Workflow process import and compress footage in compressor for FCP

What is the workflow to import footage from Panasonic H2 camera to compress to Apple Pro Res 422 codec?

Open Compressor.
Drag your footage into the dropzone on the upper left.
Look in the SETTINGS area in the OTHER WORKFLOWS>Advanced Format Conversions>Apple Codecs for the ProRes 422 for Progressive. Drag that setting onto your clips.
Press SUBMIT.
Move the resulting compressed files to where you want them to be on your media drive. Get rid of the added naming Compressor puts on there (Apple ProRes 422)...then bring into FCP.
Very simple.

Similar Messages

Importing and editing footage with two different cameras

I am editing a film that has footage caught and imported from two different cameras. Some of the footage is from a handheld HD camera that I have worked with before and use an "Easy Setup of Apple Intermediate Codec, 29.97 fps, HDV Apple Intermediate Codec 1080i60." I want to add some video footage that I shot with my Canon Rebel t2i. I searched a number of threads and concluded that when working with a project shot with the t2i, I should have the the Easy Setup be "HD, 29.97fps, DVCPRO HD 1080p30" (side question: is this correct?). My question is when starting a project where I will be using footage from both cameras, what Easy Setup should I use and is there anything else I should keep in mind?

Shane-- Thanks for the willingness to help. I am in Helena, but travel all over the state for work--I am a fly fishing and bird hunting guide who likes to do some amateur filming and editing on the side. Love Missoula, Bozeman, Flathead area, etc! And since you are willing to be so helpful, I guess I should start with a go Cats!
I am brand new to FCP, having previously worked a fair amount with FCE4. I actually do have FCP 7 and work with it on my Macbook Pro. My handheld camera is a JVC Everio that captures in AVCHD (1920x1080). I had my Easy Setup in FCE4 as Apple Intermediate Codec. If I use footage from this camera in FCP7, should I continue to do this?
So not only am I new to FCP7, but I just bought the T2i and really am not totally sure what I am doing yet. I just got the Canon EOS Movie Plug-in and modified it according to some threads I read so that it works for the T2i. I also found directions on the Canon website on the proper way to Log and Transfer for T2i footage (side question: can I dump the files off my T2i onto an external HD and then Log and Transfer them into FCP7 from the external, and is there anything I need to know about when doing this?)
So now that you know that I am very knew to FCP7 and the T2i, maybe I should start from scratch. When I log and transfer, what format should I use when I transcode? ProRes 442? And then, however you suggest I should transcode, what should my Easy Setup look like for footage from the T2i?
Wow, if you are still reading at this point, and I haven't exhausted you with all of my questions and naivety, my final question is...once I have become comfortable with importing and editing footage from the T2i, what should I do if I want to log and transfer and then edit footage from both cameras? Do I need to change the Easy Setup? Do I need to make other changes?
Thanks again in advance for all of your help and patience!!!

Process 4010 and 5010 X12 834 documents for the same ISA identifiers in Biztalk 2010.

Hi,
I am facing an issue, where I have to process 4010 and 5010 X12 834 documents for the same ISA identifiers in Biztalk 2010. Do you have any solution on this?
Thanks,
Imran

Hi Sean
I am working on a project where we are processing inbound X12 834 5010 and X12 834 4010 documents using BizTalk 2010.
We have setup the parties, which send either 4010 or 5010 documents. Now, few of the parties have started sending both types of documents (4010
and 5010) and the document has same identifiers.
I am facing an issue in configuring party to receive both 834 4010 and 5010 transactions using same identifier. How do I setup the party in such case?
Thanks Imran

What is the best way to import and export footage from the 5D Mark II?

Hello,
I've just finished shooting what I am considering to be my directorial masterpiece. Shot it on the Canon 5D (1080p, 24fps), and the footage looks amazing. Now I am ready to start editing and have been using premiere lately, but I have yet to figure out the proper pipeline. I want to know the best way to retain resolution before I delve into this project.
My questions:
1) What is the best way to start a new project and import the footage without having to render whilst editing, so as to retain all resolution and originality of the source footage?
2) What is the best way/ codec/ format to export this same footage once editing is complete so as to retain that crisp 1080p for which the 5D is so recognized?
3) What is the best way/ codec/ format to import and export/ render between premiere and after effects? I am speaking mostly of vfx and color correction. I also have some 30fps footage that I intend to slow down in AE and then import into premiere.
I know this is pretty broad, but as a solo filmmaker I really need someone's guidance. I rarely ever finish my films with the same, crisp look as the footage. I need pipeline help, and really appreciate it!

ascreenwriter wrote:
Hello,
I've just finished shooting what I am considering to be my directorial masterpiece. Shot it on the Canon 5D (1080p, 24fps), and the footage looks amazing. Now I am ready to start editing and have been using premiere lately, but I have yet to figure out the proper pipeline. I want to know the best way to retain resolution before I delve into this project.
My questions:
1) What is the best way to start a new project and import the footage without having to render whilst editing, so as to retain all resolution and originality of the source footage?
2) What is the best way/ codec/ format to export this same footage once editing is complete so as to retain that crisp 1080p for which the 5D is so recognized?
3) What is the best way/ codec/ format to import and export/ render between premiere and after effects? I am speaking mostly of vfx and color correction. I also have some 30fps footage that I intend to slow down in AE and then import into premiere.
I know this is pretty broad, but as a solo filmmaker I really need someone's guidance. I rarely ever finish my films with the same, crisp look as the footage. I need pipeline help, and really appreciate it!
1. Follow the advice above. Also use the Media Browser to import the footage in case you have spanned media files. Import files with the Media Browser.
2. It largely depends on what you wish to ouput to: Blu-ray, web, etc. This FAQ gives the best answer: What are the best export settings?
3. Use the Replace with Adobe After Effects Composition function.

Xsl:import and xsl:call-template errors for xslt in mediator (ORAMED-03601)

Hello,
I decided for performance issues with bpel execution to use a mediator instead.
In my requester i have a mediator that justs recieves an xml message, uses an xsl transformation (version 2) on that message and then sends it to the EBS.
The xsl file that's works correctly when used in a bpel process has both <xsl:import..../>and <xsl:call_template.../> tags.
When i tried and used the same xsl in the mediator i get an ORAMED-03601 error:
ORAMED-03601:[Invalid transformer configuration]Unable to create transformer. It could be because of transformation file or configuration issues. Reason : "xsl/Xform_PriceListListABMReqMsg_to_PriceListEBMReqMsg.xsl"Possible Fix:Check log file for any exceptions and contact Oracle Support Services for further help
It works correctly again if i comment/remove all the imports and call-template and incorporate them in the xsl file itself.
Do anyone know if there are some limitations using xsl in a mediator instead of a bpel?

Hi,
I have a problem with call-template. I have passed
sed some parameter with call-template tag and used
that parameter in the conditional check tag <xsl:if>
i am getting the error. Can any body tell how to use
this? I actuall want to dynamically pass the tag name
as the parameter and check the attribute value of the
tag passed in the if condition and then i want to
person some action. How can i do it?
Here is the call-template code:
<xsl:call-template name="selected-unselected">
<xsl:with-param
ram name="currentTag">motor-carrier</xsl:with-param>
</xsl:call-template>
Here is the template definition:
<xsl:template name="selected-unselected">
<xsl:param
m name="currentTag">Quick-Quote</xsl:param>
     <xsl:if test="./{$currentTag}/@selected='true'">
          <xsl:text>checked</xsl:text>
     </xsl:if>
     <xsl:if test="./{$currentTag}/@selected='false'">
          <xsl:text>Unchecked</xsl:text>
     </xsl:if>
</xsl:template>
Here is the sample xml code:
<motor-carrier selected="true"/>
<motor-truck selected="false"/>
<sched-mobile-equip selected="false"/>
Here instead of writing the condition check for every
tag i want to write it once and dynamically pass the
tag name as parameter to the template. If the
attribute of the tag has value true then one message
should be displayed otherwise a different message
should be displayed.try this:
<xsl:template name="selected-unselected">
     <xsl:paramm name="currentTag">Quick-Quote</xsl:param>
     <xsl:if test="./*[name()=$currentTag]/@selected='true'">
          <xsl:text>checked</xsl:text>
     </xsl:if>
     <xsl:if test="./*[name()=$currentTag]/@selected='false'">
          <xsl:text>Unchecked</xsl:text>
     </xsl:if>
</xsl:template>

Writing Import and FIle Format Plug-Ins for Photoshop CS1

Hi All,
I have written two plug-ins (Import and File Format) which work fine using CS2. Unfortunately we need to be able to have them work in CS1 too. I downed the "Adobe Photoshop CS SDK" but when when I looked at the API document ("Photoshop API Guide.pdf"), chapters 6 and 9 are missing and there is no sample code for these plug-in types.
Could anyone explain why this is?
How do I write these types of plug-in's for CS1?
Thanks for your Help
All the Best
Dave

I have published
GPL source code to many plugins all of which are compatible with Photoshop 3.0 through CS2, on Windows and Mac. Unless you are using CS2 specific features, the your Import and Format DLLs should already work with CS on Windows.
On the Mac, the executable format changed between CS and CS2, and you would need to build a PEF plugin for CS. MPW and CodeWarrior can do that; Xcode cannot.

Importing/converting DVD to .mov file for FCP

I had a friend give me a homemade DVD that I want to import/convert into a .mov file for editing in FCP. I've read the threads on MPEG Streamclip, but it asks to select the file(s) to import (vs one file). Not sure if I'm on the right track.
Here's what I see on the DVD:
http://i149.photobucket.com/albums/s63/jtnacc/ishot-4.jpg
Any help would be appreciated.
John

Hi Piero... Congrats man... your explanation is the best simple explanation of getting material off a DVD into a form where it can be editied in FCP.
Just to make it clear to anyone else...
1- go to http://www.squared5.com/ and download the FREE program MPEG STREAMCLIP.
Install it in your applications folder. Start Mpeg Streamclip, and insert the DVD into your drive.
2- Go to FILE > OPEN and use that to navigate to the DVD, look in the video_ts file and select the first .vob file of a series, e.g. VTS010.VOB; you'll be asked if you want to open all files of that stream, and you answer yes. You'd better also apply the command Edit/Remove Timecode Breaks before exporting.
This takes a minute or three depending on how much material ois on the DVD.
3 - Now go to the Mpeg Streamclip command line and select **Export to QuickTime** (NOT Export to DV)
Use these settings :
Compression: Apple DV-PAL (DV-PAL for UK/Europe, or Apple DV-DVCPRO/NTSC), Quality: 100%,
fps: 25 for PAL or 29,97 for NTSC,
Audio: uncompressed, Stereo, 48 KHz.
AND hit go !
Mpeg Streamclip will promt you to name the new file name and a location for saving.
This can take a minute for every minute of material.. so is a slow process.
I decided to use the "in" and "out" markers on Mpeg Streamclip to define smaller chunks of the DVD to convert at a time... rather than risk it running for 40 minutes and crashing (which it did first time). If you're ripping the DVD for editing purposes then this should not cause any problems.
Once it's finished, go to the save location, and you should see a Quicktime movie with the name you gave it.
You can now go into FCP and IMPORT this Qtime move and edit it.
MARVELOUS
Thanks again Piero - this has really helped me
P

Importing and stabilizing footage from Pre Pro CC to AE cc.

Greetings to all you aftereffects and premiere Pro cc experts. I have a question that is probably very easy to answer, but for the life of me I can't figure it out. I have some footage that was poorly shot that was given to me that runs about 60 minutes in length. I need to stabilize about three minutes of that footage in the middle. How do I go about getting just that three minutes into aftereffects to stabilize it? Do I need to cut the footage and then render out just those three minutes? When I try to import it now into aftereffects and apply the stabilization feature it tries to analyze the entire 60 minutes. Also, any help that you can offer on the best way to stabilize footage in general would be appreciated.

MichaelCozzi wrote:
Do I need to cut the footage and then render out just those three minutes? Also, any help that you can offer on the best way to stabilize footage in general would be appreciated.
While Sz is correct, I usually find it best to restrict stabilization to a specific clip instead of relying on Premiere's interactivity with AE.
So.
Yes, trim the small section and make that three minutes a completely separate and self-contained movie.
STabilizing is a complicated art these days because there are so many options. I like Warp Stabilizer but the process may take several attempts for you to get what you want. Stabilized footage requires rotation and horizontal and vertical movement. How well and thoroughly these characteristics are processed are user adjustable although the results are not always predictable. Stabilization will lead to scaling the media to fill the screen and the smoothness of the changes is totally adjustable, too.

Why does my imported and optimized footage still say h.246?

I have imported my footage from my Canon 5D MarkII, I checked optimized media and copy. FCPX has now created two folders on my harddrive, "Original media" and "Transcoded media", so far so good, but when I check the codecs column in my event window it still says h.264 and not ProRes 422?? I also tride to transcode the footage after import but it still said h.246 (Tried to edit the h.264 footage but it didnt work for med so I think I need to transcode it)
Do I need to import my transcoded media to a new event?
I cant figure this out so could some one please explain this for med?
All the best/ Tom

Info shows the original media format, not the transcoded file. To check that you're using the transcoded file, select it in the timelike and use reveal in finder to show you the file. It should be the ProRes version.

Re-use of .264 and .ac3 created by compressor or fcp-share

Good Morning from Belgium
Here is my question
How do I reburn a blu-ray without having to reencode in compressor or using "share" in fcp. In other words, how to re-use the .264 and .ac3 files created in a previous burning session ? I have tried Toast 9 but get 2 files (one with audio, one with video) .
Can I safely delete those huge files if it is not possible to use them later with any software ?
Hope you can help
Michel

I can put a movie in Compressor, add the video and audio presets and then select "Create BD/AVCHD Disc" in the Job Action menu but that will only create one disc.
My idea was to save the .264 and .ac3 files so that I could burn another disc at a later date.
I can do this with Toast but there is no way I can use those files in Compressor again (that I know about).
What exactly did you mean by burn it from a disk image?
I can do that in Toast but I don't know how to do it with Compressor.

Import and view AVCHD GPS information into FCP

Is there a way to look up the GPS information of AVCHD clips in FCP 7 that were ingested via Log and Transfer so one can see where the footage was shot. I have a Sony HDR-CX550v. I searched everywhere for an answer without success. Thanks for your help.

Checked our CatDV. Their GPS display capabilities are limited to the 3Gs iPhone at this time. No other video cameras are supported at this time.
I found one other workaround though. Use the Sony HDR-CX550v or similar camera and create a still image from the footage at each location. Aperture 3 can display GPS information from still images transferred from the camera. This way you can identify the location of your footage.

Business Process Flow and Structures of R/3 for BW

Dear Gurus,
Given that BW person need not have detail understanding of R/3 modules, like to know is there a book, from SAP or others, to bridge this gap? That is, one that enables BW person to have sufficient functional knowhow of all or some of the modules.
Appreciate if either Mary (Huang), Anil or Arun could advice what are the tables involved for inventory extraction and what functional knowledge is required.
best regards,
Bryan

Hi Arun,
Thanks, points awarded.
So, not knowing MM, does it mean you cannot be employed as BW for MM? Are you stuck with just extracting for the module you know? How is it in reality?
Are there more BW who were functional consultants first than BW who know BW only (as starting point for bw career)? I hope to get a concrete answer which I have so far not been able to get. Is it the norm for clients to employ only functionally-experienced Bw or a pure BW will do? What is it like in the real world, in USA, Europe or Australia or Asia?
When applying for a BW job, I had tried selling that I could explore and use Business Content to address the requirement as a first step approach to solutioning. I also said that usually if there is R/3 system, there would be existing client's functional team whom Bw person can check with for details and help on functional portion. Unfortunately, the interviewer did not like it. They want a bw person who can talk the functional lingo like a functional expert.
I had also encountered a situation where another company wanted a bw person to load just a few cubes for a R/3 module. They also insisted having a functional expert who is certified in BW.
What am I to do with my BW certificate? No one in the world wants to give me a chance. What is the value of a BW certificate which does not enable me to get a job as BW consultant? BW wannabes who do not come from functional background should avoid taking BW or risk suffering like me (still searching an answer as to what to do with this paper). And consider wisely before investing a big sum of money on such a course. Its a good course but is not advisable for non-functional people who want to be functional BW. In this world, no one would care to give you a chance to learn even if you sell for free. I speak from painful experience. I may never recover the investment I put in with my hard-earned savings.
Last but not least, which functional module must I invest in, again, to get the most chances for projects? Usually, is it only single module extraction or multi-module for projects? Which module should I learn? After learning that, how many years of functional experience must I clock before qualifying to be a BW person? Or would it better if I just stick to functional R/3? I just beg to know what exactly will qualify me a job.
TIA
Message was edited by: Bryan Lee

How to use Compressor for FCP X to YouTube

I just downloaded "Compressor 4" and find it's interface a lot more complex than FCP X. All I want to do is send my video to "YouTube".
The last video I uploaded to "YouTube" was a 1.25 hour HD video, using FCP X's Share to QT 7. It took 17 hours to upload this QT file to YouTube. I would like to upload the next 1.25 hour HD video at a lower resolution. I can't afford to ty up my only computer for so long.
Any help would be greatly appreciated.
David

The Compressor preset for video sharing defaults to 720p and a bit rate 8 Mbs. If your orginal footage is 720, that's what I'd stay with. Actually, I might even bump up the bit rate; You Tubes just going to recompress and you might as well give them more to work with than less. If you started with 1080P, I would not scale it down.
I'm not sure I understand what happened with your 17 hour upload…specifically, how you came to share your video to QT7. I normally export from either FCX or FCP7 as QT movie self-contained, bring that into Compressor and encode for eb downoad using one of trhe h.264 presets as a start. If I re-size, I use frame controls. If I need to de-interlace, I also use frame controls. If I don't need to do either, or need filters, I let Compressor figure pretty much figure it out. I've never uploaded a movie aslong as yours. but if I did, I woud expect it to take under 2 hours…maybe.
Perhaps there was soething going on with at You Tube's end.
Russ

RGB, Composite, Firewire and S-video capture device for FCP

Hi,
I was just wondering if anyone could suggest some of the better capture cards that support RGB composite, firewire and s-video inputs that will work with FCP.
The set up is on Mac Pro and the device needs to be as reliable and noise free as possible as it will be used for the capturing of video for evidence in court cases.
Any help is this area would be very grateful,
Regards,
Martin.

Hello,
I have no experience with the AJA product line but I know that many of the folks here have used them. They make a good line of cards that will do what you are asking for. They don't have firewire on the cards, but the computer you are using should have one I would assume.
Since you said 'S-Video' my thoughts are that you are only using SD? If that is going to be the case for a long time then look at this card:
http://www.aja.com/products/kona/kona-lse-ls.php
It has composite and S-Video inputs. IF there is the chance that you are going to be doing HD and IF it is still tape based, then look at one of the higher models. But again, that is if you are going to be upgrading to HD sometime soon.
Hope this helps.
-Jay

Importing Canon 5D footage: No video input available

System: MacBook Pro (Snow Leopard), Production Premium CS5
When I import or open footage from my Canon 5D (1080 25p) within OnLocation CS5 I get the message "No video input available" below the clip monitor. However, the audio plays. Footage that I take with a Sony EX3 (1080 25p) plays correctly.
Any suggestions?
Regards,
Andreas

Hi Mark,
Thanks for your answer.
Being able to add and merge metadata with 5D/7D clips is exactly how I use OnLocation; not for live recording or live logging. I typically have assignments where I shoot about 200-400 clips in a day or two, covering an event from multiple angles and in various shot sizes. I exclusively work with DSLRs and have no immediate plans to switch to other formats. I chose CS5 because of native DSLR workflow support without the need for transcoding. So you would expect all parts of the suite to embrace it, including OL. Initially, it appeared to be that way, but now you call video playback of DSLR footage inside OL "a bug"!?
With the original installment of OL 5.0 I could quickly review a clip and start adding metadata to the clips (for easy reference) and then import them in PPro using the media browser (PPro does have a tendency to have incredible long save times/crashes when you keep the media browser open). After importing, by dragging the Description field right next to the name of the clip in the project panel, I can easily find the material I need for editing purposes (although a search box would help).
I guess now with 5.0.1 I have to have both Bridge (or some other video player) open to be able to view the files and then add metadata to the corresponding clip in OnLocation. Where else could I add meaning to my footage?
Just how strange is that!? Luckily Windows 7 now offers a side-by-side sticky viewing option, but surely there must be a way for OnLocation to do video playback natively... Come on, it's just a video player, right? If Bridge and PPro and most other parts of the CS5 suite can play this footage back (you can even do matte painting inside Photoshop, right?), then why can't OnLocation? Why is it so difficult to "support" playback of these H.264 files?
The only thing I can imagine is that it may be a technical challenge to read out vectorscope info from compressed footage. So for now (CS5), you could grey out the ability to set in and outpoints inside OnLocation (rough cutting), and disable read-out of all the vectorscopes for DSLR footage... and then provide full native DSLR support in CS6. I just need video and audio playback, to be able to add metadata efficiently and keep my workflow going.
For a DSLR workflow, OnLocation can be a VERY valuable relational database tool that reads and adds metadata from/to associated footage files and creates an XML project-reference file which can then be imported in PPro. IF it works, of course...
I am more than happy to beta-test this for you guys and provide feedback.
Richard
Message was edited by: BrandedChannels

Workflow process import and compress footage in compressor for FCP

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