Incompatibility of proxy on predefined Ingestion

Similar Questions

• Proxy ingest in an existing project

  I have a project where I worked, so he has already trimmed clips on the timeline.

  Now, I want to use the new functionality to ingest and make proxies of the existing and future clips on the timeline. I did all what they say in all the different videos tutorial on the subject, but without success. I turned on "Create of Proxies" within the parameters of the project, I did a screening in media encoding and imported. I created a folder for proxy files, and I turned on proxies in the program monitor. But nothing happens...

  When I opened my progress window is empty, and first don't create proxies. No, even if I drag a new clip on the timeline.

  Did I miss something?

  Thank you

  / By

  I just discovered that if I copy all clips in my sequence, make a new project "creation of proxies" selected, create a new sequence and paste all my clips for this new seq, it opens media encode and do what I want it to do then I just save the new project and overwrite the old project and all right. Then I don't have to spend a lot of time to find all the different clips, I've used between all items imported into the project and manually create proxies. Very easy, and it only takes 2 minutes.

  / By

• Do daily with new ingest of proxy settings

  Hi all!

  I have a macbook pro, adorned in 2014 and I am wanting to find a great workflow for the production of newspapers with first new pro ingest parameters. (If possible)

  I would like to know if someone could point me in the right direction to add a lut, synchronize images proxies within the first. Is it possible now? You can import a Lut for the first and apply it on the new sucked by parameters as proxies? And synchronize images as well?

  Let me know! I'd like to see if this is possible. Ingest of proxy and transcoding looks like a really cool direction adobe is headed with first.

  Thank you!

  Alex Zingaro

  You will need to do the hard.  Import, add effects, synchronization, export.

  If you lose the synchronization of the workflow game, it could be done automatically.  But the automatic method only works if the audio and video are in a single file.

• What are the best settings to export a master 4K of a proxy scenario 4 k/720 p?

  Hello

  I am running PPCC 2015.3 on a Mac Pro 2009 with SSD, RAID and a GTX680.

  My first foray into 4 k is with the media to a Sony FS5 a Phantom 4 drone (as well as some of my old FS700 and an EX1)

  I start with a copy of all media on a RAID 0 and ingest pp using a 720 p ProRes proxy "Preset" (also stored on RAID proxy files).

  When I "Select new sequences of Clip", PP creates a sequence based on the "Red Cinema" with video previews of 3840 x 2160 properties and video of "I-frame only MPEG" at 1920 x 1080.

  The timeline changes well and renders smoothly (even in 4 k with toggle proxy), although modified AE clips take a while to render.

  But, when I come to export a master file with the best resolution of source or 4 k, what settings should I use?

  If I select "Match séquence Setting" I of course only get 1080 p.

  If I select "Quick Time > Match Source" bombards it with a predefined error "video stream of the source file are not compatible with this preset! What!

  Yes, is there a "Preset" that I can use to easily produce a master file 4 k that can be used for future purposes?

  Concerning

  Martin

  I think I misread your original message.

  For a master file, you definitely want something better than H.264.  Normally, I create files UT to do this, because they are without loss and play well with any software on my system.

  UT Codec video Suite 16.1.1 - download

• ACL does not proxy IDs in two tunnels

  Hi all

  I get an error "ACL does not proxy IDs" that I am not able to solve the problems, google with lots of results, tried some; but nothing is applied.

  I have 2 tunnels of installation,
  1 / as a pix 515e (office) for an ASA 5505 (hosted server) for my guys access the hosted server
  2/A then that of the ASA 5505 firewall to my client so that its equipment can reach the hosted server and from the hosted server reach equipment.

  The two tunnels are working well, my problem comes when I try to reach my customers my office equipment, IE cascade tunnel.
  Setup was done (part of it) with the help of external professional services, and when we did a test, it seems that it worked... Seems because we did a test only and as I can then I wonder if in fact he ever worked!

  It is the first time I'm trying a few tunnels, no problems with other virtual private networks, I built cascade.

  I associate myself with the configuration of the pix and asa and an excerpt from the syslogs showing error, hoping someone could tell me an obvious mistake, that I have not seen!

  Do not hesitate to request the missing information which could be useful and thanks a lot in advance for your help!

  Rgds

  JD,

  NAT is done before the crypto, for many reasons, flexibility more than anything.

  I checked the ACL and still see an incompatibility, I mean the number of ACLs and their content MUST match the only difference is that source and destination must be exchanged between the two.

  Until you correct this it's always going to be failing

  Once you to it, you may try check where it fails by referring to a reference I posted some time ago?

  Can you gather may be to debug it as described here:

  https://supportforums.Cisco.com/docs/doc-14044#31_Debugs_used

  Marcin

• Creating ingest Preset does not...

  I'm under PP 2015.4. Ingest Presets do not appear in PP option.

  My workflow is as follows:

  In Media Encoder I create a standard encoding Preset. Then I create an Interfering Preset - checking the flag to transcode files to Destination . I select the Format of the target encoding preset accordingly and also point to specific predefined coding I want to designate. After these steps - Format of the created ingest Preset is correctly labeled as a Preset interfering in Media Encoder.

  Transition to PP - settings/Ingest project settings, I have check the flag Ingest and select transcode from the context menu. The contextual menu preset does not include the ingest Preset I created previously.

  Thanks for the help.

  -paul.

  Sorry, I may have missed a point. In the ingest of first settings dialog box, you click on the button Add ingest preset and then import your custom Ingest preset? Ingest presets created in SOUL not will automatically appear in the first, you must import them.

• Ingest parameters: copy and create proxies has no option for the MD5 checksum

  I'm very happy with the new feature of proxy CC 2015.3. My favorite ingest setting is to "copy and create proxies" but there is no option to use given MD5 checksum check that if I used the parameter "copy". I tried to create a preset in Media Encoder, but I couldn't find the option to use GoPro Cineform for the format of proxy?

  You can create a custom preset to achieve this goal. In the SOUL, first create a preset for encoding with your GoPro CineForm desired settings. Then create a preset to ingest allowing of ' copy Destination files, check (value comparison MD5), transcode files Destination, then set Format in your "Preset" custom coding. " Some Destination paths for the copy and Transcode. Click OK to save the preset Ingest and import this preset in the settings dialog box to ingest first.

  More information about the creation of presets can be found here:

  Adobe Premiere Pro help. Ingest and Workflow in Premiere Pro 2015.3 CC Proxy

• Interpret the proxy files and images (cadence) settings?

  TL; DR

  -create files proxy for a 120fps film and interpret as 29.97 FPS, but film settings seem to get messed up or completely ignored during sequences of proxy is switched to

  Problem:

  • CC 2015.4 running
  • recently started proxies creation via the method newly introduced for CC 2015.3-> Adobe Premiere Pro help. Ingest and Workflow in Premiere Pro CC 2015.3 Proxy
  • Turns difficulties when working with images at 120 frames per second:
    • import of media/120 fps
    • create/120 fps proxy
    • change interpreting images settings to read as 29.97 FPS rate (to work directly with the slow movement)
    • Original media only runs at 29.97 FPS
      • When the proxy is enabled, still works at 120 fps

  Attempt of troubleshooting:

  • I tried to change interpret footage settings before creating proxies
    • import of media/120 fps
    • film > frame rate to 29.97 FPS change

  

  • create proxy

  

  • coding course support proxy is always created at 120 frames per second (see screenshot, notice how it is still encoding at 120 frames per second)

  

  • When the proxy is enabled, the video is back at 120 frames per second (normal speed), but audio plays at 29.97 (idle)
    • This translates into a file that has a total length of audio of idle.
    • but because the video plays back at regular speed, he adds just a picture taken at the end of the clip, which lasts until the end of slow motion audio.

  I am at a loss. No idea how I can go about creating images of proxy for a film of 120 fps I can interpret as 29.97 FPS without any problem? I want to just change images slowed proxy without having to change the settings of speed and the duration of each individual item.

  I don't know that Adobe has slipped.  It is more likely that they just have not yet added this capability.  Proxies are a new feature in PP.  You should let them know you want the extended feature.

  Feature request/Bug Report Form

• 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.

• Workflow proxy: export by using proxies?

  I see that when you use the Proxy workflow, it still uses media export full resolution. It is very good for the final cut, but during the export of crude cuts really makes exports need a whole lot more - 3 x more time on my tests. Would be great if it was an option left to the user to export full resolution - rather than make a workaround solution where to change the location of the original media to force it to export with proxies using proxies of the media.

  Test - export sequence of 3 minutes 4 k with scale 5 k R3Ds (proxy are 1080 p ProRes Proxy)

  Export of proxy (1080 p mp4) - 05:55

  Export of media on the origin (1080 p mp4) - 15:05

  Yes, export uses now always full resolution if full resolution and Proxy clips are online. The other possible workaround solution is to select all the clips in the project Panel or sequence, right-click and select make offline. This will make also all the Full Res clips Offline, which will force the export of Proxy.

  We tried the support workflow features and limitations known in our documentation, understand that we could not possibly cover all workflows in this version. Is there a feature open request to select what you want to export, without using workarounds in offline mode. I'll add your name to it.

  Adobe Premiere Pro help. Ingest and Workflow in Premiere Pro 2015.3 CC Proxy

  Work offline using proxy media | Adobe first Pro CC tutorials

  Premiere Pro editing workflow base

  LIVE NOW! First Pro CC was last updated. Creative blog Cloud by Adobe

• How put out ingests sequence?

  HI, I did ingest clips with time hostel cord burn but when I want to export my movie rough cut with clips ingest I can't find a way

  When I chose to put media he spent in original and no rear clamp timecord Rhinoplasty inn but at present always in offline mode and I want out put with ingest sequence clips... is there a checkbox or a setting I'm missing?

  Thank you

  If I understand you correctly, you want to export the sequence using the proxy instead of the material material full original resolution, is that correct?

  If, therefore, in the project Panel, select the source of all clips and, once selected, make right click on one of the selected clips and in the dropdown choose offline. Choose the option that keeps the source files on the disc.

  After that, the clips in the project Panel (and your sequence) only link to proxy files.

  Click anywhere in the sequence and go to the file menu > export > Media...

  you will get a dialog box warning that matter full original resolution is offline:

  

  Click OK, and then do your export.

  When you want to reconnect the source of full resolution for the components of the package for final output, select all the clips yet, right click on any of the selected clips and choose the Proxy > reconnect full resolution Media and reconnect the clips.

  MtD

• 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.

• First film edited with Premiere - proxy, audio questions and multi-cames

  I have several questions that I have not found in the videos and forums, at least not for my situation. I'm finishing the revision of sequences now adding comments in prelude and will begin soon to change it. Please excuse the long post.

  Background:

  I'm working on my first film, a documentary. Most of my work is 10-11 interviews, about an hour each. The majority is 4K Panasonic GH4, but some of the images is an Olympus MDGS EM5 II 1080.

  I recorded the sound using a LAV and a shotgun microphone, each goes in its own channel in a Tascam DR - 70 d, an external audio recorder, with a line going into the camera for reference. Audio and video files (at least one, since GH4 brings several) will have a slate tone to the head, created by the audio recorder. The recorder has captured the audio 24-bit, 16-bit audio captured camera. The recorder fooled also two other channels to lower 12db audio in the case of audio peaks.

  I will be changing on Mac laptop - 2013 MacBook Pro, OS 10.11.5, 2.9 Ghz Intel Core i7 memory of 16GB 1600 MHz DDR3, NVIDIA GeForce GT 650 M 1024 MB graphics card. I think I need to create my images 4 K proxies.

  All images is storage on my external drive of G. The interviews are separated and are located in the folders of each interviewee.

  The final project will be 1080, not 4K.

  Questions:

  Naming - being a hybrid, the GH4 breaks an interview of an hour in several separate files. Should I change the names of all files, or keep them in folders named in Premiere Pro? If I should change them, should I do it before swallowing?

  First synchronize audio and video, but since I have an audio file and several video files, I synchronize each video file individually or assemble them somehow, then synchronize? If each of these excerpts from the interview is sewn together, wouldn't that make editing more easy?

  When you create proxy for video files, also create proxy for audio files separate? Once synchronized, will be presented first the Hi output version of the resolution of the video and audio?

  Multicamera - in one case, I have an interview with two 1080 cameras. But for the rest, I've shot with a camera in 4K, so I intend to use a section cropped interview (zoom) when an important statement is mentioned, simulating a two cameras set up. Given that I have to create a sequence of multi camera after I ingest proxy files, first will be a problem activating/deactivating files proxy for the salvation of the res files?

  B - roll is added later, once the interviews are published about. It will be a few (not 4K) images and photos. Make the proxies of these too or first care to have all files proxy or a mixture?

  Finally, I have never edited a video which has been more than 10 minutes. This film could be of 40 minutes or up to 90. Everything I need to know to make the editing more smooth? I am a beginner!

  Thank you for bearing with me and thank you in advance for any idea!

  -SK

  1. allow only file names.  Make your organization with records (hard drive) and ferries (project).

  2. Manual of multi-camera method

  3. the audio files are small and will not need of proxies.  Export will always use the original media.

  4. possibly.  My first attempt was a disaster that froze the machine so badly, I had to do a hard reset.  However, you need not go back to the original of the sequence to make your cut-ins.  Proxy media will do fine work.  Simply place a copy of the plans at the 50% level in V1 and a second copy on the scale of 100% in V2 when creating the source multicam sequence...  Will allow you to see the full versions and then cropped the multicam editing.

  5. the photos no need of proxies.  If the B-roll change, make proxies for those.  PP not care a spirit to keep all the images the same.

  6. $ 2,000 custom PC vs $ 4,000 Mac Pro - YouTube

• Mounting of the proxy...

  Well, I never did Proxy edition before so bear with me if my question is stupid.

  I have ingested NX1 camera 4K h265 files in my project and proxy that are 1024 x 540 .h264 made
  The proxy are in the folder of the power of Attorney that I did.
  In Premiere Pro, it shows my orginal as files being "attached".

  But I see no difference at all in the viewer that I'm editing.

  I have to still run about 1/4 resolution on the Viewer, and some effects still dominate the thing.

  So I went back with the Proxy on and outside I'm playing. I see no difference in performance at all.
  I think that even if I enabled Proxy and the files are attached... something is not even good.

  Is there some sort of setting I don't have correct?

  
  -Robbie

  The originals are 4 k not HD so I don't see the black bars.

  BUT I think I should have spoke too soon.  I DON'T see a difference in performance.

  My mistake was that I had an article with a video resized to form a custom image pictured on the timeline with an effect of "Whirlwind" used on the main clip (it is a kind of 'dream sequence').  And the smallest vid was apparently still ingested and the proxy file was not complete on this subject when I was editing this section.

  Now that I went back in and did the reading again... it runs nice and smooth.

  Looks like I took the lead with this entire thread.

  -Robbie

• IMAP proxy auth - logs as long as administrator if the user is absent

  While the synchronization of the accounts from the old server to OCUCS with imapsync script, I found today that when using IMAP proxy auth (with installation of OUCS 7u2 "vanilla") and specifying a wrong user name (unknown to OCUCS), the absence of the user set IMAP server, but imapsync continues to account for the proxy-admin user Sync messages.
  
  In my view, this means that the default of the proxy connection as user not valid succeeds always a proxy-user connection. (Or imapsync again this connection and that's the problem - I'll try this possibility of research too).
  
  If the problem is known to be one of e-mail server, all toggle to disable these connections as the proxy user and return a failure (absence of user account, incompatibility of word password, whatever)?

  When you say "proxy auth", you mean identifying you as the user admin and then using the "proxyauth' mail server owner command to switch to the other user?
  Or are you talking about using the plain SASL authentication and sending the

  For an example of the former, see MOS knowledge article Doc ID 1387203.1.
  For an example of the latter, see MOS Doc ID 1012047.1.

  If you do the first, it makes sense. You are logged on as an administrator and then tried proxyauth to another user, but it failed, so you're always connected as administrator.

  If you do the latter, I expect this connection failure. So if this is the case, please open a case of pension so we can report a bug.