ProRes 422 LT or H264 source clips?

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• Unable to log and transfer of media files ProRes 422 MOV in FCP 7.

  The log window and transfer in final cut PRO 7 said my multimedia files to Apple ProRes 422 (in a .mov container) are "unsupported" and I'm unable to import. This is after I've used MPEG Streamclip to convert original h264 video files to Apple ProRes 422. I shot with a Canon 5 d Mark II. I missed something?

  Do not use TYou log and transfer. It's for the camera Med.

• 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

• MXF to ProRes 422

  A client gave me a car that they got their cameraman. I need to get the files in Apple ProRes 422 for editing, but I don't know to use ClipWrap, Mpegstream Clip or XDCam transfer... or else.

  Each file is a map and includes a series of folders: Clip, icon, Proxy, Audio, video, voice of the Audio and video files are. MXF.

  Any help would be great!

  Looks that they shot Panasonic P2... it's the structure of files in this format.  None of the mentioned converters will not work.  To do this, you use standard old LOG AND TRANSFER files... even inside FCP.

  Now... If they shot that has been saved as DVCPRO HD P2... which will come only in DVCPRO HD.  Cannot be imported as ProRes... the only option you have is DVCPRO HD... but it is a conversion without loss.  If they shot AVCIntra, then you can bring it like ProRes. In the journal and transfer of preferences (menu sprocket in the interface of log and transfer), there is a place to choose which format ProRes import AVCINTRA as. NOT AVCHD... AVCINTRA...

• problem with the implementation of preset prores 422

  I made an apple prores 422 preset in Adobe Media Encoder CC 2014 and when I try to transcode in prelude is not appear in the options.  What I am doing wrong? I restarted my computer and each program several times.  I'm in a time crunch!

  Thanks for any help!

  Holly Tuckett

  iMac 27 "end 2012, 32 GB of RAM, CC 2014 Cloud membership

  Michael,

  Thank you for your response. After the call to Adobe and them telling me that this is a known issue and return to CS6 prelude, which offered clips without audio. I went in first to transcode and was curious to know if I set the preset it would it appear as a prelude, instead of using Media Encoder for do and alto ' it worked.

  I got work around it.  Versions of that I use are the following: Prelude CC is v1.0, Media Encoder v2014.2 build 8.2.0.54 and Premiere Pro v2014.2 build 8.2.0 (65)

  So thank you in any case, and for those who need the solution here is one.

• How can I set up stereo audio tracks as default in first using the ProRes 422 codec?

  Forgive me if this has been asked several times before. I searched but can't find anything that explained in a language that does not require a degree in computer engineering.

  I'm a new convert to our beloved FCP 7. I'm learning to love dear first - but the audio part of this is driving me crazy.

  I exported from FCP files as ProRes 422 movies with stereo audio tracks. I want to put first in the same way. But when I do it all crashed in a single audio file.

  It plays havoc with the Pan - especially in mixtures which have a mix of stereo music. Apart from this it just confuses me.

  Also. When I create a new project from scratch in the first and I select the custom ProRes 422, this setting doesn't allow to ProRes 422 audio mono. I don't see a codec for something else (ie. stereo).

  Am I missing something?

  I looked in all areas of preferences and can not find anywhere to change this. I just want to import audio data from simple, basic two-lane (and let appear the same) that I would be in FCP, ProTools and the myriad of other editing programs that I use.

  I also want to be able to set up a base of two-way stereo timeline/sequence without having to reinvent the wheel.

  Thanks a lot for all the help and patience. I'm slowly pulling my hair and spend long periods sitting in the corner, hugging my knees and crying.

  My characteristics. Preferred codec installation: ProRes 422 codec

  First pro version CS6 (6.05)

  Thanks again.

  In the project Panel, select all the clips and rightclick/change/audio channels.

  Set it to 2 tack and mono.

  When you drop the clip on the timeline the stereo turns on two tracks.

  You can also set by default in the preferences under Audio (before you import the clips) (stereo to mono).

• Export failed to achieve the required bit rate and colour care space - ProRes 422 in MPEG2

  With the help of first Pro CC v7 I exported a ProRes 422 (HQ) MPEG2 file and selected the HD 1080 p 23.976 preset.  I needed the finished file to have a minimum of 50Mbps flow and the color space to be YUV422.  I was under the minimum flow rate and the color space is incorrect. Can someone please instruct me on how to get my desired results. Thank you!

  MXF OP1a XDCAM options are hard wired for the correct settings for each preset - in the case of 422 @ 50 mbit, it already uses a preset CBR (constant bit rate).  The main codec Concept always Compress contents, so it is quite possible that your source material will eventually take less space than 50 Mbps, depending on the complexity of the images.  There is nothing to replace it, you can change, it's just the codec do its thing.

  I don't see how the color space was incorrect, unless you take what you think that you have chosen.  Make sure you're one of the presets that has 50 in the name, picking, and other (18/35) VBR and space colorimetric 420.   You can check the presets under the video tab - if you have a 50 mbit preset selected, the video codec should list something like "XDCAM HD 50 NTSC (4:2:2)".

  Wil

• ProRes 422 always interlaced "Interleaved fields?

  When FCP X converts 1080i50 sequences of a Canon Legria HF R16 "optimized media" he records them as "interlaced fields", but uses the original film "separated fields" (interlaced, high-field first of all, in both cases).

  Is this normal (i.e.: ProRes 422 always use 'interlaced fields' for interlaced), or something is wrong during transcoding?

  Same thing with iMovie last as well.

  Ensure that what you are trying to say. Interlaced frames are not considered separately. Two interlaced fields make up a single image.

• Shooting 2 k S-Log2 on F5 (AXS - R5) / Prores 422

  Simple questions that I had a hard time getting replied:

  The Sony F5 can shoot 2 k S-Log2? If so, how?

  What is the best way to convert XAVC, 2 k, etc the F5 to Prores 422?

  I was on the phone with a lot of people without any resolution for this.

  Thank you

  -Dan

  The F5 won't XAVC 2 k or 2 k RAW until September free firmware update.

  Slog2 is available only when shooting XDCAM, XAVC or SR Codec internal cards, not BELIEVED. RAW is RAW.

  The R5 saves only the RAW format, nothing else.

  To convert one of these ProRes formats I highly recommend to use DaVinci Resolve. The Lite version is FREE and will until HD resolution. The full version can produce higher like 2 k and 4 k resolutions.

  I wrote a step by step guide how use DaVinci to convert formats of files here: http://cinetiny.com/5SG4yVnQ

• Question about the capture in ProRes 422 HQ

  Hi, I hope that you´re having a great Easter!

  I m a fresh technical coordinator on an award show and do some research on this workflow we want to use for the project.

  As part of the we´re to see the creation of the comedy bits and other small videos for breaking the live broadcast, and I have to take a decision on what format we want in the shooting.

  We´re using first and to facilitate the workflow, I thought ProRes would be a good choice for the capture format. As much as we´re is not a large amount of shooting sequences. For this reason, I think that the shooting in 422 HQ is viable.

  However, I Don t currently have information about the use of we´re cameras, so here are my questions:

  It is common for the cameras to support ProRes capture more precisely 422 HQ?

  Which cameras support it?

  Are all memory cards capable of storing 422 HQ?

  Do you have the experience of working with a workflow of 422 HQ on smaller projects or possibly more? Disadvantages?

  
  

  
  Thanks for your time!

  EDIT: This is the right place for this question? If not, please direct me to a more appropriate forum. Thank you!

  Many high-end cameras are supported the record in ProRes format. If you find yourself using cameras do not record ProRes then you could always tie a convergent, or external such as Atomos products recorder which allows to record any flavor of ProRes to an SSD. Here is a list of Apple authorized products that support ProRes: https://support.apple.com/en-us/HT200321

  I don't know that is how updated, but given that the gun RED 8 K is about, it seems quite common. The list shows NLE, video cameras, and recorders, so it should give you a good start.

  The memory card or the SSD just need to be fast enough to support written bitrate of 422 HQ. Any SSDS should do, if you go with an external recorder. If you go with one of the cameras that uses a memory card, manuals and manufacturers can tell you recommended specs.

  I have experience with ProRes 422, no HQ, but if you have a fast enough machine, it should be quite pleasant to work with. The obvious disadvantages I can think would be needs of storage and bandwidth between your storage and your machine, especially if you go with a multi-cam project. A single stream or two of ProRes 422 HQ should read through any modern storage, high-speed.

• How to add a ProRes 422 audio 5.1 with Lrti audio file to the script with audio mapping even?

  Hi all

  I have a file of format ProRes 422 (1080i 29.97) with 5.1 audio with Lrti. I can't add it to a sequence with the correctly mapped 5.1. I have great difficulty with the LFE channel. Although audio (wave monitor display it), I don't get anything out of this channel. In addition, my center channel seems low. The map should be the following: left, right, Center, LFE, LS, RS as well as the stereo down mixes Lrti. Any help would be greatly appreciated.

  I never did work quite like that, but I'll try this for your sequence settings:

  

  This is to the drummer on track:

  

  And for your export settings:

  

• How to import ProRes 422

  Hello

  I have truoble import prores 422 files in my project to create, they simply do not matter. What should I do? I've already converted the original intermediate codec Apple Apple prores files. Can I somehow import files Apple intermediate codec to Premiere Pro? I am running the latest version of creative cloud.

  Thank you

  K

  It worked after I reinstalled it!

• Last updated wrecked ProRes 422 reading

  With Prores 422 SBDAs. Played fine until today. The update is applied. > "The file has no audio or video streams.

  Damn, why break you, adobepremiere ?

  I'm on Win10x64. Everything went very well before. QuickTime reads the file no matter what (see image below).

  Does anyone have an idea on how to fix this?

  

  It worked again after restarting the PC...

• Is it possible to add audio keyframes to a source clip in the source monitor?

  Hello, is it possible to add audio keyframes to a source clip in the source monitor? (Not the chronology)

  I would like to dive and pre selectively switch off at the source-clip in the trash.

  Bonus round... are waveforms audio visual available somewhere in the source monitor Panel?

  Perhaps with a thread of keyframe-able?

  Thank you very much

  You can not key frames in the source monitor Panel (the Master Clip function applies not to the audio only).

  For the waveform to appear: fiddle the cursor or the playhead in the SM. (this is a bug).

• Is there a way to turn off the sound on the source clips?

  I need a bunch of GoPro filmed by a drone of the screen and the sound is the mind numbing! How can I disable it? Thank you.

  Select the clips you want to keep silent in the project Panel and once you have all selected them, go to the Clip menu > edit > Audio channels and set the number of Audio tracks to zero {0} and click OK. You will get a dialog box warning that this will not affect clips already placed in the timeline panel, click OK. This will make the Video clips of single source clips.

  To restore the audio after viewing the source for use clips in the timeline, repeat the foregoing and redefine the Audio tracks on the number they were before you the muffler for viewing.

  MtD