Images of transcoding DSLR: Prores Alternatives?

Similar Questions

• How to display images of a DSLR on the iPad without their import?

  Hello

  I had a mini iPad and I want to use to view images taken with a digital SLR. I have a Flash to the USB adapter and a Flash of camera SD card reader. I have tried both to display the images, but I can use them only to import images with the photos app. The problem now is that the memory of the iPad is too small, so that I can import only a fraction of the images stored on the SD card of the DSLR. It is very annoying to wait for the creation of thumbnails of images about 500 in order to import only 50 of them, the visualization of this subset, and then throw away them so that the next 50 images can be imported. With a laptop computer or even an Android tablet I can do that in a few seconds, but with an IOS based device it takes forever to just see the images.

  I could not find any application that is capable of providing a simple workflow for preview images. There are some applications of cloud based for this purpose, but they are completely useless if you are on a vacation without any internet access trip.

  I read that older versions of IOS has provided an API to access images on a USB memory and there were about 150 apps using this API. But for some reason any (business?) Apple dropped of this API and launched all of these apps useful the App Store. Is there any other app available for the iPad or Android tablet is better suited for my desired use case?

  Thank you.

  Is there any other app available for the iPad

  
  

  I have collected this information from my readings of these discussions and read the web site of the manufacture. You will need to evaluate these comments to your situation.  I'm only sure any point 2 work with a camera.
  

  
  

  Yes. Airtash allows you to look at the data with a web browser.  Maybe it will show you the images too.
  

  
  

  - 1 - App Photofast is still in the app store.
  

  
  

  PhotoFast Drive IFlash
  This is a beautiful map.  You can move data back and forth!  Be sure to get the real thing.
  http://www.PhotoFast.com

  Review:
  http://www.Macworld.com/article/2036911/review-i-FlashDrive-HD-a-flash-drive-for - iPad-iPhone-and - laptops.html

  Here is the ios app:
  https://iTunes.Apple.com/us/app/i-FlashDrive-HD/id525386291?Mt=8

  Finally, there is a cheap imitation product that does not develop their own software and the software of PhotoFast pests.  Maybe people in using the imitation product are complaining.

  -2-hourly there are maps Wifi camera.

  Series FlashAir™ II Wireless SD Card

  -Sharing of photos and videos wireless

  -Capacity 16 GB

  -Takes to support simultaneous access of up to 7 devices.

  -3-hourly Airstash

  "Easily access, transfer and disseminate your AirStash® files - flash drive wireless pocket for iPad, iPhone and iPod touch! This application requires a device AirStash in order to work.  View, import & export photos, wireless, videos, music, and podcasts and view documents stored on your AirStash. AirStash + is the best alternative to the built-in web interface, adding features only available with a native application. »

  http://www.airstash.com/

• 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

• S - log2 *.mp4 transcoded to Prores mov becomes underexposed

  Hello

  I recently shot back footage on profile PP7 (S-Log2) on the A7S2.

  The *.mp4 file seems properly exposed, however when I transcode the file to Prores422 HQ in catalyst prepare files become very underexposed. It does occur with images shot in S-Log2 my other images shot in profile that PP2 daytime shows no offset exposure.

  I experimented by selecting Rec709 vs S-Log2 as the color space of output, but there is no difference.

  Certain files of information that might be useful:

  MEDIA

  Format - S XAVC

  VIDEO

  Codec - Long STROKE

  Profile and level - [email protected]

  Sampling YCbCr 4:2:0 8 bit color

  ACQUISITION OF METADATA

  Registration - Normal mode

  Cache rec - No.

  Capture gamma - S-Log2 equation

  Appreciate any help that anyone can be.

  See you soon

  Hi Tim,.

  Thank you for providing the images! I think I've identified the problem. The issue seems to occur because of the ISO setting max to catalyst to prepare ISO 10000. It seems that both provided clips go much higher than that. One is 20000, and the other is 25600. Because the preparation is not able to match a high ISO setting, it is failing to 800 and appearing so much darker. If you increase the ISO bar up to 10000, it will start more correspond to the original item. You can then use the tone curve to trigger even more exposure to the best match to the original.

  In the meantime, I'll check with our engineers to see what we can do to solve this problem.

  I'll let you know as soon as possible what we are facing.

  Thank you Tim!

• 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

• How can I transcode footage to Prores using prelude?

  I want to transcode to Prores with prelude pictures.  My media card contains images shot at different rates.  I want to be able to match the source rate image when transcoding to ProRes format.  I could swallow lots of clips that all have the same cadence, choosing this frame rate to transcode, but it doesn't seem to be a way to see the frame rate of the clips.  I tried swallowing without transferring (or transcoding).  Once you ingest, you are able to see the rate of frame in list mode, but it doesn't seem to be an option to transcode after ingestion.  That one surprises me.  Looks like a number of reasons why you can transcode after ingestion.  In any case, any intervention autour for a film of transcoding with different rates and preserve the initial rate?

  Post edited by: Kevin Monahan

  Reason: your title is too long

  Hi GBreece,

  I want to transcode to Prores with prelude pictures.

  Large. You can preset in Adobe Media Encoder to transcode to ProRes different rates gently.

  My media card contains images shot at different rates.  I want to be able to match the source rate image when transcoding to ProRes format.

  You must keep a log of different frame rates, you pull so you can keep track of them in post. Prelude will transcode images according to the preset you select, it is not automatically detect the pace you want. It's a feature request: http://adobe.ly/feature_request

  In any case, any intervention autour for a film of transcoding with different rates and preserve the initial rate?

  Yet once again, I let you transcode with frequency of native images using a preset that you create in Media Encoder. If you do not know the pace, reveal the item in the Finder, then open the file in QuickTime or similar. Properties of the clip are available here.

  Thank you

  Kevin

• First sequence CC create with codec equivalent to ProRes 442 for a theatrical release?

  I have been using first for awhile now (since I went from Final Cut) and am already rather well versed in it. To use it to make all web content to broadcast HD quality deliverables, I have what it takes. However, I will make a documentary film which will be shot in 1920 x 1080 (most but not all shot of DSLR) and I need to know what codec/arrangement to create sequences in the first during my final output will be a format in the highest quality possible to convert a DCP (Digital Cinema Package). I'll worry about the DCP later, but I need to know when I create a new sequence which codec I use. When I used Final Cut Pro 7, it was simply ProRes442. So maybe I have to ask what codec Adobe & settings use that is their equivalent to Apple ProRes 442 when I do a new sequence?

  Thank you.

  Matt

  I need to know what codec/setting to create sequences

  at first when my ultimate exit...

  I need to know when I create a new sequence which codec I use.

  Whatever your planned final export format you want

  Create and edit in a sequence that corresponds to your images.

  Apart from selecting the format of your files from the preview window

  (the choices available depend on which version you use),

  There is no specific codec that is assigned to a sequence in the first.

  A codec is only considered when exporting.

  You're talking about multiple cameras all shooting 1920 x 1080.

  It's a good start, but it is also very important to ensure that

  you have all the cameras recording the same cadence and scan type

  (progressive or interlaced).

  This will avoid potential problems when editing.

  .. what codec adobe & settings I use which is their equivalent to Apple ProRes 442 when I do a new sequence?

  You need to shake the mentality of "transcode to ProRes' of the PCF.

  You change all your material source natively, without worrying if

  files multimedia sources use mixed types of codec.

  Then, simply consider the codecs for the timeline preview files

  (if you do not use the default setting) and for export.

• 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.

• Premiere Pro 2015.3 transcode Vs Proxy

  Hey,.

  Recently I've been tested a new workflow using the feature to ingest it in first.  I did tests with the two Ingest functions: transcode and create Proxy and I was wondering what would be the differences.  For me, I was able to be bound to the transcoded/Proxy images, both were in ProRes 1080 p format and had no problem with the media.  Then connected to the Raw and made the file and was complete.

  If I can create the same setting for a film of transcoding and Proxy, then what would be the benefits of one or the other.

  Thank you

  Transcode will create intermediate files, that you can use for final export.  If you move or delete the original media, not a big deal.

  Proxy will create low resolution formats that you shouldn't use for final export.  (PP is smart enough to switch automatically to the original media when exporting).  If you move or delete the original media, it's bad.

• Media encoder do not have preset for ProRes 4 k or UHD, has only for Avid

  I want to transcode my original MXF 4 k (actually UHD) of sony x 70 to ProRes for editing PP in 2015, but even the new update has no ProRes 4 k presets.  There are full frame presets of size for DNxHR MXF OP1a (for Avid) but nothing for 4 k ProRes for editing of PP.  Is there a "Preset"? I don't know, you can leave out the originals in PP but hear the originals H264 wrapper isn't good for editing re applications on system. So I want to transcode to proRes but keep the UHD image size. I have been informed that rates vary according to the size of the image and the pace, Adobe should therefore ProRes settings you can download. Someone knows?

  A number of things.  First of all, the presets are just a shortcut to a group of settings that you can use again and again.  You can always make your own if you don't see one that you need.

  Second, try Cineform.  The quality is just as good as ProRes and publishes it smooth as silk.  In addition, there is already a "Preset" for her.

• I adjusted dumped final cut pro and use first now, I still need to convert images

  I use final cut for more than a decade now, but I don't like what they do with their program so now im going with what I feel is the application more professional who is Prime Minister

  So, for years in FCP, we do a thing called LOG AND TRANSFER

  Basically, you pointed the program to the SD card and then you could name your clips and import it into a more editable format

  so now someone told me, the Prime Minister is different because you can change from the SD card format and not have to transfer and to encode in a different format.

  is this true? that I don't need to encode in a different format on the Prime Minister

  Another think Edub should be aware of.

  1. In FCP, you log and transfer files, which transcode to ProRes.
  2. In Premiere Pro, it is not necessary to do so.
  3. In Premiere Pro, you can import files via file import or via the media browser.
     1. For .mov files and simple image files, you can use the file > import
     2. For basis of AVCHD files and other file based devices, use file > import, use the media browser
        1. This allows all your being imported with the file metadata
        2. This includes clip spanning info, if you are shooting long tongs, so it is important.

  Thank you

  Kevin

• Consolidation of project without transcoding

  So, it seems that Adobe has removed one of the most basic features of the post production pipeline - consolidate the sequences with handles WITHOUT him having to transcode.

  So as an example to say, I have a 1 hour long interview in ProRes HQ I cut 3 small snippets to use in a teaser. I used to be able to "Collect files and copy to the new location" and then add my handles say 24 images for example (see below).

  

  Then I 3 clips of ProRes HQ with handles that I could send for the classification.

  But now I don't have the option to move the whole clip 1 hour to a new location or adjust but I have to transcode the images and does not even have the option to transcode to ProRes HQ in any case.

  

  Obviously for the ranking, I want to give them the highest quality file but do not see how I can do now.

  Spoke of 'support' and the guy told me to install the old version of first instead so I could do it. I can not believe this is their solution to the problem.

  Can someone help me out?

  See you soon

  Hello Joel,

  now, I don't have the option to move the whole clip 1 hour to a new location or adjust but I have to transcode the images

  As I understand it, the film has no effect applied, ProRes is smart rendered so there is no loss in the transcoding process.

  and do not even have the option to transcode to ProRes HQ anyway. See you soon

  You can import a preset SOUL or create an and import it.

  Thank you

  Kevin

• This theory ProRes is a myth, or is it true?

  I shoot video AVCHD to a FS700 and edit and strongly grade natively in Premiere Pro CS6.

  Told me that if I convert my images in ProRes and THEN change and rank, the colours and the details will hold better what to do with native AVCHD and will ultimately better looking images.

  Here is a quote from the forum to justify that. Please can someone confirm if this is true?

  AVCHD is a very compressed and lossy format. Original filmed in AVCHD will look essentially good, but the trouble begins when you start recompress the images. Recompression happens whenever you convert images to another format, or when you use the images in an editing one environmentnd, you need to make your video.
  
  When you edit AVCHD natively, whenever you add an effect, title or whatever, you will lose quality and it will get worse the generations more than you do of your original film. That's why effects, titles, etc. are always rendered in ProRes 422 (or more) in FCP10. Because ProRes is resistant to several much better than AVCHD re-encoding.
  
  When you first convert your AVCHD to ProRes, you will get a first generation loss. But the advantage of the codec ProRes of is that it's a transparent format, i.e. Once your video is to the ProRes format it will not deteriorate even after several re-encoding. ProRes LT turn to 82 Mbps, but this does not mean anything. The LT codec is much more rigid than ProRes 422 and 422 HQ, which means once again that it will not resist several generations. That was why the best workflow is to convert any size with loss of a transparent format such as ProRes 422 and upward. You will always lose a little bit of sharpness in the first conversion, but from there you'll be sure even when you use the ProRes images in complex projects with several piles of filter.

  A myth.

  When editing with FCP, there was a natural tendency to convert a lot of source material to ProRes 422, simply because you had no choice. You now have the choice after moving to PR

  The choice is quite simple, either change the native format was shot in your hardware, or convert to ProRes 422. The Advisor must

  No convert to ProRes.

  Using the native format has the following advantages: No transcoding, none made, no modification of data, no recompression, no damage and no damage. But conversion ProRes 422 has singnificant disadvantages, it takes twice as long, it uses almost three times the disk space and shows no visible improvement. For example, ingesting a 16 GB card with MXF material on some machine takes about 6 minutes to the native format, but takes about 12 minutes when transcoded to ProRes 422, storage needs go from 16 GB to about 43 GB without visible difference.

  In addition, ProRes cannot be exported from a PC and has problems with the movement of gamma.

  The post you quoted has a serious flaw in it. He assumed that several of exports and imports, creating production losses. It's a very strange workflow. One would normally change and once completed, once export. This gives the same loss of generation as ProRes conversion first. Only with ProRes you will lose another generation when exporting one.

• Why are images on my warped computer so this isn't on other computers?

  Example image:http://images.wikia.com/smurfs/images/d/dd/Movie_Clumsy.png
  It's one of the images that appears 'distorted' on my computer screen. If by "distorted", I mean that the colors are a little against nature and escape... a bit like a painting of some sort...
  All of my computer equipment are working properly, and my screen does not show the distorted images with the exception of a few pictures like that given the example at the top.
  I have also updated my NVIDIA driver to the latest version and reinstall even just to be safe!
  I'm not sure about this but... I think that only PNG formats are distorted... but that is still uncertain...

  Anyway, please help! Thank you!

  I discovered that my web provider is Compress images on the net for faster browsing.
  And to view and download web images successfully, I found an alternative.
  I just download an add-on for Firefox's "User Agent Switcher" and had to "Googlebot 2.1".» After that all the images that were wrong on the net were right.

  I am posting this just in case other people also experience my problem.

  Thanks to the following for their efforts:
  Vinod N
  James.Burgess
  And thanks to Dissed put the most effort in the display!

  Once again, thank you guys!

• Workflow / Image Resizing Question

  Hoping someone can help me with a question of image resizing.

  
  

  I want to start an online store. I wish I could sell the same image on a t-shirt and a poster. I'll probably use Print will print/performance. They require the images to print at 300 dpi and be sized correctly. Thus, an image to print on their standard t-shirt (12 "x 16" (1.333:1)) must be 3600 x 4800 pixels.) ") To be included on their greatest poster (24.5 "x 36.5" (~1.5:1)), the same image should be 7350 x 10950 pixels.

  
  

  If I set my camera to produce a larger image, I get 6016 x 4000 pixels (~1.5:1). To maintain optimum image quality, I think I should treat this image in PS to create a main folder. I can then Downsample to create a t-shirt 3600 x 4800 image and pace to create a larger image and posters.

  
  

  Alternatively to pace process first of all, the image of the poster, and then downsample from there, in the image of t-shirt 3600 x 4800 pixels. This seems like it might be problematic.

  
  

  Another alternative would be to cadence to the poster image, downsample the image of t-shiirt, and then process each image separately. To optimize the images CMYK will print requires, I will probably need to do a separate processing (twisting) for each image in any case, but do completely separate treatment for each image is a lot more work. Any advice?

  When you use Image pro script processor you source image file should be your camera file. Here's the best pixels you have for your image. All image output processing start with these pixels for each file will be saved...  Your output image are always interpolated from these pixels.  You don't have to resize the image, you can save the Pixels camera provides.

  The way of working scripts of image processors are. They open an image source file in a document. Duplicate this document and treat the fooled until what he records and produces an output file for the document. Then he closes the dupe and repeated the dupe and process until all output files are saved to the image processing. Then the script closed the original document, that it opened without saving it.  The script then move to the next image file to process.  When all output images are only save the last open image document is closed and the script is done.

  You can include an action for each file in output production, The Image these action begins by still isn't the pixels of the source image and image that was treated for other output files. You can have the action executed before or after any resizing you do not have the script.  Once again, resize is optional.  You don't have to do the desired resizing script, you can if you want to perform the resizing in the actions that you use in the treatment of the output image.

  There is no problem in maintaining its quality. Quality only depends on how you treat the pixels of the original source image to preserve the quality that you first for each output image...

  Photoshop menu File > Automate > Image Processor Pro... Here the dialog box, you will see

  

  Very flexible, you can save as many image files that you need for each Image processing.