Conversion of image sequence Cineon LOG in Apple ProRes 4444 XQ in Media Encoder CS6

Similar Questions

• ??? Lostless conversion of image sequence?

  Dear Sir

  I got 10 bits 4.2.2 footage 1440 x 1080 29.97 frames per second I want to convert to a sequence of images of lostless so that I can picture of animals shop out of each image before re export it in original codec.

  Should which codec I go with? DPX or TIFF sequence?

  They are the two lostless?

  If DPX, how to export with AE CS4?

  Thank you.

  PNG stills are capable of 16-bit and 4:4:4 RGB they perform a conversion without loss of 4:2:2 10-bit YUV.

  It's encoded in PNG format Quicktime video files that are limited to 8 bpc. In fact, Quicktime can handle 8-bit PNG images. But it's a limitation of Quicktime, not a limitation of the format.

• Adobe Media Encoder CC: Is that I can export to Apple ProRes 422 on a Mac?

  Hi people,

  I tried to find some information about it, but couldn't really find a definitive answer on this.

  Unfortunately, my Mac is set where we are talking, I can't try this either...

  I want to convert the mxf files (XDCAM HD 422 1080i 50, 50 Mbit/s with multiple Audio channels) to Apple ProRes 422 using Adobe Media Encoder CC.

  Simple question: is that possible or I need to look for another workflow/converter?

  Thanks for your help!

  Jens

  PS: The OS is Mavericks...

  Sure.

  Use the QuickTime exporter, and then choose the ProRes422 Codec in its drop-down list.

• How to convert a sequence of images Cineon (.cin) HQ ProRes 4444

  Hello

  I have a Cineon (.cin) sequence of images I would like to convert to Apple ProRes 4444 HQ.

  When I tried to add the image sequence, I get an error saying:

  "The XYZ folder contains no valid sΘquence of images.

  Could you suggest a way to do this? Thanks in advance for your help.

  Kind regards

  Tiya

  After a bit of searching on Google, the only Apple application that I could find that will work with these files is color, part of Final Cut Studio abandoned. You have access to the after affects? In my view, what AE will open your IS.

  Russ

• problem: import the image sequence into adobe media encoder

  Hello

  have a problem with adobe media encoder CS6, change the display Format to 25 time frame in the preferences of media coder, I import a series of TGA (170 images) to media encoder in an image file TGA sequence, the series generated from 3D applications Max and ToonBoom, specification of TGA series 1080 50i "1920 X 1080 - high filed - 25 frames per second. When I import the sequence, encode media recognize the sequence as 1920 X 1080 - progressive - 29.97 FPS, to interpret the window images options I change the settings of the upper sequence deposited - 25 fps, and I export to quicktime mov 1920 X 1080 - class top - 25 fps uncompressed

  the problem:

  mov file is 06:20 and it is right for the 170 25 fps calendar but mov file does not contain the tga series image, image freeze in time code 05:16 (number 142 of the framework) and duplicate the 142 image to the rest of the video file

  If I do not change the pace to interpret the window options images for the tga sequence what media encoder recognizes as 29.97 FPS mov file contain all TGA images, but with a duration of 05:16 which not 25 fps

  in adobe media encoder CS5.5 I don't get this problem at all

  1. How do I solve this problem?

  2. how to force CS6 adobe media encoder to recognize the image sequence imported as rate of 25 fps?

  Windows 7 Ultimate SP1, Adobe Creative Suite Master Collection CS6

  Thank you

  Post edited by: yas1amin1mah

  "Film" is finally fixed in November 2013 video updates of creative cloud. If your version of Premiere Pro and SOUL is or more 7.1.0 everything should work as expected. But don't forget to actually perform "Film" on your source in first Pro CC or CC SOUL that, otherwise your sequence of images will continue to be interpreted as 29.97 FPS by default.

• Image - Image sequence or sequence Quicktime conversion

  Hi all

  IM on a Mac using the suite CS4 and my film is in the format. MP4 Long GOP of a Sony EX 1.

  
  I encountered some problems with trimming/consolidation of first projects and implementing Mocha due the Long GOP.
  Since I don't usually spend more money on ANOTHER product to learn ANOTHER application, I thought I could just convert and replace my clips via the queue or Media Encoder in a format that does not problems.

  
  Previous info I got from the forum was: "Animation and codecs PNG in a QuickTime container as Exchange lossless formats are good. The PNG codec is better for photorealistic images - as most of the video - while the Animation is better compression of large areas of the same color, like in a cartoon. (Where the name 'Animation'.)

  Apple uncompressed 10-bit - when the quality is greater and you have a lot of speed and disk space
  Apple ProRes HQ - quality almost without loss, but smaller size files. »

  
  To further confuse me, I read in book AE CS4 effects of Visual Mark Christiansen, a sequence is better than the Quicktime movie because of the ease of replacement of bad image and some other stuff on Quicktime gamma incompatible formats.  But then, in a sidebar, it said sequences would not play back so easily using non-linear editor. However, the sequences are the best choice for larger projects or more long form.  ... and something about 10 bit uncompressed is only Lossless to 8bpc.  I did not get around learning about 16 and 32 bpc and why or how I'd use apart from a tutorial video Copilot on creaing which flourishes beyond the 255 white.  Then someone mention Apple Pro Res because of 4 2 2 color space.

  HUH WHAT?

  
  Some of these concepts are currently a little over my head.  Basically, I just want to convert my images without losing quaility to something that will work in AE (with Mocha) and can change and consolidate in Premiere Pro.  What is the best to choose when I lose ALL the quality of the original sequence.  File size is not a problem that I have a lot of hard disk space and will be consolidated.

  Thank you

  What is the best to choose when I lose ALL the quality of the original sequence.

  Uncompressed. If not as strict on ANY Lagarith or HuffYuv are also good.

• Apple Prores sequence settings Question

  Hello-

  Sorry if this is a newbie question, but I recently made the jump FCX first cc and I'm running on a question.

  I don't have an option when you create a new sequence for Apple Prores 444 HQ.  Is it possible that I can add this format so that it is an option?

  If not, is there a recommended, then best thing should I choose?  Here are the options I have:

  

  Select an item in the project bin and drag it over the icon of a new element, which is right next to the Trash CAN. He will choose a sequence for you to match the clip. Didn't need to be named 'ProRes' specifically; Instead, what you are looking for, is the sequence settings to match images, such as 1920 x 1080, progressive, 29.97, aspect 1.0 pixels. Or whatever the case may be.

  Thank you

  Jeff Pulera

  Safe Harbor computers

• Lens EF - S v Lens EF - Crop Factor (factor of Conversion of Image)

  Good evening

  Please excuse me if this is a stupid question.

  If I use a lens EF-S on a camera with an APS - C sensor, the sensor capture is all that I see in the viewfinder, i, e, with a ratio of 1:1?

  In other words; the EF-S-objectives overcome the factor of Conversion of Image or Crop Factor happening with EF lenses on cameras with an APS - C sensor?

  The Crop Factor means that what you see in the viewfinder is more that actually he is captured by the sensor by a ratio of 1: 1. 6.

  I understand that the rear of the EF-S lens is more close to the mirror and, therefore the sensor, as the rear of the EF lens, which leads me to think that the image seen through the viewfinder with an EF-S lens is closer to that which will appear on the sensor than an EF lens.

  Thanks a lot for any response that confirms or refutes my guess, preferably with an explanation in simple terms.

  Joe.

  The ' in the name of EF - S stands for short focal length. This is of no interest to the user.  And the crop factor is also of no interest to the user.  The camera crops nothing.  It is a full frame in the sense you get what you see in the viewfinder.

  The term arises because of old film camera using 35 mm film.  Someone wanted to know how to compare the two.

  People do not really consider it iphones as crop cameras but they are.  As a Canon Rebel is.  Nobody calls a medium unit format and the camera of enlargement.  But it would be if you used the same logic.  Forget it.

  It is best to think in terms of "point of view" (AOV).  That never changes no matter what device you use.  For example...  Any lens that give a degree 46 AOV is considered to be normal.  It makes no difference what device you use.  This specification is included with each goal.  MM tells you what is the objective.  AOV tells you what it does.

• Play the image sequence

  Hi, I have png image sequences in my active folder, and I would like to 'play '. Is it possible to do?

  Thank you

  According to the number of images, quality images and delay between each picture, you could probably get away with just using a QTimer.

  Although I have not tried with cascades/bb10, I did it with older BBOS and almost never ran into performance issues...

  in a nutsheel to store a table of images then set up your QTimer (e.g. all the 1 second) to display images in this table using a circular counter.

• Create proxy for the image sequence

  Hey guys,.

  Today, I was delighted to see the newly implemented for PremierePro proxy workflow.

  Unfortunately I have not yet figured out how to apply this workflow for image sequences.

  Is this possible?

  Background:

  We do not stop motion animation and all our images always comes into frame sequences with each frame being 20 MP. We want to keep the resolution up to photo-serrure, because we would like to keep the possibility to crop and zoom into images.

  So far, we have created lowquality of sequences of images as proxies (in the same resolution) and they use them for editing in a FullHD timeline, where we can evolve and frame (and of course change) images. After picture lock replaced the original media. Once the images is online and the harvest is final, we create a FullHD prores file for VFX and editing.

  But this process is error-prone.

  When I now import a sequence of images in the creation and create a proxy for her, a mov with only the first image file is created.

  Which is obviously useless.

  My question:

  1 would it not possible to import a sequence of images and create a sequence of images of proxy (with the same interpretation of the images, i.e. of framerate) from the original image sequence?

  2. the sequence of images proxy perhaps erred in lower resolution (original image in format 5760 x 3840 px, resolution 1920 x 1080 proxy), and once I pass the proxy to original scaling is adjusted accordingly.

  Really looking forward to some tips to achieve this!

  Thanks and good luck

  Max

  I had a little further:

  I made a mistake by creating templates in the MediaEncoder:

  I created a coding model and not a model of ingestion (who both the end of the .edr file), which should in fact have been obvious.

  So now I have:

  1 has created a file of 5760 x 3840 Prores4444 out of sequence of images

  2 imported the first PorRes4444

  3 creates a proxy using my own template (ProRes 422 Proxy 1920 x 1280) with aspect ratio 3:2.

  It works, BUT:

  When I play the file on the timeline proxy, the proxy file is adjusted differently than the original file (proxy disabled), but only during playback.

  It is probably a completely different question, I'll create another post for this.

• When I scroll through the mask of image sequence does not follow the layer of the timeline?

  Another problem. I simply scroll the image sequence and you can see on the screenshot that the mask remains where it was in the beginning. I applied red tinted effect (just to show you), and it does not stick to the station when scroller is at the end of the timeline which is say that the mask is not to follow. But it should, because the mask is the image sequence. Why? Please take a look. Maybe there is something wrong with the Ctrl c and Ctrl v method - it's how I inserted my BW mask in the layer mask?

  

  Select the two layers of video group and convert it into object new Dynamics

• ORA-16038: sequence of log 2 422 cannot be archived

  Hello

  I have a problem, when I try to start a database:

  SQL > the judgment;

  ORACLE instance stops.

  SQL > startup open;

  ORACLE instance started.

  Total System Global Area 1577058304 bytes

  Bytes of size 1305760 fixed

  964690784 variable size bytes

  603979776 of database buffers bytes

  Redo buffers 7081984 bytes

  Mounted database.

  ORA-16038: sequence of log 2 422 cannot be archived

  ORA-19504: cannot create the file «»

  ORA-00312: wire 2 1 online journal:

  "+ DATAGROUP/frge/onlinelog/group_2.354.833381221".

  ORA-00312: wire 2 1 online journal:

  "+ DATAGROUP/frge/onlinelog/group_2.355.833381221".

  Thank you

  Hello

  Please check your alert log content, that the location of the log file of the alerts can be found throughout this sql:

  SQL > select * from v$ diag_info;

  also, check out this site refrence: http://itbloggertips.com/2013/05/oracle-not-started-database-startup-fail-with-ora-16038-ora-19809-ora-00312-error/

  Kind regards

• importFiles for the image sequence

  How can I import a sequence of images with the app.project.importFiles command?

  Is this possible?

  Currently using a command like this:

  app.project.importFiles(["/Volumes/files/DPX_4k_16/rf_dcp4k_dpx_4k_16.00001.dpx"])

  However, it important that a single image.

  I also tried:

  app.project.importFiles(["/Volumes/files/DPX_4k_16/rf_dcp4k_dpx_4k_16.###.dpx"])

  app.project.importFiles (["/ Volumes/files/DPX_4k_16/rf_dcp4k_dpx_4k_16."]) (["[00001-01000] .dpx"])

  
  

  I would also like to be able to set the frame rate when importing as well if possible.
  

  Currently, it is not possible to import an image sequence, using importFiles().

  I added your vote to the feature request AND our other 'Provide API to define the interpretation of sequences' demand of functionality, as popular.

• Text in MSO disappears at the top of the image sequence

  Hello. I have a sequence of images to auto-play, and I want a text is displayed above it after the image sequence plays. I put the text in an autoplay MSO, the first State being a box empty. The text appears so when I saw using the content for the Desktop Viewer, but it does not appear when I saw on the iPad, or when I update the folio article. How can I get the text?

  Why the first State is empty? The two States should be identical, set to play once and stop finally State.

• Why the last image of the exported image sequence is sometimes black?

  I get sequences of images in Photoshop and then exporting them to a file mp4 video.  For some reason, Photoshop sometimes decides to put a black frame at the end of the video, no matter what I try settings.  Sometimes it leaves aside the black frame.  I can't understand why he did this.  If anyone knows how to get rid of this?  When I import the resulting sequences first, I need to change all the frames of black.  Not impossible to deal with, but it is kind of a pain.

  Adobe Photoshop Version: 2014.2.2 20141204.r.310, 2014/12 / 04:23:59:59 CL 994532 x 64

  Operating system: Windows 7 64-bit

  Version: 6.1 Service Pack 1

  System architecture: AMD CPU Family: 15, model: 10, Stepping: 0 with MMX, entire SSE, SSE, SSE2, SSE3 FP

  Physical processor count: 6

  Processor speed: 3200 MHz

  Built-in memory: 8191 MB

  Free memory: 4507 MB

  Memory available to Photoshop: 7154 MB

  Memory used by Photoshop: 70%

  Graphics card: NVIDIA GeForce GTX 470 (with the latest driver Version 347.88)

  Adobe Bridge 6.1.0.116 x 64

  Use, file-> open and checking the box 'Sequence of Image', I am loading a sequence of JPGs I've cropped in Photoshop (using a script to automate this process), and I specify 23.976 fps. I checked all the JPG files, and they are OK. I play the animation in Photoshop, and it looks good.  I then export the movie using the file-> export-> made video, I use Adobe Media Encoder, h.264 format, high quality, 1920 x 1080 (the original document size), 23.976 fps.  It automatically selects the zone selection to export work.  That seems correct.  In a sequence of images of N, it is said that it will export images 0 to N-1, which I think is OK if it indexes starting at 0 and not 1.  I tried to export (frames) checked, and the result is the same.  The last image is black.  I also tried to change the work area to remove the last image and the last frame of the rendered video is so dark, but the last image of the sequence, I opened is missing.  I checked the image sequence that was exported with the area of complete work (or frameworks) selected and all managers are there - with just a framework black, added at the end, which is certainly not in the work area.

  No error message.

  I checked the help, also I tried searching the forums, but I don't know what I'm doing wrong.

  The problem has been around on and off for a few years.  He had disappeared with CC, but now he's back, even though I'm not aware of what I'm doing differently.