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

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Tape with Unkown Format - What Apple Pro Res 422 Codec settings to use?

Hello All:
Someone gave me a couple tapes with interesting footage to use. Is there a way to determine the tape format settings so I can select the correct codec setting to use in capturing the tapes? There are a lot of choices. These are MiniDV tapes but, I don't know anything more about the cameras used or settings selected by the person taping.
Any ideas?

Thanks evertyone! For any following this thread, from a combo of sources, here is the answer (worked for me, anyhow):
1-verify deck recognition by computer:
-W/deck on, choose Apple menu > About This Mac >> and press the More Info...
-From System Profiler select FireWire. Look to see if the deck is listed.
If not, you're done => there's a problem w/ the cable, firewire ports (computer or deck), or with the deck. If it's identified, go to step 2.
2-check all settings on the deck and in FCP
On the Deck:
- be sure the iLINK CONV is set: OFF
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FCP menu > Easy Setup and select HDV 1080i from the selections available
-finally, in View menu choose Refresh A/V Devices
Open Log and Capture .... deck should be recognized.

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.
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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.
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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.
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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.
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Anybody experiencing similar issues?
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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.

HDV Capture as Pro Res 422

I have captured my 50i HDV footage using the Pro Res 422 codec, but when I look at the captured files in finder they are marked simply as text files?
Is this normal?
I can open the files up in quicktime, but when I try to import them into a new project I cannot?
Any help

The 7.0.2 update is contained in the ProAppsUpdate 2010-01 which is accessed via Software Updater under the apple menu.
x

Uncompressed vs Pro Res 422 (LT) as archival codec and as editing codec

Hi -
I'm working on a project where we will be capturing 600 hours of footage from Hi8 tapes. The tapes are in somewhat iffy condition so we're only going to get one pass with them and that's it.
We've agreed with the owner of the tapes to digitize all of them for archival purposes, after which we will make a backup copy for us to edit with. We want to use Pro Res 422 (LT) as our editing codec, but there's some question about what codec we should use for archival purposes -- Pro Res 422 (LT) or uncompressed 10-bit 4:2:2.
Basically, the debate is, given that the Hi8 format retains a relatively small amount of data, is there a benefit in terms of quality if we archive the tapes in uncompressed, or will the quality be just as good if we deliver in Pro Res LT to the archive?
Thanks!

Because while we would prefer Pro Res as our editing codec, the people to whom we will deliver an archival set of the material may insist on uncompressed.
Please -- no more questions about why I'm asking this question.
What I am hoping for here is a brief, to-the-point comparison of the pros and cons in terms of video quality of the two codecs (but something a little more informative than 'filet mignon' and 'hamburger').
I'm aware of the white papers, but I'd like to get the opinion of people with experience and knowledge who don't work for Apple who could boil it down --
Is Pro Res a good codec for archiving material, and how much if anything would be lost if we delivered to the archival house on Pro Res rather than uncompressed?
What argument, if any, can we make to an archival house that is leaning toward uncompressed that Pro Res will work as well for them? At the risk of answering my own question, would we be correct in saying that the image quality would be effectively as good with either codec (given that we're digitizing from Hi-8 tapes) and that delivering in Pro Res would save them a great deal of storage space?
As a reminder, we're talking about 600 hours of Hi-8 footage here. Thanks.

Apple Pro Res 422 versus Apple Intermediate Codec

I'm new to the world of FCE HD. I'm transfering video from a Canon HG10 to my MacBookPro and storing on an external drive. Earlier projects are bringing in video with Apple Intermediate Codec compressor... no problems, editing doesn't require rendering... Now video is being brought in as Apple Pro Res 422. The Pro Res is requiring that I render everything once I bring it from the viewer to the canvas. I've searched all menus, preferences and settings looking for where and how to change this setting. Does anyone have a solution to this snag?
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None of this makes sense to me... please assist.

Hi(Bonjour)!
How did you convert to ProRes 422?
ProRes 422 codec is a part of final cut studio 2.
FCE HD cannot edit nor render in ProRes like Final Cut Pro. You material havs to be NTSC, PAL or AVCHD and HDV (converted to Apple Intermediate Codec).
Michel Boissonneault

Exporting Pro Res 422 HQ

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...

Pro Res LT Codec delivers APCS codec.. slow and cumbersome

Hi All,
I transferred the Hard Drive HD footage from my Canon camera into Final Cut using the Apple Pro Res LT codec. The codec that the file turned into is "apcs". This file is HUGE and will not play back correctly from a fast firewire 800 drive.
Is anyone else having this problem? I want to use LT because it is supposed to be perfect for multi cam timeline, but if the resulting file is apcs, which I can not find a definition for anywhere, and it can not play back at speed what to do? How do I get to Pro Res LT after all?
Thanks,
Lydia

Hi Tom,
I am thinking I am doing something very wrong settings wise.
In Quicktime one of the rendered and exported timelines says:
Format: Apple ProRes 422 (LT), 1920 x 1080 (1888 x 1062), millions 1 bit Integer (Little Endian), Stereo, 48,000 kHz
FPS: 29.97
Data Size 18.21 GB
When I exported the files the names did not come across correctly. The file name is truncated and an alpha numeric tag is added. For example, one name exported was Wide Bidya and McCormick ProRes Mix. What it was changed into was Wide Bidya and McCormick#12ADA2.
In the finder the same clip under the get info window/more info.
Dimensions: 1920x1080
Codecs: apcs, linear PCM
Color Profile HD (1-1-1
Duration: 24:8
Audio Channels: 2
Total bit Rate: 97,936
"STP processed audio " means the track was exported to Sound Track Pro as an audio file, saved and returned. The "Sent" version of the audio is the final audio utilized in the timeline.
I will tag on the clip and timeline exact prefs in my next entry.
Thanks,
Lydia

Date gone after pro res 422 log and transfer

Is it normal with AVCHD video that after it is transferred and encoded to Apple Pro res 422 that the date and time of the recording it lost? I now cannot search for video by date recorded in my CatDV8 catalog. With my mini DV tape imports, all of that came over.

Brian --
I'm very much in the same position -- about to start ingesting many hours of AVCHD footage for which I need to retain date & time info for each clip.
It seems the height of absurdity that the browser portion of FCP's Log & Transfer window has a "Date Created" column with that exact info, and yet FCP7 (yes, version SEVEN) apparently won't let you simply transfer that column over and have it be displayed (as well as be a sorting option) in the Browser itself!
If this is some technical limitation of transcoding to ProRes, then ProRes is still Beta software in desperate need of some serious development. And I can't see blaming it on the AVCHD codec, since L&T seems to have no trouble seeing and displaying the Date Created info for each clip.
So the question remains: if Log & Transfer can see it (and since L&T does have several data fields which do show up in their respective Browser columns after import) then why the !@#$%^&* can't something as fundamental and as obviously important as the Date Created info not be transferable as well???
Especially for a documentary, that kind of basic metadata -- and the ability to have your imported clips display in chronological order -- is CRUCIAL.
(I'd send a Feature Request to FCP Feedback, but are they still accepting suggestions for version 3?)
=================
Sarcasm aside, I have found one very kludgy and inelegant way to have that Date Created info automatically included as part of the Log & Transfer process:
In the bottom right portion of the L&T window, you have to create a new, custom "Name Preset", one that includes the ClipDate (and/or any combination of the ClipTime, ClipMonth, ClipDay buttons appropriate to the time span of your project's footage) into, and -- if needed as a sorting display option in the Browser -- at the beginning of, each clip's "Transfer As" name.
It's ugly, it's awkward, it's limited (you can't have the date display as a compact 091123, for example, or have the time be included without seconds, etc.), but it appears to be as good as we've got -- however pathetically inadequate that may be -- for what should be an obvious and automatic option.
(I mean, do the Log & Transfer development team and the Browser & Clip Import development team work different shifts, and just never get the chance to talk to each other? It's the only sane explanation I can come up with.)
John Bertram
Toronto
(Still hoping someone can suggest a workflow which allows AVCHD clips to be ingested into FCP7 without their Date Created info being ridiculously tossed in the trash.)

How can I set FCPX to import my footage as Pro Res 422?

I am having difficulty getting nice clean chroma keys due to the fact that all my footage is being imported with the H.264 codecs. I have the project properties to render as Pro Res 422, but that as I understand it, will only change my footage for the final output.
I tried to find a place in the Properties->Import to see if I can tell FCPX 10.0.8 to import the footage at a higher quality so that the keyeing effect creates better masks. Where can I set FCPX to import my footage as ProRes 422?
I would greatly appreciate anyone's input as I have been trying to figure it out and am at a complete loss at this point.
Thank you so much in advance for your help!
~Heather
PS:
Here is where it says my footage is H.264 - where can I change this?

I do always check the optimize media box, but still have a hard time smoothing out jagged edges on greenscreen footage. I assumed it was because the keyer was being applied to H.264 footage instead of ProRes 422 footage.
Which codecs is the effect being applied to if I drag it onto the clip in my timeline? I am doing playback with optimized media if that makes a difference. It is quite possible I confused myself.
Thanks for your help, Tom!

Exporting FCE project to Apple Pro Res 422 HQ Quicktime conversion file

Hi Folks,
I have recently tried exporting an FCE project (HD 1080 16:9) as:
1. Quicktime file
2. Quicktime conversion using Apple Pro Res 422 HQ
and noticed that the Pro Res file is 2Gb. larger than the standard Quicktime file.
Does this mean the quality is 2Gb better? (it certainly looks crisp and clear)
Should I be doing this everytime I export from now on?
Any information much appreciated. Regards.

Transcoding your material from one codec to a higher quality codec will not improve the quality of your source material. You are always limited by the quality of the image prior to the transcode.
If you have a pair of shoes you want to store, you can put them is a shoe box, or you can put them in a shipping crate - but neither method will improve the shoes.
The shipping crate will just take up more space.
The only possible advantage of transcoding your AIC sequence from FCE to ProRes would be:
1) you force the need to repeatedly decompress and recompress the file - ProRes will bear this better than AIC
or
2) you plan to use the file in an edit system that supports working directly in Pro Res.
MtD

Apple Pro Res 422 SD Files

Hey i was wondering what steps (if any) I can take to use Apple Pro Res 422 SD files in my older Final Cut version 5.1.4. Just wondering if there is some updates or codec I'm missing to be able to see the files with. Thanks for any help anyone can provide

There is a decoder for ProRes...
http://support.apple.com/downloads/AppleProRes_QuickTime_Decoder_1_0_forMac
Shane

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.

Pro Res 4444 to Pro Res 422

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

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

Scaling bug, Pro Res 422 codec

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