Workflow: AVCHD to Proxy editing (no optimizing), Export from original media. Any disadvantages?

I've been reading AVCHD threads for FCP 7 and now FCP-X for a year or two. I understand the concepts. Now with FCP-X, I don't see any advantages to optimizing media to Apple Pro Res 422 on import. I'd be using the Pro Res Proxy and then ultimately exporting out with the original source files. The Proxy files will make editing fast, the export from source files removes any chance of generation loss, and not optimizing to Pro Res 422 at import will save a ton of backup space over the years. I realize the final export may take a bit longer from the raw AVCHD files vs. from Pro Res 422 media (how long I don't know yet).
Based on this scenario, any good reasons as to why I should be also creating the Apple Pro Res 422 files? Am I missing anything?
Thanks,
Dave
Hardware: Brand New 2011 MacBook Pro i7 17" with external eSata drives.

Harmonica_Lessons wrote:
Questions:
1. When you are ready to export, you MUST switch the playback to Original Material so FCP-X knows not to export with the Proxy files? I've seen posts implying this might be true and also that FCP-X will know to export using the source files and not Proxies.
No. You don't have to do this. Playback is just that, playback. When exporting, FCP X will not use transcoded media as the source. You do of course need to have the original source available/on line for FCP X to access. However, switching back and forth is a simple and quick operation so even if you did have to,
2. Once I set up a new Event and point it to the original source files and create the Proxy files, can I assume that since the Proxies are created, FCP-X won't need to reference the source files again until export time? If this is the case, I can easily work on my laptop's internal drive without lugging around an external drive until I'm finally ready to export.
Yes, this is true. You can either do the method you described (copying the event to/from external to internal drives), or have the event on your laptop with the original source media on the external drive. Proxy media would be generated and stored in the Event folder (on your internal drive) while source media remains on the external drive. Just don't select 'copy into event folder' when importing the source media.

Similar Messages

Export & View Original Media

If I duplicate the browser (permission) set how do you add the ability to export for users in that group? I'm looking at the Trait Permissions and nothing obvious jumps out.
In short - Where do we control the ability to permit/deny Export?
Also is it possible to forbid a Permission Set to view the Original media but allow the proxy?
Thanks

You can find a nice table about permission setting in page 42-43 of the FCS Administration Guide.
About your question, let say you have all the original media in the media device (hope you know where the original representation of the files are located) then go to Administration/Permission Set/Choose there the set you want to modify...then go to device permissions. There you have on the first column the name of the device (like an excel sheet) the other columns are the options I was talking about, put the "Copy From" option to "Forbid" for the "Media" device and then those users won't be able to export from Media. The same thing for the rest of the devices.
Leave the option on "permit" for device "Proxies" so they can see the proxies on their clients.
For these changes to take efect you might want to restar the client for those users.
Hope this help.

5D mark ii workflow in FCPX (proxy editing?)

I am hoping for some advice about workflow using a 5D mark ii and FCPX I have just made the jump from FCP7 to FCPX and I am about to start editing 1.5TB of 5D H.264 footage and an old macbook pro.
As far as I understand the recommended workflow would be
1. On import create prores 422 (optimised media) and proxy media (prores proxy)
2. Edit using the proxy media
3. Finish the project and export using the prores 422 (optimised media)
The problem is, this will use an obscene amount of hard drive space and take about 30 years on my old laptop. most of the material will not make the edit of the final film and it seems like a shame to have a hard drive full of unused prores files.
My question is, would it be possible to go thru the process without creating the prores 422 (optimised media) files until the end and then only transcode the exact media i need? for example as below?
1. Create prores proxy media from my H.264 files.
2. Edit using the proxy files until project is finished.
3. Create prores 422 (optimised media) files of only the exact media in the finished project.
4. do the last colour corrections ect and export a high quality project.
Or are there any other suggestions for the best way to save time and hard drive space whilst still having a smooth editing experience and getting a good quality export.

Greg Buick wrote:
1. On import create prores 422 (optimised media) and proxy media (prores proxy)
2. Edit using the proxy media
3. Finish the project and export using the prores 422 (optimised media)
Don't try to edit the native h.264 material - it's very highly compressed and not designed for editing or colour correcting. Create Proxy media from the camera media, then edit and colour correct with that.
As you select Original or Optimised playback in Preferences BEFORE you export, the export will be at full 'quality'.
This is my pet simple explanation of ProRes 422.
(I was confused by it for years, but a Ripple Training tutorial on MultiCam Editing finally cleared it up for me).
Most video cameras use very high compression to store media on cards or tape. If the native camera files you are working with play back and edit well with FCP X, strictly speaking, you don't need to transcode to ProRes (but it helps - especially if you have multiple camera angles and effects, titles etc - and with colour correction).
If your playback is problematic, it's best to transcode the material. You can do this at any time. ProRes 422 is not so highly compressed as native camera footage, so it's far easier for your Mac to play it back (not so much unpacking to do). The downside of the footage being lightly compressed is that it takes a lot more disk space.
If disk space is at a premium, use Proxy. Native 1920 x 1080 footage becomes 960 x 540 when converted to ProRes Proxy, so it this takes a fraction of the disk space but is much lower quality. This is absolutely fine for editing - but you must remember to choose 'Optimised or Original Footage' in FCP X Preferences before you export otherwise you'll export 960 x 540.
I use some XDCAM EX footage from a couple of Sony EX1 Rs and some H.264 from a Canon 5D mk2. Until recently, I edited the XDCAM footage natively but I transcode the H.264. Now I'm using Proxy more - especially for multicam editing.
I sincerely hope your Projects, Events and Media are on a fast (Firewire 800) external HD (Formatted OS Extended). Keeping them on your system drive makes it difficult for your Mac to operate. It's also a very good idea to hide Audio Waveforms in your Timeline when you don't need them. They waste a lot of processor power.
Andy

Jitter problem after burning DVD from avi or mpeg2 that was exported from original timeline edit

When burning a DVD directly from the timeline in Elements 7, there is usually no problem, however, when first exporting it to an .avi or .mpeg2 file, and then putting that new file back into the timeline, and then burning that new file to a DVD, there is jitter or "strobing" when the subject in the video moves (when playing the DVD).
It's not an install, or re-install issue, because before I started with this new computer, the exact same thing happened with the last computer I was using.
Thanks.

Les,
I do not know the newer Pinnacle Studio products, but going back to 8 and 9, through 9.4.3, the workflow was based on DV-AVI, just like PrE is. Pinnacle might have changed over to MPEG-2 in later versions, but I just do not know, as I have not seen a version, since Studio 10 hit was such a disaster.
One of the problems when working from DVD-Video material is that it has already been compressed to MPEG-2, loosing a good bit of data, and also converting the material to GOP (Group of Pictures), so that individual Frames are not present any longer. This precludes Frame-accurate editing, unless that compressed material is converted to all I-frame. See this ARTICLE for some background on GOP. Then, upon Burn to Disk, that I-frame material is once more compressed (again) to MPEG-2 and GOP for use in a VOB container. This WILL cause degradation of the image, most noticeable where there is motion, either subject, or camera motion. Some NLE's offer what is referred to as "Smart Rendering." This can help in some areas. For portions of the footage, where no changes have been made, beyond just cuts, the material will NOT be Transcoded again to MPEG-2, but will be used, as-is. Note: add a Transition, or a Title, or a PiP, or any Effect, and that footage WILL be Transcoded, so the Smart Rendering aspect will be moot. Sony's Vegas has been recommended for Smart Rendering, but I have never used it. This might be worth investigating. Also, if Pinnacle Studio is working fine, you might want to consider using that program. I have 5 different NLE's on my workstation, and use each for specialized situations, though the vast majority of my editing is done in PrPro.
Regarding the existing DVD-Videos, much depends of the source. PrE can Import and work with 100% DVD-compliant (very important) VOB's. Unfortunately, most DVR's do not create 100% DVD-compliant discs. This is most often manifested in the first VOB, which will contain any Menus and navigation. This ARTICLE will give you some background on VOB's, which are Video Object "containers."
As you point out, there can be issues with the resulting MPEG-2, as it will span part of VOB 1, and then all remaining VOB's. With 100% DVD-compliant VOB's, there will be a perfect flow in the MPEG-2 that spans the multiple VOB's. When the VOB's are not 100% DVD-compliant, issues can arise.
Considering your DVR, it is likely that ripping is going to be the best workflow, as that will strip out the other material in the first VOB and should then gather the data for the spanned MPEG-2. The ultimate rip will be to a DV-AVI Type II file w/ 48KHz 16-bit PCM/WAV Audio. This is an older FAQ Entry from the Encore Forum, on ripping, but might have some useful tips. Note: this was for getting material from a DVD-Video for authoring to a new DVD in Encore, and not editing.
For non-commercial DVD-Video editing, I will use an A-D bridge and my DVD deck, and capture to DV-AVI Type II w/ 48KHz 16-bit PCM/WAV Audio, and Import the resulting files into PrPro/PrE. This is exactly the same workflow that I use, with analog material, like VHS.
Also note that PrPro, a US$900 program did not get VOB Importing until CS4.2 (current version), while PrE has had it for some time now. Also, PrPro is a DV-AVI-based, I-frame, program, just like PrE, so no "Smart Rendering" there either. Same exact issues exist in "big-brother," PrPro.
Most of all, good luck,
Hunt

How to create a master catalog of edited images without exporting from client catalog (in DNG or JPEG).

I create a LR catalog for each client which works great as I have many repeat clients and can easily access all of their images. However, I want to have a master studio catalog that includes the edited images from all of the
jobs. When I have imported these images into the master, the lightroom adjustments are lost. How can I import import the edited images showing LR adjustments?

I can answer your question literally, exactly what you have asked.
Or I could suggest something else, more elegant, which may address your real needs better.
Let me do the first:
Use the command "export as catalog" for the new delta of the current job of that repeat client. For the first job you do not need this, as the total catalog is just about the portion you want to have in your master catalog.
Then open your master catalog and use the command "import from another catalog", select this exported portion, and you are done. But caveat: now the same image file is referenced by 2 catalogs, which may lead to,problems, e.g. If you move the image within Lightroom.
Alternative suggestion: just work with 1 master catalog and use a collection set per each of your clients, one collection per job underneath. If appropriate, create more collections in that client's set, e.g. only for images he/she bought actually.
So far I have not understood what an individual catalog per client gives you, what a collection (set) would not?
Cornelia

Optimal export from Canon Vixia HV30 via Final Cut Express for Blip.tv

I am looking to optimize the export of my videos from Final Cut Express (4.0.1). I shoot HD Widescreen on a Canon Vixia HV30. I've been having problems getting good quality in a smallish package.
For some reason, the videos come off the camera at the odd ratio of 496 x 279. This means I have to export them that size, but the final product ends up being huge. Literally, the screen is larger than the computer screen, and I have to view it on half size. I feel I could get more bang for my buck if these videos could be exported smaller initially.
Here are my settings for export (as Quicktime Movie with Quicktime conversion):
Compression: H.264
Quality: High
Key frame rate: 24
Encoding: Multi-pass
The only tweak I make is to set the kbits/sec to between 3000 and 3500, which gets me a decent looking video that's about two minutes long and between 40 and 70MB.
If I try to tweak the ratio or the format, the picture gets squeezed or the quality drops significantly. I've also been running into the problem of skipping playback on Blip.tv, which recently switched to a new version of Flash.
Any help on how to shrink the video and keep the quality?
Regards,
Philip

Export to where? Where are you trying to get to? Export QuickTime Movie is the original converted FCE media file.

Choppy and lagging playback from videos/animations exported from Cs4 (Media Encoder)

Hello!
I got Creative Suite 4 (Production Premium). I usally uses AE and PrePro, saves the project and uses Media Encoder to export the footage. My filmcrew got a Sony HDR-200 (I think) who saves in AVCHD, m2ts full HD.
First I edit the clip with Sony Vegas... Cut the things I do not want.
Then, I applie visualFX with After Effects and sometimes Premiere Pro. Saves the project. Fire up Adobe Media Encoder and selects "add After Effects Composition".
I always render in:
H.264
HDTV 1080p 25fps
PAL 16:9 Ratio
The Video was/is original i:
Sony AVCHD (m2ts)
1080p 25fps
Everything seemes ok. No error messages or anything like that.
Next step, I import the footage (from any Cs4 application) into Vegas, Movie Maker or whatever software.
The whole clip, is "choppy". Frames mixes together. The footage is choppy even in Windows Media Player, Winamp... Not just Vegas...
Example: My actor is going to stand up from the couch. While rising, several frames from when he sat and when he has risen appears. The mixes, last ca. 2 frames each.
Summary: All Cs4 products exports choppy video... Media Encoder or not... Same problem.
Please help me!
Computer (Costume Made):
Asus PQ53 Deluxe
Intel Core 2 Quadro 3.0Ghz
8GB DDR3 1066mhz RAM
eVGA Geforce GTX 285 (1GB GDDR3)
Corsair 650W
2 huge Fans...
NB: An hour before posting this, all BIOS were updated.

Please ask in the AE forum.

Only one CPU core is working during video export from Premiere Media Encoder

Windows Resource Monitor showed cores 'parked' at first. I was able to turn that feature off using regedit. They no longer say they are parked'. but still only one core is at 100% while the other seven cores are at close to zero %. Windows 7 Ultimate SP1 64-bit. i7-2600k processor 3.4 GHz running at 3.8 GHz XMP setting. ASUS P8Z77-V motherboard 32 GB RAM.
I had this problem in the past and fixed when I turned off core parking. But, I recently clean installed Windows and problem has returned. I contacted Microsoft and they assured me that the problems lies with Premiere or AME.
it just took over an hour to export a video that should have taken 10 minutes

This has been driving me CRAZY... so going over the message boards from 2 to 5 am this morning I found the best explanation I have seen. The problem is that Adobe Creative Cloud is NOT "Processor Group Aware". Windows parses any more than 36 cores into "Processor Groups" and while the Pro version of Windows 7 & 8 can handle 256 threads they have to spread them across multiple processor groups.
Simple Version: AREA | How many cores does 3ds Max support?
Microsoft's Explanation: Processor Groups (Windows)
Clearly, this is an Adobe Problem... If any engineers are reading this PLEASE review the below and incorporate it into your next build of Creative Cloud!!!
https://msdn.microsoft.com/en-us/library/windows/hardware/dn653313%28v=vs.85%29.aspx
Again, I bought a VERY expensive machine based on your white paper that recommended Dual Xeon Workstations. Please, Please Give us the product you PROMISED!!!
Michael

In FCPX 10.1.2 how do you edit in proxy mode...and after you are done editing in proxy mode, how do you switch back to original media? I had no problems with old version but complicated with newer version.

In old version of FCPX I could easily edit in proxy mode which i found to be a quicker way of editing...all i did was goto preferences and click on playback tab and change it from original media to proxy...and i could go right into editing, and when i was finished before i would export my project i would switch back to original media...then i would export my project. Now i'm having a hard time accomplishing this on the newer version fcpx 10.1.2. Somebody please help me....thanks in advance!!!

Click the triangle at the top right of the viewer and choose proxy or optimized/original as appropriate.

Problem: Nothing happens when I queue export from Premiere CC.

As above.
I do a basic queue export from Premiere, Media Encoder launches, then nothing is queued for render.
Help thanks.

Hi Dmitri,
Thanks for your quick response!
- It is no problem to take the sequence and drag and drop it in the AME
- Yes, I can save the project and open the purport in AME
- Build number of PPro = 8.2.0 (65) build & AME = 8.2.0.54
- It is no problem to create a new preset in AME and to select MPEG2
For your information, there is no project that I can export from PPro to AME. This morning I send a new project to AME and suddenly AME was failed to finish the render that was already there. Because of that I quite AME and starter again. But from that moment it was not possible anymore to send projects bij PPro to AME….
On my other system the export from PPro to AME is working well.
So… I don’t know what the problem will be.
Regards,
Aswin

Color shift when converting .mov file exported from Macromedia Flash

I'm trying to convert quicktime file exported from Flash into any other format using Quicktime Pro 7.0.4 and I get substantial color shift. Here's the picture:
http://img525.imageshack.us/img525/1518/screen3ov.jpg
On the the left is the initial file, and on the right is what I get. I've tried all codecs setting (targa, jpeg2000, animation) but no luck. Please help!

I am in the midst of trying to figure out the opposite : Flash to After Effects. I am betting that this is an issue of 'color profile' attached to the images and the gamma settings in that profile. RGBA is only part of the story - color profile is all the rest of it. Eye Dropper doesn't tell you the color profile attached to the image.

How to improve quality of pdfs when exporting from pages?

how to improve quality of pdfs when exporting from pages? Any suggestions?

Print to pdf and don't use anything with transparency.
Have you ensured all your images are actually high enough resolution for whatever purpose (which you haven't said) you want?
Peter

Exporting from Quicktime for optimal editing in FinalCut Express

I've read that it is recommended to export H.264 for best quality in Quicktime, but Final Cut Express doesn't play H.264 in real time. It forces you to render if you want to edit in the timeline. What is the best format to export from Quicktime in to enable real time editing in FCE?

To convert the file so that FCE doesn't need rendering you need QuickTime Pro and do the following:
- open the file
- menu File > Export...: then select +Export: Movie to QuickTime Movie+ and click Options.
- In the +Video > Settings+ dialog select:
- Compression Type: DV/DVCPRO-NTSC (or DV-PAL) and make sure that:
- Frame Rate: 29.97 (or 25), Quality is Best, Scan Mode: Interlaced, Aspect Ratio: 4:3 (or 16:9 if anamorphic)
- In the +Sound > Settings+ dialog select:
- Format: Linear PCM, Channels: Stereo (L R), Rate: 48000, Quality: Normal, Sample size: 16 bits
The result is a .mov file (not .dv) that doesn't need rendering when imported to FCE to a sequence with setup DV-NTSC (or PAL).
Piero

How can I "proxy edit:" a high-definition project?

This is an undocumented process, created by the always amazing Robert Johnston, and a good solution if you find that editing HDV and AVCHD video natively puts too much stress on your system's resources.
Proxy editing temporarily substitutes a sort of preview video for the native files, usually one of lower resolution so that you can work with it more easily. Then, when you output your project, the editing and effects applied to the proxy video are applied to the actual footage, creating a high-definition output.<br /><br />Here is Robert's solution:
I have a custom project preset for 1080i that has an editing mode of 360x270. Anything you render as a preview is only 360x270 "MPEG-2 I-Frame Only." You can create your own and see if it helps with editing.
To create your own, you first pick a project preset by clicking "Setup" on the startup screen displayed by Premiere Elements 4. Select the 1080i 30 or the 1080i 25 project preset from the HDV tree inside the NTSC or PAL nodes. Click the "New Preset" button, then click the "Save" button, then give the custom preset a name and description of your choice. Click "Save as Default." Exit out of Premiere Elements.
Now open up your custom preset with WordPad. The custom preset file will be in the following folder:<br /><br />C:\documents and settings\[login id]\application data\adobe\premiere elements\4.0\settings\custom\
Once you've opened it in WordPad, scroll down past the gibberish until you get to the line with ObjectID="6" and change the PixelAspectRatio from 1920,1080 to 480,360 and change the FrameSize from 1440,1080 to 360,270. Then save the file.
<VideoSettings ObjectID="6" ClassID="58474264-30c4-43a2-bba5-dc0812df8a3a" Version="8">
<MaximumBitDepth>false</MaximumBitDepth>
<PixelAspectRatio>480,360</PixelAspectRatio>
<FrameSize>0,0,360,270</FrameSize>
After saving the file, you can start up PE and create a new project based on that custom preset. Clips you drag to the timeline will look normal sized, but if you render a preview of it, it will only be 360x270. It will look best when magnification is set to "Fit" or 50%.
Add titles, effects, transitions. Then render a preview.
You may not think that this would export correctly, but so far it has worked for me. The only thing that I haven't tried is burning a Blu-ray disc
Titles won't come out correctly if you change framesizes in some of the other ObjectIDs of the custom preset file. Just change the one that I specified.
Hopefully that gives you the idea so you can change the frameszie to something else if you don't like 360x270."

Paul_LS
Thanks for the reply.
I am with you about editng preview file (proxy) instead of the original AVCHD HD1080i or HDV HD 1080i. But, I went off course with your comment:
"Using the proxy you can view the video/effect without rendering" since you do not see the preview file until after you have rendered your edit of the Timeline.
Perhaps my understanding of that will answer the question that I asked about the benefits of using the proxy procedure if the workflow is just import, no edit, export.
ATR

Export from Aperture to edit in Windows Live Photo Gallery

Hi.
I'm hoping to work collaboratively with a colleague, in a scenario where I take & edit photos, then pass them over for a possible final touch up before being forwarded to clients.
I use Mac OSX 10.6 and Aperture. He uses Windows Vista and Windows Live Photo Gallery.
The problem we've come up against is this: he is unable to edit the image I've exported from Aperture. I'm exporting as .JPG, and he's able to read them ok - i.e. load it into Windows Live Photo Gallery, but not alter the image.
Does anyone have a similar workflow, exporting from Aperture, then editing in Windows Live Photo Gallery?
Thanks in advance,
PB

Hi Frank.
Thanks for the response.
Agreed, the pertinent question is why can't my colleague edit the JPG exported by Aperture. It's probably also worth pointing out, the same problem occurs with JPGs exported from iPhoto.
The Windows software usually plays nicely with JPGs by all acounts, just not the ones I send - which I do via eMail or my public space on Mobile Me incidently.
So, another key question is: all settings being equal (color profile, quality, etc.) are the JPGs as produced by iPhoto and Aperture indistinguishable from those produced by other apps on other platforms - i.e. does the use of JPG enforce a common standard?
If that is the case, I suspect ours might be a permissions issue.
According to the Microsoft support page on editing in Windows Live Photo Gallery, the inability to edit a picture is commonly caused by unsupported file type, or read-only attribute set on the file.
Unfortunately, he and I are not in the same place, and he's not particularly au-fait with this type of problem solving. Hence, before involving him, I'd like to know:
1. it's possible (i.e. someone else does it), and,
2. what's involved (at my end and/or his).
Thanks again,
PB

Workflow: AVCHD to Proxy editing (no optimizing), Export from original media. Any disadvantages?

Similar Messages

Maybe you are looking for