Target codec say Apple Pro Res 4444

I just downloaded Canon's EOS Movie Plug in, why does my target codec say Apple Pro res 4444? Thanks in advance.

NEVERMIND! I found it!

Similar Messages

  • Apple pro res 4444 info?

    COuld someone tell me the data rate for apple pro res 4444 codec? how many megabytes per second does it demand? Will I be able to run it from a 7200 rpm firewire 800 single mobile drive?
    Thanks!

    http://www.apple.com/finalcutstudio/finalcutpro/apple-prores.html

  • Fcp forces me to render Apple Pro Res 4444 files when i drop on timeline

    i shoot with the canon 5d mark ii and i have been having problems making my videos easy to edit. I convert them from h.264 to the apple pro res 4444. when i take the files and then attempt to drag them into the project timeline, i am prompted to change the settings to match that of the video format. when i select no, all of the files require me to render before playback. when i select yes, i always get dropped frames and the video stalls and fails to play. selecting no and rendering is not time efficient at all and i know there is a better way to do this. any help or suggestions? i'm clearly doing something wrong.

    Hi -
    While it may seem counterintuitive, transcoding to a ultra-high quality, specialized format like ProRes 4444 actually, in most cases, counter productive.
    Converting your h.264 files to ProRes 4444 is like buying size 26 shoes for size 9 feet. Apple ProRes 4444 is there for specialized use by people editing large frame size images +WITH an alpha channel for each frame+. To properly play it back will require both a high horsepower computer and high speed disk drive array to support the data rate involved in that format.
    May I make a suggestion? I would be to convert your h.264 material to Pro Res 422. Even ProRes HQ is beyond what you need to handle your material correctly.
    When you convert your files to ProRes 422, and allow FCP to set the sequence to the same settings, you will find that you will be able to edit without rendering. And don't worry - the quality of your image is set by the h.264 compression, the conversion to Pro Res 422 will not degrade it.
    A frequent example given on these boards: if you take a can of beer, and pour it in a keg, you still have just a can of beer, but it is harder to carry around - and the keg certainly takes up more space.
    There is a very useful White Paper written by Apple that describes the various flavors of ProRes and their correct application at:
    http://images.apple.com/finalcutstudio/docs/AppleProRes_White_Paper_July2009.pdf
    Hope this helps.
    MtD

  • Apple Pro Res 4444, does it work with FCP 6?

    Does ProRes 4444 work with FCP 6? I don't think so but wanted to check before I had the film lab telecine my film. I'm stuck with FCP 6. Might have to go with ProRes 422 (HQ) ?

    Jon Chappell wrote:
    Are you 100% sure that you can write to ProRes 4444 files in QT 7.6.2? I would have thought you'd need FCS3 for that.
    See, I knew the editing gods would humble me.
    I just re-tested this on a separate FCS 2 partition and it turns out my memory was failing. While you can read and import the new ProRes codecs, you can cannot render out to them in the FCP 6 + QT 7.6.2 universe. So yeah, getting all ProRes4444 files would be a hassle on an FCP 6 setup.
    Ugh, sorry for the bad steer.

  • Apple Pro Res 64-bit Encoding

    I've looked everywhere and tried everything...
    https://helpx.adobe.com/premiere-pro/using/whats-new-7-1.html
    At the bottom, under "support for new camera formats", there is a section regarding support for  "Apple ProRes 64-bit" as a new camera codec. I looked everywhere in Media Encoder and the only thing with a "64" in the Apple Pro Res Codecs is under Apple Pro Res 4444 in the "Maximum Bit Depth". However, this option was already available so that 's not what Adobe could be reffering to... I understand that there is support to utilze the 64 bit capabilities to quicken the transcoding process but does anybody know anything about a new Pro Res Codec at 64-bit? Where it is? What it entails?
    Anything at all would be awesome. Thanks.
    -Dimitri

    Hi Dimitri,
    It's 64 bit as in it uses a 64 bit process on a Mac. It does not refer to 64 bit depth. The only and main difference is that encoding ProRes is going to be faster now.

  • Apple Pro Res "Render at Maximum Depth"

    From my understanding, Apple Pro Res maxes out at 12 bit with DSLR cameras in movie mode not even reaching that. Yet, the setting for "Render at Maximum Depth" offers 24 to 64 bit. Anyone know what the story is with this setting?
    And does anyone know the settings for Apple Pro Res 4444 at its highest quality when coming from H.264?
    Thanks.

    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

  • Capturing in Apple pro res codec

    Hi,
    I am trying to capture the Cinealta HD footage with blackmagic card using apple pro res codec. i am not getting full res 1920x1080, getting only 920x720. anybody experienced this kind of problem.
    i am using Fcp 7, mac pro with 4 gb ram.
    pls suggest.
    C V Rao

    while we've got some Blackmagic users here, you probably want to talk directly to Blackmagic.
    bogiesan

  • 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?
    The data rate for Pro Res 422 is 15.3mb/s and for Apple intermediate codec is 9.9
    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

  • 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 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 Export

    I am exporting a project that I am sending to be authored. I have already exported the menus in Apple Pro Res 422 (1280x720). This was the most efficient way to preserve my 16:9 anamorphic setting.
    When I export the entire movie however, I get dozens of -av.mov files that are linked to the primary mov file which is only 2gigs. What exactly is going on here? If I send a hard drive out with all these av.mov files, can the guy who is authoring read the primary file?
    Any info is much appreciated.
    Thanks!

    In your FCP System Settings (Shift-Q) check to see if the option to Limit Capture/Export File Segment Size is active. It's normally toggled off, but the default size limit is set to about 2 GB (2000 MB), so that's why I'm asking.
    One caveat: if you're exporting to a hard drive that is formatted for Windows use, leave the setting and box checked because many Windows drives (formatted by Macs, especially) won't do larger than 2 GB files. And no Windows system will recognize files larger than 4 GB.
    So I guess what I'm saying is, before you 'correct' your issue, confirm with your authoring folks what system they'll be using. If they are using a Windows box, they definitely won't be able to read your files - the ProRes codec isn't available for Windows.

  • HOW DO I CONVERT F4VS TO APPLE PRO RES?

    Hi, I need to transfer a premiere pro project as a XML to FCP so i plan to convert the files into premiere pro  into Apple prores so they can opened in a Apple Pro Res project in FCP. The files I need to convert are the original MOVs and F4vs so the movs won't be a problem but the I've tried converting the f4Vs in Adobe Media Encoder and it seems to suggest I need FCP installed on my computer to convert them to pro res bu there must be a way of getting F4vs in to FCP. This is a project I'm transferring to be opened on someone elses computer in their FCP so how is this done?
    PLEASE HELP!
    I have the apple pro res codec already installed on my computer and downloaded a free trial of Pavtube but when I tried converting a F4v file into prores it said I need Final Cut already installed on my computer so would wondershare say the same thing. Sorry but I just want to be clear so...If I convert all the movie files in my Premiere Project into Apple Pro Res then export that as a XML then send all the individual files along with the XML project file to another computer they would be able to open the XML project all good and fine in FCP7?... There isn't any speed adjusted clips in the project as with those I nested and converted them into f4vs in Media Encoder then reimported them into the Pro project, then there are a few clips that I have adjusted the scale and postion and put on a slight fade on some clips- would those effects transfer to FCP7 ok ?
    The project files I used in Pro are-
    Editing Mode: DSLR,
    25fps,
    frame size 1920 x 1080, vertical 16:9,
    Pixel Aspect Ratio, Square Pixels (1.0) 
    Fields : No Fields(Progressive Scan)
    Sample Rate 48000,
    Video Previews-
    Preview File Format I-Frame Only Mpeg
    Codec Mpeg I-frame
    So if they open a project in FCP7 with as much of those settings as possible and in Apple Pro Res and then import the XML would that work?
    Any advice would be extremely welcome and I'll be very greatful.Cheers
    Simon

    Try using MPEG Streamclip. Seems to work for a lot of folks.

  • Trouble with flickering after converting AVCHD files to Apple Pro Res 22

    Hi guys.
    I have figured out that Apple Pro res 22 is the best format for my AVCHD files.
    But I am having trouble with the files after converting them to this format.
    Every 60 frames I have a blurred frame.
    This results in a flickering effect when watching the clip.
    The original MP4 clip (AVCHD) plays fine on the Mac but when I convert is it flickers.
    I have captured a still shot of the frame here
    http://www.willpower.net.au/DOWNLOADS/FrameError.jpeg
    Here are the settings I am using for the conversion
    http://www.willpower.net.au/DOWNLOADS/Error.JPG
    Here is the converted file in Apple Pro Res 22 format with the flickering
    http://www.willpower.net.au/DOWNLOADS/SANY0007.mov
    I'd appreciate any help that you can offer.

    Actually I think I might have found the answer.
    After diggin deaper into the camera manual I have discovered that the setting I had it on "Full HD" actually is interlaced not progressive. Even though tha badging on the camera says Progressive"
    So I think something got lost when converting the files to apple pro res.
    I just shot a 10 sec clip on "Full HR" which is the progressive function and it converted nicely.
    I'll come back to this post after shooting and making a little test movie today.
    Thanks for your help.
    PS. I wonder what codec it actually shoots in. Apparently it is not AVCHD but MPEG-4 AVC/H.264 compression (I thought that was AVCHD)

  • 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

  • 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.

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