ProRes Proxy?

Similar Questions

• import proxy files in fcpx

  I have a Sony FS5, it records AVCHD (XML) files and at the same time it will record the proxy files (mp4).

  When I import in FCPX why don't he selects automatic my proxy recorder camera files?

  How can I connect these clips mp4 as the file proxy without having to leave the FCPX re-make, son of proxy?

  MFT uses proxies to format long GOP. Who defeated the purpose to improve the reading even if the small files. FCP uses image I ProRes proxy.

• 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

• 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

• Relink proxy subelements of r3d

  Hello

  I'm working on a project right now where an editor gave me what they had so far. We turned on a Red Epic and ProRes proxy with an Atomos has recorded. In his project to create, it has synchronized all sounds by creating subitems. I have since revived and finished editing. What I have to do now is to recreate a link for the original R3D shade of color. I attemepted to export a final cut xml to integrate Red Cine X to repeat, but it did not work because subitems have been renamed. I was able to find the source file in the subelement and create a link to this file individually, but when I do the advanced subclip still to the proxy file even if the proxy in the project file has been replaced by the original R3D. What are my options at this point, and what is the best approach for the reissue of the sub-elements to the source links? It is a short 13 minutes FYI. Thank you!

  I have it. When I right click, the right to replace the film could not be clicked. What I've done, I clicked on "Make offline" and then clicked on "Link media." This brought a dialog to connect to the source files for the subclip, and then I just found the R3D file and linked. If it worked! Thanks for your help.

• two editors working on the same project on fcp 7: workflow question

  Hi all!

  I am new to fcp (I'm more familiar with media deal) and I'll edit a project that has already been worked on FCP.

  shot mainly in 7 d over a long period of time, the whole material was converted to prores 422 format and is now about 15 TB of hard drive space. the project has been "divided" into several fcp projects (say that each project covers a period of shooting, and then there are several other who only have changes).

  I would like to be able to work in parallel with other chronologies, editor-in-Chief and Exchange.

  My idea is to recompress the projects that correspond to each period of shooting (it's where are the main elements) in prores proxy format and try to reconnect with modifications to those projects. in this way I intend to gather all the material in a 5 TB harddrive and I guess that the time I get to the other editor will reconnect easily. This hypothesis is correct? any ideas?

  each piece of advice will be highly appreciated!

  Thank you

  Nikos.

  Reissue of links, it's a matter of getting your labelling may file storage to match, if you do not change the actual disks, then it should be easy, if you have a single folder renamed path, because it is on a different drive, which quickly rebuilt too.  Relating to raw images.  Once you begin to break things down or work with proxy images, it becomes much more complicated.  I made the mistake of building a project larger than that, with sequences RED proxy files, with the same name in different folders.  What a nightmare to purge old proxies of the final edit (not the name of the product).  Now work with strips of first generation full resolution will work until you need a handful, then you're back in brute.

  Merge a calendar works well but the initial transfer of a project to tends to screw up.  Save after each keystroke, seriously.

• The merged clips appear out-of-sync indicators while in sync

  So I have this weird problem with merged clips showing out-of-sync indicators while in fact, the audio is synchronized.

  Let me explain first the workflow for this feature;

  -Set of 6 K RED footage gets converted to 1080 p Prores Proxy

  -All the proxies and separate audio files are imported into a project file 'Master and Sync' (I use it to synchronize and merge clips as well as rename them)

  -When everything is synchronized, merged and renamed, they are placed in their corresponding scene number folder

  -J' I then open my project file 'Edit' and in the media browser, browse to the file "Master and Sync" project.

  -J' have drag and drop clips/merged records newly created the 'Master Sync' in the mediabrowser, in my project 'change '.

  -J' I change with them and everything works as expected.

  The issue comes in when I try to import a sequence edited of my Deputy Editor-in-Chief.

  -We work with the latest version of first

  -We are working on our own systems at home, but both have local access to all the images that we work with.

  -We have a record of sharing creative cloud where our editing projects are located and saved as well as the project "Master and Sync.

  -When my assistant has completed a first Assembly of a scene I navigate to his project to change the media browser when changing my own project is open.

  -J' I find the finished sequence and drag and drop it into my own project to change .

  And at that time there almost every single clip shows the out-of-sync indicator, but when I play the sequence everything is synchronized. I checked with my assistend maybe if its sequence shows also these indicators, but it is not. So it only seems to happen when I import its sequences. I tried ' display indicator out of sync clips unrelated " in the preferences, but without success.

  

  To add a comment to the audio to video synchronization. I had to make up for a lot of audio clips by a 1 or a couple of images manually because they turned with timecode jamming and not gen-lock. It is so true that technically the audio can be out of sync before their merger all but as you can see on the screenshot the indicators show a shift much larger than 1 or two images (I think the max lag that I got was 9 frames).

  All suggestions are welcome and I really hope I'm overlooking something rather than finding a bug!

  Thank you!

  So, I just got a phone call from Adobe. Technology Adobe told me that he had tested this configuration to confirm that it is seeing the same thing I am. Unfortunately, it has been. He also told me that it is a limitation instead of bug. Is because my assistant and I are working on two different systems and no access don't not on the same physical hard disk and so do not have access to the "exact" same media.

  It would be no problem if we worked on different systems, but to access media on the shared storage.

  The shame if this is considered to be a limitation rather than a bug. Seems to me it is repairable but, Hey! I'm just a simple editor and no programmer so it might be more difficult.

• Merge the Clip do not replace media

  Hello!

  I'm used to working with Apple ProRes (proxy) of media files offline and replacing files multimedia ProRes (HQ) when I'm ready for export online final.

  Now, I'm doing it with the first.

  The thing is that I have synced my files video in proxy pro res with their audio files and created clips merged out of them, but when I replace the core to ProRes HQ media, these merged clips stay linked to ProRes (proxy) media and not update to headquarters of.

  This is how it works with premiere?

  I'm not able to update the media once created the subclip?

  or y at - it another way I should do?

  Thank you!

  This is how it works with premiere?

  Well Yes.

  is there another way I should do?

  Forget the proxies.  Just create copies of quality DI and edit and export with those.  Formats like ProRes and DNxHD Cineform are all good choices.

• First Pro CC DNxHR Support

  Hello

  
  

  I just finished a project with images larger than the 1920 x 1080 resolution. Of using a codec that was flexible with resolution. I'm working on a Windows workstation, so my first thought was to use the DNxHR of Avid format. I created proxies to DaVinci Resolve and the images do not work. Extracts have been very well, others are just black screens. I tried both MXF and Quicktime. I have the Avid Codecs installed. I ended up making ProRes proxy on a Mac workstation. Then, I had to do the same thing after the shade of color. It is a bit of a heavy and inefficient way to work. I would largely maintain all centralized on a single workstation.

  Did I miss something in respect to the first, or not yet functionally support DNxHR? I have these greedy codecs installed:

  Avid QuickTime Codecs THE

  Any help is very appreciated because I would like to find a workflow that can work for projects of high resolution on a Windows machine. This includes the work with proxies of the will (I don't have suggestions to work native and the Speedgrade color).

  Thank you!

  Hi Randy,

  Please check the document below.

  Revealing the next version of Adobe first Pro CC | First work Pro area

  Vinay

• How can I link to R3D files when they are multiple (long resumes 4Gbs).

  Hello guys,.

  I'm transcoding (SOUL) my red images to the H.264 format for easy/fast mounting in another machine slow (the film's Director). But he comes to files with multiple R3D files, long takes over from 4Gbs, it creates several mp4 files, and they are all exactly the same.

  -Can I actually use an mp4 for my editing file and replace with originals later?

  -I should only transcode the first R3D file?

  -How can I connect back once the editing is done? Ive tried but do not know what R3D file should link to and does not after trying it. The mp4 file is take it all, but the R3D are not taking it together since they are separated in different R3D files.

  I work with first CC 2015.

  Thank you so much, I have spent days watching the tutorials but can't find my answer, I would greatly appreciate your help.

  I'd probably transcode to prores proxy, or something that does not have the long form, GOP, as Mp4.   Then, a test and make sure your guard to transcode the original code term when you bind again, there is no problem.

  do a test run w / a clip as not to lose time and when you do a couple of edits in a timeline w / as a clip, click with the right button on the clip in the project bin and select 'replace the clip', point to the original file then who must fill out your edited clip w / new source footage.

  you will then need to change the codec of your timeline should match that of your source.    hope that helps.    Certainly test first to make sure that you have the workflow down before you begin your session.

  This also works when there are tons of clips in your tray of sequences that need to be replace.

  When we work w / R3D files, usually created proxies on the fly for this reason (I think).   I'm sure that simply point to the first R3D file in this order if you make your own proxies, although I have not tested.   the first R3D file will usually connect automatic for the rest.

  This isn't the way we usually work but seems it should work.      Good luck.

• For help. MXF outside the P2 folder structure?

  For a big project that will involve to ingest about 500 to a Panasonic Varicam P2 cards, I'm trying to work on a workflow where I can get out of the folder structure of the P2 card for improved flexibility to store huge amounts of clips for easier (re) to link to files proxy or source material.

  I did experiments with just copy the. MXF files from the AVCLIP folder to another location: a folder named "SOURCE" on another disk. First always load and bed these clips without complaining and I keep my 4 audio channels. If I transcode these. To ProRes proxy MXF files and store them in a folder named "PROXY", I can easily (re) link to the source material or proxy servers. Which is exactly what I want. I don't think that I have an important use for metadata of origin in the XML files that are separated in the CLIP folder or the thumbnail files in the folder of the ICON on the P2 card. The other files are empty anyway.

  It seems to work very well, so what am I missing (potentially)? Is there a reason why this would be a bad idea?

  I would keep the in the P2 folder structure.

  If break out you the MXFs, you will lose connection files between clips that are more than 4 GB in size as well as the files that span different p2 cards but aussient lose clip metadata.

  You will travel to a world of pain.

  Don't worry about using a proxy workflow, just buy more hard drives. They are pretty cheap.

  Martin

• Codec of Attorney for AVCHD editing on iMac?

  Hello

  that I discovered (and posted on other threads), my new iMac 21.5 "is unfortunately not able to smooth video editing AVCHD natively (disk hard config, no hardware acceleration engine Mercury, etc.). So, I went to the transcode to QuickTime...

  I just CTF, so I have only Apple Intermediate Codec available on my computer (as well as those that come with CS5.5). I also downloaded codecs and Cineform of Avid. The latter will not work for me, so I can post questions about this in another post.

  In any case, transcoding works fine and I can edit with smooth playback in PP BUT, of course, I get massive files. I can't seem to find the codecs 'proxy' in the list in the SOUL, so I'll try to understand what type of optimization that I can do to get more small files transcoded while having something watchable (in preview in PP) and give me enough quality to edit (currently I mainly use color correction and stabilization) (on top of the usual titration transitions, etc.). Note that I have replace the files transcoded by the original film before exporting it in the SOUL to preserve the original quality.

  Below, I will quote the coefficient of expansion I get for a video AVCHD 130MO 1080i60 (Sony HX5V, 17 Mbps) using a quality setting of 50% in the SOUL (good quality settings didn't seem to affect the final size much, or not at all):

  AIC to Apple: 5.2 (~ 120 Mbps)

  Avid s 145: 7.6 DXnHD (~ 147 Mbit/s)

  Note that I have listed this results in descending order of processing speed. The video quality seems similar to my eyes untrained (on the tab test I used, at least). I have not tried other codecs (the list is quite long, and not all are good for a film to 1080i).

  I noticed that the FCP comes with a codec ProRes "proxy" with a rate of 45 Mbps, which would give an expansion factor of 2.6, which is a significantly smaller expansion factor (two times smaller than AIC).

  Now, of course, I could try transcoding in a non-QuickTime format. MPG2 comes to mind. Default flow is 15 Mbps! But I have not tried yet in a PP scenario, so I don't know, it's easier to edit with my iMac as the original clip of H.264 (AVXHD).

  -It's worth it to me to spend $ 50 on compressor to get access to this codec?

  -Are there a free codec (or a combination of settings for some of the codecs with CS5.5) which would result in a similar expansion rates?

  -I'm asking the wrong question or lack of some important points?

  Thanks for any comments.

  You can certainly use DNxHD or ProRes (if you want to pony up for it); they are quite similar in many ways. The biggest problem is that Pr not not native a 64 - bit decoders for these codecs, so you'll be relying on QuickTime to decode; This means that you will through the app 32 bit Bridge Adobe wrote. It's really not that big of a deal: I'm working on a fairly long documentary with shots of ProRes project (SD, however) on a PC, and the performance is surprisingly good. So, it's certainly worth a try with one of these codecs.

  You could certainly give MPEG2 suddenly, especially at a rate of 100 Mbps or more (although I think Pr top out at 100 Mbit/s, in any case), using at least the high profile and high level (going to the 4:2:2 profile would allow you to increase the speed of transmission up to 300Mbps) and creating a single file image I. To create a flow of MPEG2 I-frame only, set managers of M and N, supervises the values for both 1. In this way, each image is compressed independently from any other image. Note that your options audio Dolby Digital (AC3) and MPEG-1. This will create an MPG file that imports in Pr without problem, and it will also be decoded with the 64-bit MPEG2 decoder.

  The files will have more big - to 100 Mbit/s, your size will be about 4 times larger than the original AVCHD clip, for example - but MPEG2 is easier to decode than H.264. You'll have to do some testing, but it can provide a little better experience than what you experience now of edition.

  Hope that helps a little...

• 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...

• ProRes 422 LT or H264 source clips?

  For a particular edition project each video clip has been provided to me by two codecs: H264 (directly from the device) and Apple ProRes 422LT (I think that these have been produced via the compressor original H264 clips). I need now to start editing in FCP X. The question is which set of clips should I load in FCP X? 422LT tongs are four times the size of the H264 clips and so will gobble up the disk space. Is that their advantage uses them, instead of H264 clips with proxy files created by FCP X for editing?

  Thanks a lot for your comments.

  If you have a newish, with fast CPU and GPU computer, then there is probably no need to use the LT files. You also should not need proxy files either, unless you do a multicam project.

• 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.