h.264 to ProRes

Similar Questions

• FCPX import as H.264 rather ProRes 422

  I am running 10.1.4 FCX. When I import media from a archive of the camera, the clips are converted to H.264 instead of ProRes 422 format according to the Inspector.

  My FCX preferences is set to ProRes 422 for import. What I am doing wrong?

  Thank you

  Final Assembly reports the original media format - although there are optimized versions. To check, select an item in the browser and in the Inspector > Info > available media representations, see if there is a green dot next to optimized.

  Russ

• Best way to convert H.264 to ProRes for FCPX

  Hello! I'm about to get a DJI Osmo device that records in H.264 codec, and I did research on disorders that FCPX will have to try to change this sequence. While some people say that FCPX takes care of everything, most of the comments say that the conversion to ProRes format would be the best way to deal with the stress of editing.

  Apple has a converter for ProRes? FCPX has the ability to convert (If Yes, please explain how and where to do this), or is the only way to do this conversion through a third-party software?

  You have to may not convert H.264 at all, depending on your hardware, and you certainly do not need a third party converter. FCP can transcode at the stage of import, or after you begin your project.

  There is a full trial that you can download and see for yourself how your Mac handles your images.

  Good luck.

  Russ

• Constant crashing while rendering in first Pro CC

  Trying to export a video of this sequence, first Pro CC (latest version) crashes every time after about 1-2 minutes of rendering.

  "Film compilation error.

  Unknown error. »

  Project first to find system SSD (recent model Macbook Pro retina), with source on the USB3 HARD disk files and cache the value external thunderbolt external SSD. Have you tried to target all the readers, the same questions. Tried to flatten all the blocking, same problem sequences.

  No special plugins or anything, just the baked in used effects and settings.

  
  Have tried to make h.264 and ProRes, both have the same error.

  Aiming for a version of this project in the next few days, please help if you can! Thank you very much!!

  

  After trying many things, I ended up finding two problems:

  1. a CC image file didn't like, that I removed

  2 another error, unknown, but I've made the entire sequence in the first (pressing enter) and then exported to a file once it has been fully rendered and used the option 'use previews' for export.

  Very strange but so far it has worked.

• ProRes to H.264 Blu - Ray, then get an overview of the problems with Encore CS5

  Hi all

  I've been holding Media Encoder CS 5 90 minutes or so ProRes 422 (29.97 interlaced) QuickTimes and create Blu - Ray H.264 files for use in Encore CS5.  I use the maximum of 1080i quality setting and adjusting so that the target bit rate is 25mbps and max is 30.  By 2-pass VBR.

  The issue I'm having is when I import these files into Encore CS5 and then preview them on a timeline they are artifacts in all directions.  They look like my cable signal when it breaks upward, except through the whole program.  I have re-transcoded in Media Encoder and am having the same problem.  I also tried transcoding in Encore (which is really the same thing), and it still persists.  I did not a BD - R again to check it and I know that the preview in Encore CS 5 is very buggy.  But I wonder - someone ' one run in this?  Is this just a preview issue, or is there something really wrong with him transcode?

  Also, if anyone has a tip for where I can open the file *.m4v out Media Encoder so that I can check them somewhere else in again would be great.  VLC Player does not, nor does QuickTime.  Thank you all!

  Best,

  JD

  Compressor didn't start to make videos compatible h.264 Blu - ray up to version 3.5. Videos in h.264 Blu - ray made in the compressor before 3.5 are not compatible Blu - ray, fail strict checking of yet and must be re-encoded.

  If you are using Compressor 3.5 or newer, your Blu - ray h.264 files will import still very well and will not be re-transcoded.

• The encoding of your source media failed as H.264 encoding to ProRes 4444 format is not supported.

  I am trying to convert the H.264 4 K images at 4K footage 4444 and get this error.  No idea why?  It's extremely frustrating, and the error explains nothing.

  It is one of the restrictions that Apple puts on their codecs.

• How can I convert all my images HDR of H.264 to AIC?

  Hello world.

  I use FCP 7 and need to change a piece with pictures HDR H.264... I read on the forum that I need to convert into AIC... (I get a lot of dropped frames on the original format)... Now, I downloaded Mpeg Streamclip, but I have a lot of clips to convert into AIC and it takes too much time and a lot more space.

  Question: given that my performance is the web, can I reduce the compression quality to 50% to make the process faster?

  Any suggestions in addition to the conversion of AIC, so I can change more quickly? I can do this on the compressor?  I've never used...

  Thanks in advance

  Whenever you saw that you must convert to AIC is FAKE!  Sorry, it's a HORRIBLE codec. Noisy, disgusting.  No no no. You must convert to ProRes 422. And there is no way to lower the data rate on this format either. FCP is very picky about exact formats, with which it works.  The size of the files will increase by a draw... just be careful.

  Compressor will be repeated.

• Help with ProRes

  Greetings,

  I work on the Windows side and usually export to mp4 or mpg. I need to export format ProRes 422 HQ for a distribution requirement. Now my company has Macs so I imported my usual mpg file on a Mac so I could encode a file ProRes 422 HQ. After making out, the file size is 113 GB. This seems too much for a 73 minute video. What I am doing wrong? Why is the size of the file so big?

  Please, I beg you. Any help would be greatly appreciated... and as soon as possible.

  Out of top quality = less compression = largest files

  The 113GB seems normal for ProRes HQ

  I wonder what you use as an intermediate file to switch to Mac - you can lose a lot of quality if you use a lossy format, which kind of deny so as to create a format ProRes file. On the PC, similar to ProRes quality can be made by exporting to DNxHD for example. Do not export the H.264 or MPEG-2, and then to ProRes - the damage has already been done at this time, too much loss of quality.

  EDIT: source video as the DV, HDV, AVCHD is usually compressed down for all 25Mbps, ProRes HQ perhaps as 220Mbps, is whence the large files, about 10 x the size.

  Thank you

  Jeff Pulera

  Safe Harbor computers

• PP 2015 despises wrapped mov h.264? What is ClipWrap, 'PF' 29.97 cadence Canon...?

  OK, ok, I know that many recommend transcoding to ProRes and DNxHD codec h.264... something not long-GOP. BUT I "ve been doing this for years in PP with no problem in waiting Media + we have just upgraded to a new MacPro.

  After several hours of testing and tweaking, we have 2015 PP solid running, YET it takes between 15 to 20 minutes for the graphic Media pending at the end before any work can be done. After testing various projects on different Macs, nothing changes. It is clearly a problem with PP 2015, possibly in tandem with our images. (See the link to the previous post at the bottom of this post with more details).

  PP really don't like h.264 images now? WHAT is our 'footage' workflow AVCHD 1080 p shot with a Canon C100 Mark II in Canon PF29.97 frame rate is 24mbps: wrapped in mov with ClipWrap. So no transcoding. I'll test by creating a temporary project linked to the AVCHD video right. I really prefer not to transcode if possible.

  BUT I wonder someone else's thoughts on the issue pending Media and this workflow for the Canon PF29.97.

  Thank you!

  See previous related post below who succumbs to a lonely death :

  Media waiting for 20 minutes after the opening of a project to create

  OK, so finally I have found the common denominator, at least with any variation of H.264 videos we have (all original AVCHD, or all of the original MOV or ClipWrapped AVCHD to MOV format).

  With first CC 2015 (2015.0.2) If you have any medium-sized project (in our context: 35 sites in icon view on the second monitor, 60 gigs H.264 source images) with several open bins and set of icons, it takes 15 to 20 minutes for the multimedia graphics pending to go. Once the waiting Media chart goes, any clip load immediately when I double-click on, however at the start of the images appears and audio, but the video is frozen for more than a few minutes, then all right. The project behaves as I expect no problems. 15-20 minutes before I'm running, really?

  IF I go to each bin icon to display the list, save the project, re-open/close, pending media appears as a matter of seconds before first is up and running with no problems. We did not have this issue of media in super long wait with first CC 2014 and that we actually use a MacPro 2010 older at the time.

  Something has changed in the way the first treats H.264.  I'll post a bug report.

  My first test with original AVCHD not included many of the images and not all bins have been put in icon mode. So my bad for not comparing apples with apples.

  -----

  We currently use a MacPro 2015, 3.7 GHz quad-core with 10 MB of cache L3, 12GB (3x4GB) of 1866 MHz DDR3 ECC, 512 GB of flash storage based on PCIe, Dual AMD over-pants D300 GPU with 2 GB of GDDR5 VRAM each. First 2015.0.2 last Yosemite (10.10.5) with a pregnant crush Sonnet with a Kona convince, SeriTek eSATA and SCSI card. Training software five RAID connected via eSATA.

• First CC2015.0.1 crashes quickly transport through sequences ProRes (@CPU 100%)

  Hello-

  After updated in CC2015 (and the other a.0.1), I noticed that the first is a lot less stable.

  I actually managed to isolate the behavior when I would be transported quickly through sequences (using keys JKL accelerate up to max speed.)  After being at maximum speed and then to wait a bit for first to sort of "dragging" (generally through 1 + minutes of footage) and first would break.  This does NOT happen quickly rubbing through the images.

  I was able to reproduce this problem with a NEW PrPro project that was started in 2015.  I was able to reproduce the issue with the wrapped .mov files created by the two Final Cut ProRes / compressor as well as files created by Atomos Ninja ProRes.  The way back to PPro CC2014, I confirmed that this problem was not present.  I was not able to reproduce this problem with other types of images (even though I only tried with H.264, DNxHD and DNxHR.)

  Also, I look at my system specs while rubbing, when my CPU 100% usage was when she would crash in CC2015.  With the help of CC2014 rub through the same images, that it could peak around 70-80%.

  Also looking at the HDs system resources never more than 50%, GPU no more than 10% and I am 12 years old and + GB of ram to spare.

  All my OS and GPU patches and updates are installed.  My specs are below:

  Intel Xeon W3565 3.2 GHz CPU

  24 GB Ram

  nVidia GTX 980 TI

  All the updates of Windows 8.1, run

  OS / Apps on SSD

  Project (ProRes images) on hard disk 7200 RPM external connected via SATA internal

  Cover media on separate 1 TB 7200 RPM drive working.

  Hi Ryan,

  First Pro CC 2015.0.2 update (9.0.2) to solve this problem. Sorry for the waiting and inconvenience.

  Thank you
  Kevin

• MXF in ProRes conversion (or whatever it is) - and there is no audio data

  Anyone know of a solution for this? I'm trying to convert MXF files with 8 audio channels in ProRes 422. There is no audio data once the files to convert, but the video is very good. I've tried other types of software and even export it as H.264 instead of ProRes to see if I can understand where the problem lies. I don't need 8 audio channels, only 1 is fine, but try different audio settings did not help either.

  Elsewhere, some posts have mentioned something about software prioritize bad audio channels, but I have no idea how I would even look for this kind of adjustment or change. And it is not specific to the Media Encoder. Can anyone help? I tried for 2 days now for nothing is! I have never encountered this problem before, so appreciate any input.

  Hi GJ,.

  Anyone know of a solution for this? I'm trying to convert MXF files with 8 audio channels in ProRes 422. There is no audio data once the files to convert, but the video is very good.

  Are you still facing this problem? In the affirmative, please contact technical support and report on all the solutions: http://bit.ly/PPro-support

  Thank you

  Kevin

• Images of transcoding DSLR: Prores Alternatives?

  After much research, I am convinced that I should try adding a transcoding step to my 5 d Mark iii footage before editing it. I've been editing in native h.264 files in first with no problems, but the forums around the internet promise more flexibility with the color and effects if I transcode. Of course, Prores is mentioned as the best option. But I don't have FCP and therefore do not have access to Prores from MPEG Streamclip. The SOUL prores preset that adobe offers (found here) warns that I have of the FCP for it to work. So I'm lost. I want to try the workflow of transcoding before as I edit, but I don't know how to get Prores. Is it possible to get it on my machine without the FCP? If this is not the case, what is an alternative that will give me this enigmatic performance/color advantage, that everyone talks about.

  Thank you all!

  Johnny

  Hi Johnny,.

  Johnnymangosteen wrote:

  Kevin,

  Thanks for the reply. I do have a mac. If I had to transcode all my images before editing it, I would with a program of commands like prelude or media encoder. I do not see ProRes either. Am I missing something?

  Sorry I was wrong in asserting that the ProRes presets are installed automatically. They are not. You must create your own presets in the SOUL, and then they will be available as a prelude. To save time, download the presets here: Adobe - Adobe Media Encoder: for Macintosh: SOUL CS6 additional Presets for ProRes (MAC ONLY): thank you that have been created to CS6, but they have not changed since then, so it's OK to always use them.

  After the download, them, in the SOUL, click program category, and then use the import Presets button to browse the downloaded presets. Click Open and they will be imported in the SOUL. Prelude to revival and the presets are available, as well.

  I hope it works for you.

  Thank you

  Kevin

• First pro cs6 mac import failure prores and dnxhd says format unsupported or damaged

  Hi all

  I am running OSX Mavericks and have sequences video avchd import into my project.  He went all out.  I am an intermediary file and tried to prores and dnxhd formats.  When I created a new project and tried to import a format I get the above error.  In addition, when you try to read the prores file with quicktime it won't play.  I have a Windows virtual machine with an earlier version of the first pro that has the neat video.  I created the file dnxhd on it and was able to import the file into PP on mac and the processing of these int h.264 movies.  What do you think of the error not be able to import a format on my mac?  Could there be an error on the export into media encoder?

  Mark

  It seems that I solved my problem and I wanted to post the resolution.  Apparently, the Avid codecs play nice with Quicktime on Mac and make Adobe QT32 Server crash.  Even if a file has been made, with server QT32 crashing it was unreadable.  The first thing I did was to delete all codecs in MacHD/library/Quicktime.  I restarted my computer.  Then I added the Apple codecs.  Voila, I can now encode to the Prores format.  I tried to add the dn only Avid codec, and I had the same problem.  I tried the version 2.3.7 and 2.3.9 without success.  Looks like I'm not 'be able to encode DNXHD files and read my existing will require adding the codec, export to the quicktime-no format and then delete for any future encoding prores codec.  If anyone has a solution to make the Avid DNXHD codec work please let me know.

• Help with my ME settings for h.264 720 p

  Hi all. I really enjoyed to the tail upward exports in ME first, and then the batch code all at once. I do a weekly job where I will have one or two videos dozen finished in a sequence, so I need to put the entry points and and export each of them individually. With my old workflow in Final Cut Pro 7, I had to export each item one at a time. Just has them like ProRes and waited on them, and then took those compressor and I coded them in my final download YouTube format.

  With my new workflow, to keep good quality HD, I find that I can not queue for ME with what should be the right setting of h.264 720 p. So, I've been queues to ProRes and then taking these files to compressor for my final output of 720 p. Don't get me wrong, it is still faster than the old way I. But I want to make the tail just my code to ME with settings h.264 720 p in the first place and not make another encoding. So see if you can find something that I did it correctly.

  I'll post my ME and compressor settings I used. With compressor, videos come out looking really good. But with ME, it's really muddy. There are a few macroblocking and - I forgot the term for TI - where the gradient on a wall of a light will not have enough depth and a bad image. But the better term for what it looks like is just muddy.

  It comes to my Apple Compressor settings that work well for me:

  File extension: mov

  Planned size: 2.3 GB/hour of source

  Audio encoder

  AAC, stereo (L, R), 48,000 kHz

  Video encoder

  Format: QT

  Height and width: up to 1280 x 720

  Format of the pixels:

  By default the cultures: no

  Padding: Preserve the source aspect ratio (t 0, l: 0, b: 0, r: 0)

  Rate: (100% of the source)

  The selected Frame controls:

  Registration: (fast)

  The closest frame

  : Resize filter linear

  Deinterlace filter: Fast (on average line)

  Adaptive Details: On Antialias: level of details of 0: 0

  Field trip: progressive

  Type of codec: H.264

  Multi-pass: frame, rearrange: on

  Sampling: 24

  Spatial quality: 50 Min.

  Spatial quality: 50

  Temporal quality: 50

  Min. temporal quality: 50

  Average: 5.12 (Mbit/s)

  Maximum data rate: 5.12 (Mbit/s)

  Fast Start: on

  And here is a screenshot of my ME settings that I think should be comparable to the compressor settings.

  

  And here are two examples of videos to watch. To rule out other issues, I first encoded a master ProRes. Then, I took this file and encoded using the settings above for each program. File name shows who is who. Video is 36 seconds, and the files are approximately 22 MB and 16 MB. The file ME encoded is really great, even if it seems worse.

  https://drive.Google.com/folderview?ID=0B9g3lbp53ZU6WURFYURjVjN3anc & USP = Sharing

  I appreciate really all help on this. I certainly have a workflow that works for me right now, but if I could understand this point, it would save a lot of time for me and be much more effective. Thank you!

  SOUL is better and faster than the compressor.

  http://www.eventdv.NET/articles/news/feature/tutorial-encoding-H.264-video-in-Adobe-Media-Encoder-CS5.5-and-Apple-Compressor-4-80446.htm

  You should be fine to get the right files looking for PP with the option to export H.264.

• Really there 22 hours for SOUL to transcode 1 hour of ProRes apcn for presetting of YouTube?

  My question is, "it will always take this long?

  If you have not already verified my information system to it, I'm at the end of a 6 years old HP 8400.  I (finally) got the OK to acquire a new system.  I know that this new system (http://www.pugetsystems.com/saveconfig.php?id=111597) will improve 'timeline' speed and preview of After Effects & rendering and must export most of the CODECs much faster, I'm concerned about the work of transcoding straight I do in the SOUL.  More precisely ProRes to something else.

  The company for which I work steps and produces a lot of live corporate events.  I create content for the event, then the handle whatever the client wants done with recorded images later.  Sometimes, it's the complete boat and sometimes it's just for them to share internally and on its Web site.  Whatever it is, generally the first thing they want is to just see the images.  So, regardless of what would later become images, I have run through the SOUL and turn it into H.264 using YouTube friendly preset.

  Currently, on my aging machine, SOUL uses only about 30% of my 8 cores.  Only 7-8 GB of my 20GB of ram and, of course, 0% of my GTX285.  So, should I assume that lack of CODEC, SOUL will take much longer to transcode on a machine with twice the kernels (including higher clock speeds) and 3 times the ram?  Will be just use even less of the system and even to last 22 hours?  I see at least a reduction in time in the transition from DDR - 2 DDR-3 and other benefits of latency lower current material?

  I was going to include the "MediaInfo" for the source and the final files as well as the newspaper of the SOUL and some other info, but since I have this done already a wall of text, stay until what someone needs to answer my question.

  Thanks in advance.

  Jason

  BTW - I've been using Adobe products since the middle of the 1990s (4.0 first, After Effects "Melmet") and I've been lurking here and scraping info from all of you there are at least 2 Forums this is my first post in the forum "new".

  Hi Jason,

  How can I put things in perspective for you? Looks like you don't know what to expect, which is understandable when you use really old hardware. And what first version are you running?

  Computer technology comes from leaps and bounds in recent years, nothing short of amazing! From CS5, first now uses the GPU (graphics card) to provide acceleration of mounting hardware and effects, using the Mercury playback engine. The maximum permissible error can operate on CPU only, but it makes a world of difference when using GPU hardware as well. Of course the software and the OS are 64-bit now, which really helps, especially with the large amount of RAM allowed.

  Years, it was almost mandatory to get a machine with two processors for editing. Core i7 quad-core machines today essentially have 4 processors on a single chip, it's like having more than one processor. "Multithreading" there, so 4 hearts resemble 8 cores for the software.

  So, basically, any recent Core i7 machine will do a great job of editing and export of images HD of first CS6. Many effects, titles, superposition and scaling of the video all is possible without a red bar! I stacked 15 or 20 layers of 1080i AVCHD once, make several PIPs on the screen, and it played smoothly without a framework.

  If you work mainly with the first and yet, then a machine 4-core or 6-core i7 will make most very happy publishers. If After Effects is a big part of your flow of work, and/or 3D animation, where a double-XEON machine can make a difference. Really well, first, you would see little difference. Time is in real time, a machine 11 k $ is not do it faster.

  On a machine nice i7 costs $3-5 k, you should expect to export H.264 in real time or better. With a DV film, goes to the MPEG-2 DVD format, a timeline of two hours can be exported in unnder 10 minutes. Seriously. The audio .wav a timeline of two hours? Seconds for export.

  Puget is a company respected using gear nice and if you feel the need to 'the best of the best' and have the budget to save it, this system of 11 k $ will certainly rock. We are also an Adobe Certified System Integrator and is happy to consult and provide the price of comparison as well.

  Here is a link to Dave Helmly discuss options of new workstation for CS6 - http://blog.sharbor.com/blog/2012/12/adobes-dave-helmly-discusses-thunderbolt-for-pc-and-t riptide sunami /

  Thank you for your attention

  Jeff Pulera
  Safe Harbor computers

  sharbor.com