Workflow question - film to AppleProRes or intermediate codecs

This is a followup to an earlier post from a few days ago. I'm looking for a little help with a post workflow and would appreciate any input.
Super 35MM to HDcamSR - no problem. But for offline, I'm looking for best quality while being able to edit on MacBookPros without rendering headaches.
I'm thinking HDV tape backups while having footage digitized to Apple Pro Res or Apple Intermediate codecs during telecine - are these, especially the proRes codec, too heavy for the laptops?
Thanks guys!

What was wrong with the answers given? DVCPRO HD 720p at 23.98 is the best way to go. ProRes is VERY heavy compared to DVCPRO HD. That is intended as a replacement codec for Uncompressed HD...not as an offlining codec. Feature films cut on FCP all pretty much use DVCPRO HD. JARHEAD, ZODIAK, BENJAMIN BUTTON to name a few.
DVCPRO HD is the offline HD codec of choice. And works grand on a Powerbook, and even better on a MacBook Pro.
HDV would be the WORSE decision to make as an offline codec. It isn't an I-Frame format like HDCAM and DVCPRO HD are.
I don't see what was wrong with the initial advice you were given.
Shane

Similar Messages

Workflow question - which codec to use?

Starting a project and want to get a quick check before I possibly do something really dumb:
• Shooting on Canon t2i, importing footage off cards via Image Capture
• Taking the resulting .mov (h264) and converting it in compressor to Apple Intermediate Codec (AIC)
• Edit AIC files in Final Cut Pro 6
• Once editing complete, make all clips Offline and reconnect original H264 files
• Render out Final project to self-contained file
• Final color correction in Color
I'm a bit rusty in the video production arena and this is my first project shooting on a t2i. I am a bit unsure about the codec situation and finishing editing with the smallest amount of transcoding. I tested a few codecs and I found AIC to be the fastest and easiest to edit with minimal file size, but I have never used it before. Should I just convert the footage to ProRes and be done with it? I'm expecting a high shooting ratio on this project, so I would like to utilize an offline workflow if possible without crating a bunch of headaches down the road, though with drive prices what they are now, it's not a big deal anymore. I'm really just want to edit as quick as possible (minial rendering utilizing RT) while maintianing good quality (I know the client will be worried if I presented them a 50% quality Jpeg version of the current edit).
Mac Pro 8-core 2.26 w/ 24GB RAM and 3 drive 3TB Internal RAID

Thanks Mr. Ross and Mishmumken for the advice, will definetly do the ProRes route. A few final questions though:
1. I watched the tutorial link a few times which was helpful, but am still fuzzy as to why I need to ingest via FCP. Is there anything wrong with importing from Image Capture and using Compressor to get the footage into ProRes? I see the positives about it, logging the clips, trimming the fat, having it all in the program, avoiding compressor, but does my original method cause any degradation?
2. Can you elaborate a bit, not sure what you mean by Roundtrip and what do I need to prep?
mishmumken wrote:
Just roundtrip your timeline but make sure you prep it before sending to Color: there are limitations ....
Thanks again guys, you have been extremely helpful and probibly saved me a lot of future problems!

FCP HD -- h.264 to Appl Intermediate Codec transcode questions

I'm editing footage shot with the Cannon T2i and using Final Cut HD (4.x).
I use Mpeg Streamclip to export h.264 to Apple Intermediate Codec.
My problem is, there is a noticable luminance drop in the resulting AIC files as compared to the h.264 original. The images seem to be at least a couple of stops darker. Am I doing something wrong?
Also, if I just drop one of the h.264 files directly into an h.264 timeline in FCP HD, I still see the same luminance drop.
Does anyone know why that would be?

I think I need a lesson in color profiles. Here is my current workflow:
1. JVC camera records to ProRes format.
2. I convert ProRes to AIC using MPEG Streamclip. I'd love to have Final Cut Studio, but I only own Final Cut Express. This makes it easier to edit.
3. When I play the AIC file and the ProRes file side by side using QuickTime X, the AIC file appears darker.
4. I import AIC files into FCE. It appears darker still while I'm editing it.
5. When I export from FCE to H.264 using QuickTime conversion, I get a brightness that is closer to the original ProRes file.
The problem with this is that while I'm editing in FCE, I'm not seeing the actual brightness.
So can you explain why I see the differences? I notice that the ProRes file has a Color Profile while the AIC files don't.
Thanks for your help!
Chris

Premier Pro Workflow question

Hi,
I am wondering, from an industry standard point of view, what the reccomended workflow would be for the following situation (I know that each project brings its own special requirements, but I was hoping that some of you on the forum have worked with this type of project before, and can give some advice)
We are producing several, roughly 20 minute episodes of a childrens show. The episode has several scenes, and each scene is comprised of several shots. Our characters are hand operated miniature figures, and they are filmed against either a blue/green screen, or in miniature scale sets. The footage is first brought into Premier, where rough keying and compositing is done, to achieve each rough shot. These are then edited into their respective scenes. Once the rough editing is done, the project is handed over to Afer Effects, where the footage is replaced with the originals (As low res proxies are used in the edits), proper keying and compositing is done, and effects are added. This is then rendered as a DI, imported back into Premier as a video layer and then rendered out in the final delivery codec.
My question is as follows:
Is it better to create one project, with multiple sequences, one for each scene and then a sequence for the episode (Master sequence) - or is it more advisable to create several seperate premier projects, one per scene and then import these into a new master Episode project? I guess it might be a matter of "What you prefer", but I was wondering if there is a suggested industry standard as to how this is normally approached.
Thank you for any advice,
Pierre Devereux

Hi Guys,
Thank you all for your input - it really is helpfull.
On the two topics my question created:
One VS Two Projects - We have decided to go for the approach of several projects per episode, each containing its own sequence of several shots. These will be dynamically linked back to AE for the duration of the work on that scene to make back and forth work better. Each project will be imported in a main episode project, and final edits will be done there. This will also help us, beacuse as mentioned, we have several people working on a project at the same time - we will be able to work easier accross mulitple PC's this way.
DI VS Dynamic link, or direct AE export - We do daily renders of our AE projects (there are a few reasons for this, one being the fact that our hardware is not up to scratch, so working woth 4K layers just doesnt work on the editing system) into proxy and intermediate codecs as Fuzzy stated. As a result, we have these files, and placing them into the premier timeline allows us to do any last minute edits quickly (transitions, small cuts etc) and then a much quicker final render to delivery codec. There are also other tracks added before the final render, sound layers being one fo them.
I am aware that there are always several ways to complete any project, and workflows are fluid things, able to change as needed, but for now, this seems to be the one that suits us best.
Steven,
Thank you for your input, and your questions, it gives me a chance to re-evaluate our workflow and look for improvements - something I do often!
Fuzzy,
As always, thank you for your input and support! - your comments are worth gold!
Jim,
thank you for your comment - I must admit, in the ideal world, I would also love one single project, coming from a Server administrator background, I miss the order!
Pierre Devereux

Intermediate codecs for 3D renderings + performance

Hello everyone!
I am looking for a codec to use in our offices. We produce fully 3D rendered architectural walkthroughs through 3DS max and vray. I am looking for a codec we can use for our workflow. Image sequences/passes are rendered, then composted in After Effects and sent to video editing for music and sound effects. I would like to find the best codec that gives best performance and quality when using Adobe Premiere.
We are all on PC here. Here's the issue, Some of the PC's here are on CS6 and the editing station is on CC. CC has Cineform built in which is wonderful and beautiful but is not included in CS6 (not for free anyway). DNxHD is free, but uses the QT32 service which really only allows the editing PC to max out at about 40-50% cpu usage. ProRes is not an option as we are on PC.
What intermediate codec supports 10bit that we could use in our production workflow? Also, secondary to my questions is: Is the included Cineform codec that is now bundle din CC different than the one bundled with the free one from GoPro Studio? Is there a quality and/or performance difference? I remember reading somewhere that the built in Cineform in CC is faster to process/render than the external codec. Thoughts?
Trying to make the best decision for the team here. Anywhere we can benefit from increased performance and utilizing the hardware we have is of great value. P.S. Our rendered resolutions do not go beyond 1920x1080 for now.
Video Editing system:
Adobe CC
Windows 8 64-bit
32gb Ram
2x SSD 1x Raid10
GTX 970
Other workstations:
Premiere and AE CS6
Windows 7 64-bit
Lots of ram, Multi cpu
Quadro cards.
Thank you for any advice!

I have done some tests based on your recommendations of Lagarith. Visually I can see no difference from Cineform. My test results show that Cineform in YUV 10-Bit renders the video in 3 seconds. 20 seconds in RGB 12-bit. Lagarith no matter what setting runs around 20 seconds render time. The resulting file from Lagarith is 40% larger. Another interesting note is that the Cineform files are not playable on any system besides within After Effects or premiere on the Video editing station. That leads me to believe that the built in Cineform codec with CC is only within the CC software whereas the GoPro Studio installs a system codec.
Here are my thoughts so far:
Lagarith Strenghs:
Losless Compression
Playback on all machines
Quick install!
Lagarith Weaknesses:
30% larger files
Unusually choppy playback in VLC, but fine in Windows Media Player (Only on editing pc, on other workstations there is no issue strangely)
Largerly increased render/transcoding time
Cineform Strengths:
Smaller file size
Faster render (by a long shot)
Cineform Weakness:
Lossy compression (not a huge deal here, it is an excellent compression)
No playback external to Adobe software
Uses MOV wrapper

Apple Intermediate codec

Please help,
Hi everyone. Have litle question.
I film my film with HDV camera, but I capture it in Final Cut as Apple Intermediate codec. HDTV 720p. 1280*720 thought it is good for later to put it on film material. (is it worst quality then HDV?)
Now I need to develop it as tiff for color correction machine, because they don't work with HDTV720p 1280*720format. They need 1920*1080 format. So, I changed it in the sequence. But, then the video has 133.33% scale and not 100%. The question is: Is this fine or it will make the quality bit worst. Should I maybe first print it to tape as HDV and then put it back to computer and put it us 10bit uncompressed format?
I did it already ones, that I worked with the 133.33%. and developed as tiff. But, the color correction man sayd that the film is looking bit unsharp. Which i didn't think. For me it was looking fine. But maybe am wrong.
Did someones had ever the same problem?
Thank you!!!
Otto

As far as I'm aware I don't think the AIC looses resolution.
You would probably get a more knowledgeable answer in the FCP forum.
However, I don't think it's clear cut:
This article talks about why editing native HDV isn't always good
And the UKFCUG emails I've had have mentioned capturing HDV, transcoding to DVCPRO-HD for the edit and then encoding back down at the outputting stage. I don't know what was wrong with editing in HDV, but it was bad enough for the guy to do a 20hour render to DVCPRO-HD
Out of interest what was the article you read?

RED Workflow questions with Mac Pro (including third party plugins)

Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
Editing all footage off 96TB Raid 6 mini-sas server (getting about 1100mbs read/write rate according to AJA system test) which is faster than any Thunderbolt/TB2 drive array I have.
Media I work with is footage from the RED Epic (normally 5K) as well as DSLR footage from the 5d.
Software:
-PrPro CC 2014 (8.1)
-Magic Bullet Looks 2.5.2
My question(s) pertains to RED post-pro workflow in combination with third party plug-ins and the different approaches to make it more efficient.
Right now, majority of the clients need a 1080p HD master, and they are generally anywhere from 2-8 minutes (usually). So my sequence settings are as follows:
Video:
Editing Mode: RED Cinema
Size: 1920 x 1080
Audio: 48Hz
Video Previews
Preview File Format: I-Frame Only MPEG
Codec: MPEG I-Frame
1920x1080
Maximum Bit Depth unchecked
Maximum Render Quality unchecked
Composite in Linear Color checked
Export Settings
H.264
1920x1080
VBR 1 pass
Target Bitrate 12mbs
Max bitrate 12mbs
Maximum render quality/depth/previews unchecked
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
Would using offline editing help at all?
Do you place your effects on adjustment layers?
Is there anyway to improve export settings when using an array of filters?
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?

Hi This Is Ironclad,
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
The biggest issue is that most people have is that updating OS X causes certain folders to be set to Read Only. See this blog post: Premiere Pro CC, CC 2014, or 2014.1 freezing on startup or crashing while working (Mac OS X 10.9, and later).
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
It's a nice base system. How about an additional speedy disk for media cache files. You also did not mention which version of OS X you are running.
thisisironclad wrote:
Software:
-Magic Bullet Looks 2.5.2
The Red Giant website does not indicate that this software is yet updated to work with Premiere Pro CC 2014.1 (8.1). Proceed with caution here.
thisisironclad wrote:
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
I would not use this plug-in until you get the OK from the manufacturer.
thisisironclad wrote:
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
Again, I suspect your plug-in.
Keep in mind that exports are largely CPU based but you can make sure that GPU acceleration is enabled for AME at the bottom of the Queue panel.
thisisironclad wrote:
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
It's OK.
thisisironclad wrote:
Would using offline editing help at all?
No need when you should be able to edit natively. Relinking might also be an issue.
thisisironclad wrote:
Do you place your effects on adjustment layers?
That's one way you can do it with the benefit of being more organized.
thisisironclad wrote:
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
I do. Of course, that's a preference.
thisisironclad wrote:
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Try the following:
Sign out from Creative Cloud, restart Premiere Pro, then sign in
Update any GPU drivers
Trash preferences
Ensure Adobe preference files are set to read/write(Hopefully you checked this out already)
Delete media cache
Remove plug-ins
If you have AMD GPUs, make sure CUDA is not installed
Repair permissions
Disconnect any third party hardware
If you have a CUDA GPU, ensure that the Mercury Playback Engine is set to CUDA, not OpenCLYou have AMD GPUs.
Disable App Nap
Reboot
thisisironclad wrote:
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?
I really shouldn't answer that question.
Hope this helps.
Thanks,
Kevin

I can only import HDV with Apple Intermediate Codec!!!!

Hello,
I want to get to the bottom of this. I have HDV film shot on a DV tape. I cannot import this HDV footage, it appears to be importing, but the moment I hit "escape" to stop capture, I realize nothing was actually importing. I usually end up with a second of captured footage, ironically, it's of the second that I stopped capture on. So I capture my last second.
Of course, if I change my setting to Apple Intermediate Codec, it works fine.
I'm using Final Cut Pro 5 on a G5 that hasn't been online in a while. Maybe I just need some 'updates?"
Or is this a Final Cut Pro 5 issue since it came out when HDV was relatively new on the scene?
Should I upgrade to Final Cut Pro 6, cut that make importing HDV easier for me?
This footage I don't mind converting to Intermediate Codec, but in the future I'd like to not have to do this.
Anyone know what causes this?
Thanks!

You should be able to do it fine in 5.0 as well as 5.1.
I have been capturing HDV since August of 2006, long before FCP 6. Make sure you use a camera that is supported, for HDV is not a standard the way DV is. It is MPEG 2 out of the box. So when you capture you are in for a bit of a ride editing HDV on FCP 5. It can be done, but you are better to take a page from Shane's book and capture to DVCPro HD instead. It takes up much more space, but you will have no headache editing and outputting later.
Hope this helps.
Matt

Workflow Question

Hi, I have a quicktime self contained movie I've exported from FCP. It's just over 6 hours long (it's a seminar). The file size is 34 gigs. It's 854x480 Apple Intermediate Codec, Linear PCM bitrate 14,176
Does anyone have a workflow suggestion for me. I need to get a compressed data file so the client can burn extra DVD's but I also need to burn 3 copies of a viewable DVD for delivery.
I know this will most likely end up being a multiple DVD set. Quality is not a huge concern here because the footage is from a locked off camera and not very good in the first place. I just took out all the pauses and breaks etc. There are no titles or graphics.
If I compress it to h.264 this could be an issue when I author it for DVD, right? Aren't there some DVD players that don't playback h.264? I'm looking for the most universal solution I guess. Is there a special workflow if it's going to be multi DVD? What presets or settings should I use? the bitrate is 14,000 right now, should I cap the range or what is the best range if it's going to DVD? With the 854x480 should I just use "current settings" or should I use the 720x480 16:9 preset? Any tips would help. My goal is to compress it as much as possible but use a codec that is fairly universal for most DVD players. Thanks in advance.

Standard DVD format can fit about 2 hours on a single layer DVD (depending on a few factors, more or less time can fit, but 2hrs is recommended), I'd recommend splitting your clip in to 2 hour chunks (you could re-export from FCP into chunks or use compressor to select different in and out points from your long file) Once your in Compressor there are presets for DVD(Standard DVD has to be Standard Definition 720X480, but the preset will take care of that). I've found that the lengths they quote 90, 120 and 150 min are a bit low (as in if you compress a clip that is 150min at the 150 min preset it will not fit on a single layer DVD).
Compressor, using the presets, will give you a .M2V and .AC3 file for use in authoring to DVD Disc with iDVD or DVD Studio Pro.
If you compressed to h.264 a and burned a Data Disc, almost no DVD players will play it. h.264 is preferred for web and portable devices. If you want to make a 'Video DVD' like what you buy with hollywood movies, it has to be Standard Definition mpeg2 authored to disc (not a drag and drop, finder burned, data disc)
-mjwill
Message was edited by: M J Will

Yet Another Workflow Question

Ok I too, like many others here, am new to the Mac (thanks to Apple's I'm a Mac, I'm a PC ads that my wife couldn't get enough of). I have done some searching around and I see that there are quite a few iMovie workflow questions out there. I have not quite found what I am looking for however, so I thought I would make my first post tonight. So here it goes...
I have 3 different ways I capture video:
1. Canon Vixia HF10 (HD)
2. Canon Powershot (SD)
3. Blackberry Storm (SD...I know it isn't a good phone)
I record everything to SD cards. I am wanting to know the best way to store my raw video for editing at any time. Do I copy the AVCHD file structure (for the Vixia) and .avi files (for the other non HD) to my hdd, or do I just import into iMovie '09 and let it reside there, or both? I noticed that iMovie had an archival option (which appears to just copy the AVCHD structure to my hdd), which is why I ask. I want to always keep my raw video in case I decide to go back later and create a new video.
After I have the raw video archived, I would like to know the best way to use iMovie. Depending on where I end up storing the raw video, should I keep the imported video in iMovie once I am finished with a project, and then reimport it at a later date if need be? Or, do I leave it in iMovie as events? I guess this all rely depends on the first question...where do I store the raw video for archival purposes...
Finally, when exporting my iMovie project, should I store that in more of a, pardon the Windows reference, "My Videos" folder with a original size, web optimized size, and ipod optimized size? Thus, keeping the actual exported version of the project separate from the raw video?
I hope I have asked the right questions here. I appreciate any and all help I can get!
Ron

Welcome Ron to the  iMovie boards..
very interesting : 'switchers' care sooo much for 'storage strategies' ..
the by Apple intended workflow/concept for iApps is:
any 'photocam' related material (still or movin') comes-in via iPhoto, and is stored in an iP Library (=you can tell iP to create 2/many Libs, if you prefer to organize manually....)
any 'camcorder' related material HAS to be imported by iM - why? because, iM has some internal routines to make such material editable (codecs, thumnails, stuff....). the same material as 'file by Finder' does not import.. in most cases!
storage..
iP stores in its Library (local/internal HDD and/or ext. HDD)
iM stores in Events (local/internal HDD and/or ext. HDD)
to make Projects/Albums accessible to any iApp, you should keep your fingers off that structure.
Erasing Events 'kills' projects.
allthough, once 'shared to media browser' there's a 'copy' of your project WITHIN the project file. (= the socalled Media Browser is no single Folder somewhere hidden in the system)
there's this Spacesaver feature to erase any Event content which is not in use in any project to keep Events lean.
use the Archive feature from within iM to keep things easy and convenient.. if you miss a single file of the SDcard file-structure, the whole card's content is kaputt ..
summary:
• use iApps as intended.
• use iP for cameras, it stores 'raws' (the avi too)
• use iM for camcorders, use Archive to store raws..
• purchase a dozend of HDDs to store your material..

Workflow Questions - Premiere on Mac - for FLV file

Hi.
I want to add subtitles to an FLV file using Premiere Pro. I'm working on a Mac.
I know that I can't use the FLV so I would have to convert the FLV to an intermediate format first. Then Import that into Premiere, add the subtitles, render and convert back to FLV.
So my question isn't directly associated with Premiere, but I would like to know what you guys would recommend as far as the workflow I've described. What intermediate file format would be best so as lose minimal quality? Which software to use for the conversion from the FLV and back into the subtitled FLV?
Thanks!

Hi.
I want to add subtitles to an FLV file using Premiere Pro. I'm working on a Mac.
I know that I can't use the FLV so I would have to convert the FLV to an intermediate format first. Then Import that into Premiere, add the subtitles, render and convert back to FLV.
So my question isn't directly associated with Premiere, but I would like to know what you guys would recommend as far as the workflow I've described. What intermediate file format would be best so as lose minimal quality? Which software to use for the conversion from the FLV and back into the subtitled FLV?
Thanks!

Cant view clips simultaneously in Multiclip when using Intermediate Codec!

Hi
I am trying to make a movieclip with some clips that are Apple Intermediate Codec. My problem is that I cant view clips simultaneously in the Viewer. I have tried with a couple of other projects that are regular DV and with them it works fine to view several clips simultaneously in the Viewer. Does anyone know something about that you cant view several clips in a Multiclip simultaneously when using Apple Intermediate Codec?
Thanks
PowerMac G5 Dual 1,8ghz Mac OS X (10.4.9)

What was your original format? HDV I bet... A good
workflow for HDV is to convert it to DVCPRO HD codec.
High quality, not so high bandwidth.
The original format is AIC because I got it from a competition on one of Apple's pages. http://edcommunity.apple.com/epic/contest.php
Here are the specs for the video.
AIC, 640x360, fps:59,94, bitrate: 20mbit/s
Should I use HD-DVCPRO or something else then?
Right now im trying to convert to H.264 which have no quality loss and the file size is half the original, there shouldnt be a problem editing in H.264, right?

Apple Intermediate Codec, Uncompressed 10-bit 4:2:2 where can i get format from.

Apple Intermediate Codec, Uncompressed 10-bit 4:2:2 where can i get the format from.

AIC is an Apple QuickTime codec and is only available on Apple platforms. It is an all-iFrame format and is normally used for high def video (HDV and AVCHD). FCE automatically transcodes HDV and AVCHD video into QuickTime/AIC when you capture/ingest the video from your camcorder.
AIC supports 16:9 aspect ratio, 8-bit 4:2:0 and can handle variable data rates. Supported frame sizes/rates are 720p30, 1080i50 and 1080i60. There is a bit more info in this article: Final Cut Pro 5: About HDV and Apple Intermediate Codec.
You asked this question in the Final Cut Express Forum. FCE can't use 10-bit 4:2:2 video, nor can it use Apple ProRes. For 10-bit 4:2:2 suppport you would need ProRes and Final Cut Studio.

Got the latest Intermediate Codec..?

I just did my monthly(?) trip to Software Update, and found Apple Intermediate Codec (..1.0.1, I think..) which is an update to the codec supplied with iMovie HD ("iLife '05") and with Final Cut Express HD.
After installing this, my Mac mini more easily (..seemingly? ..co-incidentally?..) recognised that a Sony HC1 hi-def camcorder was connected.
Although the Mini previously recognised streaming HDV coming from the camera (..i.e; camera switched to 'Record' mode, not Playback mode..) and displayed the video on iMovie HD's screen (..but with the usual severe lag, while the video was changed from MPEG to Intermediate Codec..) the Mini had previously needed two or three shots at recognising the camera when the cam was switched to 'Play' for importing.
The Mini now instantly recognises the camera when the cam is set to Play, and imports as soon as the Import button's clicked ..though still with the normal severe, half-speed-import delay while the incoming video's transcoded to DV/intermediate codec. (Mac mini: 1.42 GHz PowerPC G4)
Of course; one thing may have nothing to do with the other, and it may have been something entirely different which has made recognition now instant (..I also downloaded and installed the 10.4.3 upgrade [..it had been 10.4.2 on this Mini..] and a Java update, three scones and a pot of strawberry jam.
But it may be worth a try if you're still having recognition problems - with, say, a G5 iMac or PowerMac or other machine - and you haven't yet upgraded your Intermediate Codec.
..Just thought I'd pass it on, for what it may be worth..

Hey skyshade13,
Thanks for the question. The following article outlines how to restore a previous iTunes library should there be no content after updating. While the article does not speak specifically to your symptoms, attempting the steps by utilizing the "Previous iTunes Libraries" folder may resolve your issue.
No content shows up in iTunes after updating
http://support.apple.com/kb/TS1967
For further information see the following information:
OS X Lion: iTunes opens to "created by a newer version" alert
http://support.apple.com/kb/TS3918
iTunes: How to re-create your iTunes library and playlists
http://support.apple.com/kb/HT1451
Thanks,
Matt M.

Apple Intermediate Codec on QT Pro for PC

On a computer with Windows XP, will *QuickTime Pro for PC* play videos created in Final Cut with the *Apple Intermediate Codec*? And will it allow the user to convert them to other formats? I wish to recommend purchasing and downloading QuickTime Pro for PC to someone, but first need to know if it will play such videos. Does anyone know?

See your other post on the question.

Workflow question - film to AppleProRes or intermediate codecs

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