SAN environments where bandwidth is a non-issue.
I'll report back later after some more testing.

Anyone understand the purpose of Proxy render/output format?

So I've done a couple of projects with X now and am fairly happy with the proxy workflow:
1) Ingest, creating proxies, but no optimized - render format set to ProRes regular
2) Edit in proxy
3) In preferences, switch back to "Use original or optimized"
4) Tweak edit
5) Render and export
However, I'm still not understanding the thinking behind the render/output format (full-resolution proxy) when you are editing in proxy. It seems to me that it SHOULD be:
EITHER: When you're editing proxy, if you render/export, FCPX renders/outputs in proxy using the same low resolution as your proxy files. This would be great for early, quick samples for clients. No need to spend forever rendering full-res ProRes regular, or the pointless upsizing of pre-rendered lo-res proxies.
OR: Even while you're editing from proxies, background rendering is done in your full-quality format (i.e. 1080 ProRes regular). This would save you from re-rendering when you switch back over to original/optimized.
Ideally, there'd be a toggle to choose which of these you want. Even without a toggle, Apple should pick one of these it seems. The way it is now seems useless.
SUMMARY:
While editing in proxy, render/output should be either:
1) 720x540 ProRes Proxy
OR
2) 1920x1080 ProRes Regular
BUT NOT
3)1920x1080 ProRes Proxy
I was going to send an enhancement request about it, but figured I'd first see if anybody knows of a useful reason for it instead being this third, awkward format.
Thoughts?

I had hoped the summary would clear up the question. I guess not. Let's try this again:
QUESTION - Would other people like the output, when in proxy mode, to be a low-res ProRes Proxy file - the same size as the files that are created when you tell FCPX to make proxies of your original files?
DETAILS
- When you create proxies of your original files, they are a low-resolution of "something"x540 (in my case 720x540)
- If you output while in proxy, you get a proxy output file at 1920x1080 - this is 5.3 times as many pixels to render as 720x540.
- Assuming a linear relationship between number of pixels and render time, this means it would take over 5 times as long to render the current form of proxy output, as compared to what I'm asking for.
- I want a quickly-rendered format (like 720x540 Proxy) so I can quickly render/output, change things, re-render/output, sending multiple sample files to the client.
- Of course, the ability to mark in/out on the timeline and export just that section is also important here, but that's another post and has already been discussed.
- For further details, see my original post
As for my workflow, I don't need to work with either/or. I work in proxy (which, if you're doing more than straight cuts, allows better playback before rendering, no matter what computer you're using) until I'm ready for the final tweaks to graphics or the edit that actually rely on fine detail, and want to output in 1080 Prores regular, at which point I change the preference back to original/optimized, like I said right at the start of the first post. No mind reading necessary. I then tweak, render and output. I'm not sure you're understanding the purpose of a proxy workflow.

Prores Proxy?

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