Try to ingest Panasonic HPX 250 AVC INTRA 100 wich ends AME crash

Hi!
I just bough new camera Panasonic HPX250 and now I try to ingest the footage with Prelude.
Every time after Media Encoder loads the source and tryed to start encoding it ends to crash (look image)
I have tryed also to uninstall  whole CC package and Cleaned with CC Cleaner tool and actually done it twice. Original footage is on 1080i50 and I just try to transcode it to single MXF clip with same parameters cos in P2 card the one over 60 minutes clip is cutted in multiple clips. My goal is get that in one peace to Premiere.
Please help me!
Greetings
Sami

Hi -
QE reports this might be related to a known issue with smart rendering for your selected transcoding preset. Please try turning smart rendering OFF in AME. To do this, open AME and find the preset you are using: It should be under MXF OP1a->AVC-Intra. Right click on the preset you use and select "Preset Settings...". Within the Preset Settings dialog that will appear, select the VIDEO tab and scroll down until you see the check box "Enable Smart Rendering codec". Uncheck that.
Since you changed the default state of the preset, you can now save this as a CUSTOM preset. Give it a name at the top of the Preset Settings dialog (in the "Preset Name:" field).  Then click the SAVE A COPY button at the bottom of the dialog.  This preset you just created will now appear in Prelude.
Let us know how this works for you. We are looking into the bug and hope to have it resolved in our upcoming release.
Regards,
Michael

Similar Messages

  • AVC intra 100 in FCP

    Tried to "log and transfer" a Panasonic HPX3000 P2/AVC-Intra 100/ 1080x1920 60i/24P file but Final Cut Studio 2(6.0) didn't read it What did I d wrong?? have the latest Macbook Pro intel computer, I have uploaded the Panasonic AVCintra Decoder in my mac succesfully.
    I have i my Audio / Video setting chosen : Apple ProRes 422 (HQ) 1920x1080 24P 48 Hz.
    What am I missing??
    Anybody know?
    I would appreciate it..
    Theo Van de Sande

    Do you have have FCP 6.0.2? The latest upgrade?
    How about FX Factory by Noise Industries? Do you have that? I ran into an import issue with P2 DVCPRO HD and a version of those plugins. They have been updated to fix that issue.
    Shane

  • AVC INTRA 100 INGESTED CLIPS SHOWING MYSTERIOUSLY LOW DATA RATES

    Just finished my first P2 chroma key shoot using AVC Intra 100. I have ingested and transcoded using log and transfer using Pro Res 422 HQ (we shot 1080 25p) Each clip is showing a data rate of around 20mbps, yet the white paper on Pro Res suggests 200mbps data rates. Even the AVC intra files are showing data rates of around 20mbps-despite the 100mbps AVC Intra- IHow come the files are showing such low data rates? How come they are not reading 200mbps??? What did I do wrong or what am I not understanding about data rates??? Thanks

    Before all Hi Tom Hi Klaus and Hi String
    i was looking at the forum for some one that has having the same problem than i and found it!
    I'm using this new HPX-300 with the AVC-INTRA 100 codec. And when i import the content using log and transfer (final cut 7!!!) with avc-intra native plug-in, all that, to apple prores 422 hq compression the size of the video is like 14 mb/s is that right? and the quality doesn't look so good too, but this i fink is because of my computer.... AND THE INFORMATION OF THE VIDEO IN THE INFO WINDOW (more info part) IS SAYING:
    DIMENDION 1920x1080
    CODEC: AI16, LINEAR PMC, TIMECODE ---> why not apple Pro Res 422 (hq) ???
    COLOR PROFILE:HD (1-1-1) ---> This should't be 4-2-2 ?!?!?!?!?!
    If some one can explain to me who does this work i apreciate!
    And all ways Tanks for sharing!
    Message was edited by: Gustavo AVC-intra

  • Green Screen using AVC-Intra 100 ugly

    Been using the hpx300 for approx two months mostly in 720p with great results. Just wraped our first true HD green screen shoot using avc-intra 100 at 24p with the intent of producing a white background mac-ad type, 5 min talking head corporate piece in SD. I had the camera mounted at 90 degrees to capture the 1920 pixels of subjects head-to-toe so I could then manipulate individual zoom and placement in post within a SD timeline. I've got two issues: one is that the images in post seem noisy, and any movement, as in subjects walking across screen, is a total mess - I say seem because all recording and playback on location looked just fine on a 1920x1200 monitor via blackmagic i/o box. I normally do basic editing in premiere with much help from AE for composting and color correction etc. Keylight has always worked great in the past. I must have something wrong with settings in the avc-intra HD content? Secondly, workflow is a bit convoluted... Keylight doesn’t apply in premiere, and AE doesnt do avc-intra. The workaround is to export avc-intra premiere timeline to AE and key that.  In theory it should work just fine, but again my images are just noisy. Could this PR to AE workflow degrade image quality?  Any suggestion greatly appreciated! Thanks, Matt

    Poster must be busy shooting more stuff....
    Found some info on that " hollywood camera " site.....
    IS HD REALLY HD- GREENSCREEN ISSUES
    These plates were all shot with an HVX-200, mostly with the 100 MBps DVCPROHD codec. This was good enough for us for Visual Effects For Directors because we had specific needs, but we don't consider them good enough for full film production.
    Here's why:
    COLOR SAMPLING: We      prefer all green screen to be 4:4:4, so every pixel has a unique color.      4:2:2 only updates the color every second pixel, but green screen      desperately depends on a sharp, accurate, scientific color transition.      With 4:2:2, you're operating in half resolution. But if you downsize, like      we downsized to 720x480, you're at full resolution again. So because we're      delivering in SD, the plates are 4:4:4 for us. They'll just be 4:2:2 for      you if you're delivering for an HD movie.
    PIXEL ASPECT: When      a camera is listed as 1920x1080 HD, that's really stretching the truth.      You'll see that all our plates are in 1280x1080, which is the original      camera resolution, meaning that the plate has to be stretched 150% on the      X-axis to be in the right aspect. In other words, you're only operating at      66% resolution on the X-axis. Did someone say "smearing"?
    NOT EVEN 4:2:2: By      the time 1280 has been stretched to 1920 to make up for the 1.5:1 pixel      aspect ratio, 4:2:2 has been stretched out too, basically becoming      4:1.5:1.5
    LENS RESOLUTION: Nobody      besides DPs really thinks about the fact that a lens has a resolution.      Zoom lenses are made of many lens elements in a clever configuration, and      each element introduces some blur. That's why top-notch DPs like to use      prime-lenses cut from diamonds from King Solomon's mines, because if the      lens limits the resolution, it doesn't really matter how well you record      the signal after that. Some people have come to the conclusion that the      HVX-200 is really a 720p camera, because the 1080p resolution doesn't      really come through. We tend to agree, but we don't want to start a      religious war, and will say that it's just our personal experience. On top      of that, we've used a $500 wide-angle adapter on some shots, which really      butchers the pixel resolution, so even though we're recording at 1080p,      we're really not. But 1080p allowed us to record with the 100 MBps      DVCPROHD codec, which meant that we still got a very respectable resized      SD signal out of it.
    BAYER PATTERN: Most      cameras use a Bayer pattern on the chip, so that every pixel is EITHER      Red, Green, or Blue — but not at the same time. A full Red-Green-Blue      pixel is derived mathematically by interpolation. It's no wonder that some      organisations are starting to call for an objective standard for what      really constitutes a pixel, because a Bayer pixel is definitely not a real      pixel — more like half a pixel. By the way, there are twice as many Green      pixels than Red or Blue in a Bayer sensor, so you're far better off using      green screen than blue screen on video.
    HALO: Even      with the internal sharpness generator completely disabled, the HVX-200 has      a clear black fringe several pixels wide on the right side of actors on      green screen. Panasonic vehemently denies it, but it's very easy to see.      In this      picture, notice that white areas get a fringe, but darker areas, like      her legs or hair, don't. Panasonic's explanation has been that it's just a      shadow from the lighting (huh?), but the halo is on the KEY side — so the      only plausible explanation is a quantum singularity localized to the actor      which bends light as it passes by her body. We think it comes from the      Bayer pattern, but we're not sure. And Panasonic shouldn't feel bad. A Nikon      D80 does it too.
    HEAVY COMPRESSION: Even      though it seems like a lot that we're recording at 100 MBps in the      DVCPROHD codec, if you calculate the bit-rate per true output-pixel, we're      actually still compressing at a whopping 15:1.
    NOISE: Video      cameras in this price range tend to have rather high noise, and on top of      that, they're usually 8 bits per color channel. This can result in some      highly visible shadow noise that almost pixellates when the brightness is      just on the edge of a bit-threshold. You can see some of our plates doing      this.
    An HVX-200 and all its brothers and sisters in its price range simply don't have the horsepower for full pixel, high dynamic range, high resolution, uncompressed production that you need to do truly professional green screen. Green screen is ultimately a scientific process, and is one of the most demanding things you can do with your camera. Regular live-action images are MUCH easier for your camera to handle, so for regular filmmaking, your camera is fine, don't feel bad.
    We have nothing against the HVX-200 or its brothers or sisters — come on, we shot a whole DVD set about visual effects on it — but it's important to really understand what the limitations are. It's fine to own your own camera for regular filming. For green screen, you should consider renting the very best you can afford — and make every decision right, which is where we come in.
    Thanks for reading!
    Rod

  • HELP!  AVC Intra 100

    I received a hard drive with some Quicktimes that are in AVC-Intra 100 format.
    So I went to the Panasonic site and downloaded the decoder.
    But in QT player I only get audio, and in FCP Log and transfer I get "unsupported media or invalid directory structure"
    I am running FCP 6.0.6, OSX 10.4.11, Intel 8 Core
    From what I gather I have 2 choices:
    -Bring the drive to a fully up to date suite, using FCP7 and convert all the clips to ProRes
    -Get the P2 cards copied with their file structure intact to a drive, then do a Log and Transfer
    Is there any other way I can deal with the videos?
    Thanks

    You need to "get the P2 cards copied with their file structure intact to a drive, then do a Log and Transfer."
    If I recall correctly, the native AVCINTRA100 QT players only work within FCP, and cannot be played separately.
    Not certain but that's what I thought.

  • AVC-Intra 100 performance in CS5?

    How well does Premiere CS5 work with AVC-Intra 100 Pal 25p compare to Premiere CS4.2.1?
    I have a hard time to make CS4 to work well with AVC-Intra, no sound and then sound, stuttering video playback and poor performance over all?
    My system is running fine with all other type of format including big Cineform project (CS3 thought for Cineform).
    My system
    i7 920.
    Intel SSD G2 80GB system disk with Vista 64 Ultimate.
    12GB of ram.
    4 x 1000GB in a raid 5 with an Adaptec 3085 raid card.
    ATI 5870
    Regards
    Mikael

    Now is CS5 better to handle the AVC-Intra codec then CS4? Please Help me.
    I have big problems with AVC-Intra 100, when I select sequence AVC-Intra 720p 25p inside CS4 Premiere 4.2.1 and drag some clip onto the timeline it becomes red and all 4 sound tracks are completely empty of sound without any peak drew up. Then out of nowhere without any reason, some of it appears, some of the sound and then completely disappear again (randomly).
    The video is also not playing without stuttering and without all frames intact (25frames/sec) more like 12frames/sec???
    All this is the same when I try to render out a master, stuttering video and no sound.
    When I look at the same files inside my HPX301 the files are playing just fine with perfect sound so it’s not the recorded files that are wrong.
    System mode: 720-50p.
    Rec Format: AVC-I 100 /25pn.
    This computer is flying with big, big complex projects of 10 bits Cineform files so it’s not the computer that can’t handle it (this is with CS3 Premiere 3.2 on another disk thougt).
    My computer setup:
    Processor: Intel i7920.
    Motherboard: Asus P6T Deluxe V2.
    Ram: Corsair 12GB 1600MHz.
    C drive: Intel SSD G2 80GB with Windows Vista64 Ultimate.
    Raid Card: Adaptec 3085.
    Raid Disk: 4 x 1000GB in a raid 5 for video with Adaptec.
    Graphic card: ATI/AMD 5870
    Best Regards
    Mikael

  • Black screen while using x264 with AVC Intra 100

    Hey,
    I've got Premiere Pro CS6 and I've started testing the use of x264 with Dxtory. The problem I face is that the footage is incompatible with every sequence preset (as far as I know) apart from AVC Intra 100 (AVC Intra 100 1080p 30fps is the one I'm trying to use). However when I use this preset all that the preview gives me is a black screen wheras the audio is playing perfectly. This isn't urgent as it's always possible to just convert the footage to MP4 with Handbrake however not being able to use this codec would be a shame, especially since I've seen others using it without any problems at all.
    Thanks,
    Lawrie

    I'm not familiar with x264 or Dxtory, but a search of the forum for "x264" and "black" led to this thread: http://forums.adobe.com/message/4733946#4733946.
    Which leads me to ask: what is the extension of the file? A little research on Dxtory leads me to suspect that it's an .avi. According to the thread above, Premiere does not support x264 content in an AVI wrapper.

  • Wrong settings when create a sequence from an AVCHD (.mts) file from canon xa20. Adobe premiere sets as AVC-intra 100 1080i

    I don't know why Adobe premiere CC automatically adjust an .mts file from my canon XA20 (AVCHD based on h264 1920x1080 25p) like an AVC-intra 100 1080i. While editing it appears crispy and noisy. Im editing in a windows 7 64 bits plattform. Must I install de properly codec on my machine ¿?
    Any suggestion ¿?

    Yes it does that. AVCintra is just a name for a preset. Set the preview codec to i frame mpeg only
    And no, dont install any codec.
    You can alsway select a AVCHD preset from the list.

  • AVC-intra 100 very slow

    Hi
    I currently encode XDCAM files to ProRes prior to editing, but we are looking to develop an MXF workflow so I'm testing AVC-intra100.
    While the picture quality seems fine the encode time is massive.
    A one hour XDCAM clip takes about 40mins to transcode to ProRes422.MOV, but to AVCintra100.MXF it takes 2hours 40mins - six times as long!!! Surely this can't be right?  They are both iFrame 422 codecs...  I've tried on a few different Macs but all give similar results.  Can anyone shed light on what's happening here?!
    Thanks
    David Scott
    Senior Editor
    GOD TV
    UK

    I just transcoded a MPEG-2 video to three different formats using Adobe Media Encoder. I am on a Windows system and could not test ProRes, but AVC-I was comparable to DNxHD and significantly faster than H.264. The normalized encoding times were as follows:
    AVC-I 100: 100%
    DNxHD 90: 105%
    H.264 (All Intra): 249%
    Either ProRes encodes are very fast, or the delays you experienced were related to other factors.
    avidscott wrote:
    What I need to do is find a way to increase the encode speed on 720p50 AVCintra100.MXF
    Transcode settings:
    - Do not select "Render at Maximum Depth" if the source files are 8-bit.
    - Only select "Use Maximum Render Quality" if the frame dimensions are resized.
    Hardware setup:
    - Upgrade the CPU and/or graphics card
    - Add memory
    - Use SSD drive(s) for the operating system, cache, and export destination folders.
    - Maximize the I/O data speeds to the source and destination disk drives. If using NAS, consider jumbo packets and teamed ports. If using external drives, connect with FireWire 800, USB3, or eSATA.

  • Avc-intra ingesting problem ou may be just confusion....

    I'm using this new HPX-300 with the AVC-INTRA 100 codec. And when i import the content using log and transfer (final cut 7!!!) with avc-intra native plug-in, all that, to apple ProRes 422 hq compression the size of the video is like 14 mb/s is that right (and the video is full of color and complex)? and the quality doesn't look so good too, but this i fink is because of my computer.... AND THE INFORMATION OF THE VIDEO IN THE INFO WINDOW (more info part) IS SAYING:
    DIMENDION 1920x1080 --> this is ok but....
    CODEC: AI16, LINEAR PMC, TIMECODE ---> why not apple Pro Res 422 (hq) ???
    COLOR PROFILE:HD (1-1-1) ---> This should't be 4-2-2 ?!?!?!?!?!
    DURATION: 02:44
    TOTAL BIT RATE: 116,254
    SIZE: 2.39gb
    If some one can explain to me who does this work i apreciate!
    And before all Tanks for sharing.
    Message was edited by: Gustavo AVC-intra
    Message was edited by: Gustavo AVC-intra

    When you import AVCIntra into FCP 7, you have many MANY options. To see these options you need to go into the Log and Transfer preferences, located in the sprocket drop down menu. You can import as AVCI Native, or ProRes, ProRes HQ, ProRes LT, ProRes Proxy, Apple Intermediate Codec... Now when you say that the codec is AI16...that might be Apple Intermediate, not ProRes. Go back and make sure the preferences for that codec are set right.
    the video is like 14 mb/s is that right (and the video is full of color and complex)?
    It is because the video is HD and complex...yes. To get the footage to an EDITABLE format that FCP can decode and encode, you need to go ProRes, and yes, it can have a higher data rate than AVCI Native.
    and the quality doesn't look so good too, but this i fink is because of my computer....
    That is because computer monitors do not show you full quality. And FCP doesn't either. It lowers the resolution in order to play back all the frames. To see the full quality you need a capture device and a high quality monitor.
    Shane

  • Premiere pro cs6 - Bildfehler mit AVC Intra 50

    Bei der Darstellung von AVC Intra 50 Material in Premiere Pro CS6 kommt es immer wieder zu Bildfehlern. Leider ist es nicht nur ein Darstellungsfehler, auch beim Exportieren des fertigen Films bleiben die Fehler erhalten. Das Material liegt einwandfrei auf meinem Rechner (Windows 7) vor. Bridge kann es ebenfalls einwandfrei darstellen. Mir scheint, dass Premiere die Fehler erzeugt. Weiß jemand Rat? Bei der Grafikkarte handelt es sich um eine Cuda-lizenzierte Karte von Nvidia GTX470

    Eigenartig. Das Problem besteht nicht mehr. Ich hatte die Tage den Grafiktreiber erneuert (Nvidia 9.18.13.4448 vom 16.10.2014 mit GTX 470,). Ansonsten ist bis auf die üblichen Windows Updates (Windows 7 64 Bit, AMD 8350) alles beim Alten. Der Fehler bestand darin, dass Bildzeilen auf verschiedenen Sequenzen eines Files miteinander vermischt wurden. Das Material stammt von einer Panasonic HPX 250, gefilmt in AVC INtra 50, 1080i)
    Aber wie gesagt, das Problem scheint sich in Luft aufgelöst zu haben. Ich vermute, dass es dann wohl am Grafiktreiber lag. Wie das zusammenhängt, ist mir natürlich ein Rätsel.

  • Does CS4 support AVC-Intra.   Smoke and mirrors on the Adobe site

    Just wondering if CS4 does support P2 AVC-Intra format? On the supported codec Adobe page it's no...
    Quote: Panasonic P2 import with browsing and metadata support
    Enjoy support for native editing of content from Panasonic P2 cameras in DVCPRO, DVCPRO HD, and across multiple P2 cards.
    http://www.adobe.com/uk/products/premiere/supportedformats.html
    but on the Google cached site it says yes...
    Quote Panasonic P2 import with browsing and metadata support
    Enjoy support for native editing of content from Panasonic P2 cameras in DVCPRO, DVCPRO HD, and AVC-Intra formats, and across multiple P2 cards.
    http://209.85.173.104/search?q=cache:HEb3cZ9XKwQJ:www.adobe.com/uk/products/premiere/suppo rtedformats.html+premiere+pro+cs4+avc-intra&hl=en&ct=clnk&cd=1&gl=au
    What gives?
    Peter

    I too am VERY interested in this support.  We shoot quite a bit in AVC-Intra 100 and I was counting the days until the 4.1 update because from what I understood from NAB that codec would be supported in the update.
    Adobe gurus...any update or timeframe?? As this is an important part of our workflow I would appreciate any feedback possible.

  • AVC-Intra help, please:-)

    Please Help me.
    I have big problems with AVC-Intra 100, when I select sequence AVC-Intra 720p 25p inside CS4 Premiere 4.2.1 and drag some clip onto the timeline it becomes red and all 4 sound tracks are completely empty of sound without any peak drew up. Then out of nowhere without any reason, some of it appears, some of the sound and then completely disappear again (randomly).
    The video is also not playing without stuttering and without all frames intact (25frames/sec) more like 12frames/sec???
    All this is the same when I try to render out a master, stuttering video and no sound.
    When I look at the same files inside my HPX301 the files are playing just fine with perfect sound so it’s not the recorded files that are wrong.
    System mode: 720-50p.
    Rec Format: AVC-I 100 /25pn.
    This computer is flying with big, big complex projects of 10 bits Cineform files so it’s not the computer that can’t handle it (this is with CS3 Premiere 3.2 on another disk thougt).
    Now is CS5 better to handle the AVC-Intra codec then CS4?
    My computer setup:
    Processor: Intel i7920.
    Motherboard: Asus P6T Deluxe V2.
    Ram: Corsair 12GB 1600MHz.
    C drive: Intel SSD G2 80GB with Windows Vista64 Ultimate.
    Raid Card: Adaptec 3085.
    Raid Disk: 4 x 1000GB in a raid 5 for video with Adaptec.
    Graphic card: ATI/AMD 5870
    Best Regards
    Mikael

    I use "CS4 Premiere 4.2.1", so is there any solution on this in CS4 or is CS5 better to handle AVC-Intra????
    Regards
    Mikael

  • Premier 4.1 Update and AVC-Intra codec

    I am very interested in when Adobe is going to release support for Panasonic's professional codec, AVC-Intra 100.  We love Premier but use the AVC-Intra codec now almost exclusively (along with RED).  We understood from NAB that Premier was working natively with AVC-Intra codec and that it was likely going to be included in the big 4.1 update.
    Any news Adobe gurus?  This would be a huge help to many studios.
    Cheers.

    Let me start by saying that I don't have any more info then most on this site, but I disagree with you, Eddie.
    If I had to bet, I'd say we see AVC-Intra in another update before the years out. I think we're a long way from CS5 (maybe NAB 2010 timeframe?), and for the presets to be there now tells me that they are working on it...they were showing it at NAB so they can't be that far off.
    CS3 had quite a few updates, and CS4 has only had 2 so far. I think it's within the realm of possibility that we could see another update or two...hopefully one that fixes the program monitor freeze issue.
    And as for Adobe announcing patches, they very rarely seem to do that - it seems like we hear about them no to long before they come out.
    Again, you could be completely right. Who knows. But I tend to think it'll be soon...but not soon enough for many of us waiting for it.

  • FinalCut Pro and AVC-Intra

    When is Apple going to release the AVC-Intra codec for FinalCutPro
    NAB 2007
    Panasonic AVC-Intra
    AVC comes from MPEG-4 Part 10 H.264, now often referred to as just
    AVC (Advanced Video Coding). AVC is about twice as efficient as MPEG-2, meaning that comparable HD video quality can be achieved at half the bitrate (AVC-Intra at 50Mbps = MPEG-2 Intra at 100Mbps). Panasonic states that AVC-Intra-50 achieves approx. the same compressed HD quality as their DVCPRO-HD (100Mbps). Their AVC-Intra-100 (100Mbps) achieves approx. the same compressed HD quality as Panasonic's famous master quality D5HD video tape recorder format. Thus, Panasonic in 2007 will offer two (2) truly professional intra-frame HD compression modes in their new HD camcorders: High quality ENG and broad market EFP with AVC-Intra-50 and network origination quality EFP with AVC-Intra-100.

    Its against the forum's terms of use to speculate about future Apple developments. If anyone knew, they couldn't say. But don't worry ... you can always find out as soon as it's released or included in an update by checking here often (especially around NAB time).
    -DH

Maybe you are looking for