batch transcoding R3D

Similar Questions

• Can I (batch) transcode PROXY files directly from the timeline?

  Hi, I work with Proxy files, so from time to time when I finish a project, I delete them.

  I often need to return to the older editions, and of course all the proxies are missing. Is it allows to select a piece of files since the transcoding of chronology and batch them?

  Often these files may be spread over several events, so it would be a lot of your time to select individual items in the earlier events.

  Thank you

  Here's an idea, assuming you are using 10.2. *, which introduced smart Library Collections.

  Create a new Smart Collection Library and set as a criterion "media". Then your smart collection will contain all of the elements used in the current timeline.

• Sequences of images batch transcode

  Someone at - it a good way to transcode a series of sequences of images in batches? I send first shots with a beauty artist who needs to work in DPX image sequences. I get back them, but they don't necessarily as gently on my system (due to them being uncompressed) compared to ProRes material.

  I want to run them throughout the Media Encoder, but it seems that I have to manually add each of the 40 shots one at a time.

  After effects has a way of self-invited for the order of the day after you import who makes at least a little more fast, but there is no easy way copy those in the SOUL the way in which you can copy between AE and PP project files.

  For example, advice on the batch a bunch of image sequences? Could go just use Resolve.

  Thank you!

  If you want to open the folder and drag the 1st image of the image sequence into the window line, just do it and then start the queue - when I do this with sequentially numbered JPEG files, if I bring you the 1st image of the image sequence not window queue, ME will understand that this is a sequence of images. Try it-if this does not work, or you want to just drag the folders, in the video you did, you drag files to the wrong component.

  You want to drag them to the Watch Folders pane.

  

  And once you put them in with the correct format and destination place, game preferences to auto-start ME coding records:

  

  MtD

• Adobe Prelude - Red Rocket Support

  Hello world

  My company and I are trying to implement prelude in our workflow. Mainly, we turn w / a Red Epic and c l experience w / batch transcoding camera rolls through prelude using dynamic linking to Adobe Media Encoder.

  
  

  The question I have is this: Media Encoder take advantage of our current G5 tower Rocket Red cards in order to speed up the transcoding process, and if so, how can I select it (that is, if so, where in encode prelude/Media interface find this function?)

  
  

  I know that this type of question has been posed before, to know more precisely,

  
  

  here: http://www.reduser.net/forum/showthread.php?66229-Should-Adobe-Media-Encoder-be-using-Red-Rocket and

  here: Re: how to activate RedRocket to SOUL of the first control?

  
  

  .. but no real response about this specific workflow.

  
  

  I know Red Rocket acceleration is possible in the first (and the Red Rocket card can work w / only one program at a time)-but what about batch transcoding of R3D in prelude by Media Encoder. I would prefer not to use RED-CINE X we are interested to use all the features of XMP metadata in prelude.

  
  

  For reference, the machine I am running is:

  MAC OS X Version 10.9.4

  Processor: 2X2.26 Ghz Quad - Core Xeon

  Memory: 32 GB 1066 Mhz DDR3

  Mac Pro early 2009 era

  Rocket red card (firmware 1.1.17.3)

  Adobe Creative Suite CC 2014

  
  

  If anyone could advice, it would be greatly appreciated.

  
  

  See you soon,.

  John
  

  Yes, you can use the Red Rocket to accelerate encoding in the SOUL, but probably it will not do you much good in your particular case, I'm afraid. Here's how the workflow would be:

  1. Select the RED files for ingest as a prelude

  2. specify the location of destination and screening

  3. start the batch

  4. once the SOUL is open, stop the queue started automatically

  5. right click on a task and choose "settings of the Source.

  6. turn on the Red Rocket

  7. go to step 5 and repeat for each job in the queue

  As you can see it would be a lot of work for what may be minimal gain depending on how long it takes to encode media with the Red rocket off. When this workflow really excels, it is when the source in the SOUL is a longer sequence of the form for example of a rough cut of prelude or a Premiere Pro sequence. Certainly, I could see Adding a global option to always activate the Red Rocket for sources RED, but that would be a feature request, you can submit it here: Adobe - feature request/Bug Report Form

  I hope that this help even if it is not exactly what you probably expected here.

• Transcoding - issue of beginner on export

  Hi, I'm changing some videos of a Sony A7. The files I have are mp4, and I work on Premiere Pro on a Macbook from 2008 for the preview in the monitor source files are quite slow. So I think to transcode to Prores with prelude, but I'm not sure of the workflow: basically, my question is.

  Once I edited with these new Prores files, exporting to the original quality of mp4?

  Is the equally good Prores or should I put a link to the original somehow files export?

  A clumsy way, that I thought to do is to remove/hide the Prores files when I finished and then reconnect the mp4s when the first pushes me for missing files. But it feels like there must be a way to do it - or, because I can't find answers about it, maybe I should just export the finished version Prores project.

  Any thoughts, please? Thank you! -Graeme.

  Once I edited with these new Prores files, exporting to the original quality of mp4?

  A very important thing to note is that you can never "export the original mp4 quality."  MP4 is not a format that maintains the quality of the image over several generations.  It is good enough for a large search 1 file generation that won't require correction of strong colors or effects work more late or need to hold up several generations of transcoding.

  ProRes is a CODEC which can export to "original quality".  Or, more precisely, to the quality that is identical to the original.  This is the important part and one of the reasons to transcode MP4 source footage to ProRes format for editing.  Over several generations, MP4 will not maintain as ProRes will be the quality of the image.  Because you can't shoot ProRes in 1st place with your Sony A7 (in a perfect workflow, you would), you want to convert it to a CODEC is higher quality for your MP4 files editing (and I'm sure you've noticed, much larger in file size).

  As you work on a 2008 MacBook, you should see better performance with ProRes on MP4 as well.

  So, you would simply change ProRes and shaped then export what you need (a master edited ProRes, a H264 for AppleTV, a H264 for YouTube, a MPEG2 for DVD, etc.).

  Is the equally good Prores or should I put a link to the original somehow files export?

  The ProRes is better than MP4.  Once you have converted to ProRes, you'd stay ProRes.  However, ProRes cannot put anything back in the original file compression has already taken way.  The trickiest part is that your original file probably seems well to the human eye when, in fact, a lot of Visual information that couldn't be here has been removed.

  In your workflow (MP4, Transcoder ProRes, ProRes shoot edit), you would never go back (i.e. linking) the originals of the camera.  (Of course, treat your camera as the originals.  Check them so that you always have them.)

  Since cut you on a 2008 MacBook, I'm a bit hesitant to recommend that you try a workflow replacing shooting MP4, then by changing the MP4s in ProRes sequence.

  Media Encoder vs vs first prelude for conversion

  If you just want to convert what you shot with your Sony A7 to Apple ProRes, use Media Encoder.  You must manually install the Apple ProRes presets (why creative cloud does not handle this suggests) also while using a Mac OS X version that requires no Final Cut Studio to install (which is not that it is a problem in your case that you are already able to convert to ProRes format).  The ProRes presets are also specific to the version of Premiere Pro you are using (CS6, CC or CC 20141 and more).

  To get the ProRes soul presets:

  Adobe Media Encoder

  Then scroll down to the section "add-on".

  If you want to view your images and convert only what you will use in your editing (in other words, choose "selects" for editing), use the prelude.  Subclip, you want to use and convert.

  Of course, you can queue a batch conversion and/or convert subclips in Premiere Pro as well.  Simply select the clip or subclip (s), then export media.

  After all that...

  You may have noticed the link than Ann published in the new Proxy feature in a previous forum post.  In addition to being on an old and slow, machine edition original MP4 and then by converting just what you used in your edit in ProRes via the new feature of Proxy should work as well that help preserve loss of image quality.

• How can I link to R3D files when they are multiple (long resumes 4Gbs).

  Hello guys,.

  I'm transcoding (SOUL) my red images to the H.264 format for easy/fast mounting in another machine slow (the film's Director). But he comes to files with multiple R3D files, long takes over from 4Gbs, it creates several mp4 files, and they are all exactly the same.

  -Can I actually use an mp4 for my editing file and replace with originals later?

  -I should only transcode the first R3D file?

  -How can I connect back once the editing is done? Ive tried but do not know what R3D file should link to and does not after trying it. The mp4 file is take it all, but the R3D are not taking it together since they are separated in different R3D files.

  I work with first CC 2015.

  Thank you so much, I have spent days watching the tutorials but can't find my answer, I would greatly appreciate your help.

  I'd probably transcode to prores proxy, or something that does not have the long form, GOP, as Mp4.   Then, a test and make sure your guard to transcode the original code term when you bind again, there is no problem.

  do a test run w / a clip as not to lose time and when you do a couple of edits in a timeline w / as a clip, click with the right button on the clip in the project bin and select 'replace the clip', point to the original file then who must fill out your edited clip w / new source footage.

  you will then need to change the codec of your timeline should match that of your source.    hope that helps.    Certainly test first to make sure that you have the workflow down before you begin your session.

  This also works when there are tons of clips in your tray of sequences that need to be replace.

  When we work w / R3D files, usually created proxies on the fly for this reason (I think).   I'm sure that simply point to the first R3D file in this order if you make your own proxies, although I have not tested.   the first R3D file will usually connect automatic for the rest.

  This isn't the way we usually work but seems it should work.      Good luck.

• transcoded media ingested not appearing is not in bin

  I use prelude CC (15) on an iMac running 10.9.5. I just made a batch import of a large number of DSLR clips that I converted the main sequence, which was shot in AVCHD format. All transcoded media and renamed, but there are six folders that were not in the bin. Is it possible to import them so that I can use them in their raw state? I tried dragging them, does not, and I don't see any characteristics or preferences to enable this. I don't want to have to re - import if I must.

  Any suggestions?

  Hi BPienkoski,

  If you clear the check box transfer Clips to the Destination on the right side of the capture Panel, it will create no extra files; It will just ingest media in the run-up, and they will be visible in the project Panel.

  As you say, all of these 6 files are correctly to be transcoded, so can you try to ingest these 6 files transcoded location? (Be sure to uncheck Clips of transfer to avoid creating any other copies of these files)

  Thank you

  MILIN

• Transcoded files import does not correctly.

  I'm new to first (from FCPX) and I tried to import a video file for the past hours. I can't rotate.

  1. the files in question are files .mov 720 p 422 AppleProRes, 8track on 48 k audio sampling, transcoding of the r3d files (red cine-x if it is important).
  2. the files play fine as stand-alones, in my Quicktime Player.
  3. they also import and play well in FCPX.
  4. I am able to import songs audio and other films done in Premiere Pro. They all play very well.
  5. when I try to import my transcoded files, the image seems to matter very well, but audio is this horrible static noise maxed-out on all channels.
  6. in another transcoded video, rather than the audio maxed out, missing audio channels and the channels that exist are extremely heavy and highly distorted.
  

  7 I tried to re-transcode to HDV, but I get the same audio distortion when I import to first.

  8 I tried to play around with different settings of the sequence, and I also tried corresponding to the sequence of the element in question.
  

  9. I tried to import my raw r3d files, but the first does not allow them to import. As I read that the first is able to read r3d, I reinstall my copy of first.

  
  
  

  that linear pcm should work. Apple lossless should be helped first, then you can try this. aac and mpeg4 codecs are too poor quality.  If you export a stereo or mono channel pcm file does still have problems in first? You can also tell creation using only some tracks/channels to maybe see if has a problem with some of them. tray, right-click and choose Edit, audio channels, or of the right timeline click on a clip and choose audio channels.  You can also split channel track the location of the project, when you change channels, it can say 8 mono tracks.

• Optimal editable to transcode to format

  Hi all

  First time poster here.

  I produce a training video on my place of work. If the audio is always necessary, it is recorded separately.

  What I want to do it as efficiently as possible, it is to save my "keeper" without the audio clips.

  My images are captured as one. MTS file at 1440 X 1080 29.9 fps.

  What is the smartest way to re - save these files without the audio channel while keeping the same resolution?

  Thank you

  Erik

  I want to re - save the video file to the same quality as the original (as possible), but not to keep the audio track.

  Your best bet is to demux, not to transcode. However, you cannot demux with Adobe Suite, you must use tools such as ffmpeg (which is free and fast).

  The following command line will be batch convert your MTS files MTS files without audio, located in the DEMUXED subfolder (have you create in advance):

  for %% in ("*.") (MTS») \ffmpeg-i' % a ' vcodec - copy - a 'DEMUXED\%%~na. MTS.

  Note that if you split clips MTS, extending on will be ruined.

  I'm better to export to WMV, MP4 or something else with the intention of future change?

  No, future Assembly you must transcode to a codec of production, either 'film' - based such as ProRes, DNxHD, UT video etc, or imager as DPX, JPEG 2000, TIFF, TGA, PNG. Some image based formats can be incorporated into a 'film' container

• R3D and After Effects

  Hello

  A small simple question (I think that I already know the answer).

  Can I import RedCode RAW files directly from the camera in After Effects? What I have to do a transcoding or this step can be skipped?

  Thank you

  Stone

  Yes, After Effects can import .r3d files. It is on the list of formats imported using After Effects.

  This video shows the details:

  http://www.video2brain.com/en/lessons/red-R3D-digital-cinema-improvements

  You should transfer the files on your hard drive in the first place, rather than import directly to your device.

• Back to the first, Final Cut. Help editing native RED r3d

  I am one of the many new converts to first Pro CS5.5 of Final Cut after many years using the Apple software. I want to dive into the heart and start editing with Premiere, but I meet an immediate obstacle.

  First, I heard the discussion without end on ability Premiere Pro to edit RED raw images natively. Simply drag the files r3d and go. Yet, I could not even get the first get me this far in my editing workflow. I've been working with RED images, and in the past, I've been transcoding in Final Cut Pro Res (Proxy) and compliance/online to the end, using newspapers and transfer or RED alert. Naturally, I was very happy to be able to drop them into native files of RED and never have to online to the end. Here comes my problem: I drag in a recent session r3d files. 4 k 23,967 suddenly on RED. I double click the clip in my project to open it in the monitor source and all I get is black. I can't rub, I can't playback video or audio to make my cuts; all I get is timecode. HOWEVER, if I drag the file r3d directly in the timeline, I get image / its and all. Of course, it is not possible to change and I can't just be filing lots of clips in the sequence and try from there. Like any editor, I want power double click my clip, rub through it in the source monitor and find the particular plug, I want to use. THEN I add to my calendar.
  
  WHY am I not able to view/edit r3d believed in my monitor source files? Everyone knows about this problem? Frustrated and unable to start using this first highly touted (who all my heart, I want to believe in). Please ask me if I can get running with my RED images. In the meantime, it's to Final Cut 7...

  I should mention that I use a Quad-Core Intel Xeon 2.4 GHz Mac Pro with 15 GM of Ram and an ATI Radeon HD 5770 graphics card. I've heard talk about NVIDIA is the way to go, but we're not the upgrade/change cards in the immediate future. For now, it is what I use. I hope this isn't the only reason that I can not read/see anything in my monitor source with my r3d files.

  
  Thank you

  
  Daniel

  OK, the Blackmagic card and its drivers would have been a first mention, simply because this can change how things are set up in Premiere Pro.

  Just to clarify: you see anything in the Source monitor? It seems that your ProRes clips worked there...?

  In Premiere Pro preferences, go to player settings and check what drive module that you use (should be Adobe Player or BMD one); try changing it and see if something changes in the SM.

• Batch conversion

  Hello world
  
  This may be a simple question. Is there a way to treat the files .mov or .av on flash batch media server so that they be converted to .flv files. I have a number of staff members who can access the server, but I wish that they could drop their files in a folder of configuration control and Flash Media Server would automatically convert into .flv files. Is this possible?
  Thank you very much, Neil

  As a matter of fact; Flash Media Server is transcoding.

  Flash Media Server encoding is one of the products that promise to do it in batches of encoding.
  http://www.Adobe.com/products/flashmediaencoding/

• How the batch of photos of change in Version 2.0 of Photos... impossible to find the function.

  How the batch of photos of change in Version 2.0 of Photos... impossible to find the function.  If it has been deleted to "improve" the Photo experience?

  Lot, what exactly will change?

  Titles, Descriptions and capture date - Yes.

  Select the images you want to change the title or the description and to set-up the info (command-i) pane.  Enter the title or the description in the appropriate field and he will be assigned to all selected pictures.

  

  If you want to batch, change the title with sequential use attached many Applescripts provided by users in the Photos for Mac user tips section.

  Batch change/correction of dates is provided by the Image ➙ setting Date and time menu option:

  

  

• "Batch File translate" systematically blocks...

  Hello

  I often need to translate files. Copy in Google Translate is a mess. I installed "Batch queue Translater" (sic) to try to help with this, but whenever I try to translate anything, it crashes with:

  Request for clarification:

  "Reason for termination due to an untrapped exception"NSInvalidArgumentException"app,: ' * setObjectForKey: object cannot be null (key: newspaper)"

  Abort() called

  ending with an exception uncaught of print type

  I tried disk utility. I removed preferences in containers and restarted and encountered the same bug. I can't find anything that describes this type of error with "key: newspaper.

  The app is broken. Application developers must fix.

  We try to put something preferably or similar in a dictionary and it's not by the way of the real object they wish to store. For some reason that you can not solve, it's nothing passed to the command and so it fails.

  Contact the developer. If the program in the App Store, it has a link to their support site on the page of the App Store.

• NO batch export emails (with the exception of one at a time)

  Cannot export files in a batch by e-mail. Des/export addon does not install. Is - it is no longer possible? I don't want my profile or just an e-mail sent from a different computer to my laptop using thunderbird as well. I use to be able to drag them on a USB key in a heap. Should I reinstall TB?

  Find what exactly? I never had no problem with the ImportExportTools add-on - we. https://addons.Mozilla.org/en-us/Thunderbird/addon/ImportExportTools/

  The first thing I would do after installing an add-on is look for it under Tools | Modules to ensure it had installed, and check if she had all the settings or options that would be useful or important to me. In doing so, I would allow it, of course if for some reason, it was not already enabled. This particular module has many parameters to consider.