Rendering format ProRes freezes

Similar Questions

• FCPX - Rendering Format and Export Options

  1. in the project settings - rendering format does determine the size of your record files will be? + What is the purpose to the project Format parameter in FCPX?

  2. If you edit the project with rendering parameters of the Apple ProRes 422 format and once you finished, you change the project settings for Apple ProRes422 HQ and export you it in the form of FILE MASTER & H264 - this will make the difference in terms of quality of exports or what will be the difference if you export the project with the project settings to make the selection of the Format such as Apple ProRes 422 vs export the project with some project settings with the rendering Format Selection as Apple ProRes 422 HQ?

  How can 3, you Batch Export of Clips from the event viewer in Final Cut? For now I see that you are limited to 1 export clip in Event Viewer that is located in the library.

  1. Yes. The goal is to select a rendering parameter that is suited to your hardware and your needs. You can render in low quality if you want to help the reading or very high quality for more details in the picture, especially if you work in the UHD formats.

  2 No.

  3. There is no real batch export feature. You can export in order by putting in place a default destination and export quickly with a shortcut, a file after the other. Do not wait for each file to be completed. There is also a utility called exporting Clip that might help if you need to export files. Or you can use the compressor.

• change of format ProRes files, then export WITHOUT encoding again

  Hello world

  I am re-editing of a 52-minute documentary of a file of format ProRes 422 HQ, which was the first version.

  All I have to do is to cut some shots to shorten the 40-minute documentary. No effect, nothing else that cuts.

  When I export the new version back in the file format ProRes 422 HQ (exact same format as the source), it seems that first (or Media Encoder) is again encoding format ProRes 422 HQ (new generation...). The loss of quality is unperceptible, BUT it is slower that we should...

  Is it possible to export my new short version in the same format in a sort of passtrough (just a copy of the original file that I've kept)? Final Cut Pro 7 is the way...

  Thank you!

  noar

  Take a look at this:

  Smart Rendering in Premiere Pro CS6 (6.0.1 and later), & first Pro CC

• can someone tell me why in my missing rendering formats, such as MPEG 4

  can someone tell me why in my missing rendering formats, such as MPEG 4

  View you and export formats such as MPEG-2 and MPEG-4 with Adobe Media Encoder:

  using Adobe Media Encoder to create videos WMV, H.264 and MPEG-2 for After Effects

• Anyway to save a rendering after computer freeze?

  I'm just going to assume that there is nothing one can do in this case... but just in case, thought I would ask: is it possible to recover what has been rendered if his computer freezes rendered environment?  I have a project which takes about 8 hours to render.  6 hours in my record, my macbook was frozen and the system restarted itself.  Is it possible to pick up from where I left with rendering?

  Thank you

  Sorry, no, Snorpthus.

• 1 model of multiple MOV files with different rendering formats?

  Hey guys, I just find the "Add Output Module", which can make my computer more than a MOV file, which is great.

  I just want to check, that's for sure, or it is put to the test the system? Thank you!

  I usually make a file in After Effects and then use a workflow similar to what you describe in Adobe Media Encoder to make my deliverables.

  After effects can not make multipass encoding, if you H. 264, as Rick says, you will really have a less-buggy more multipass-capable encoder such as Adobe Media Encoder.

• By clicking on the links 'Format' 'Preset' freezing SOUL Build 8.1.0.122

  I get the problem of gel when you try to export clips from SOUL CC 2014.

  I get this on two different computers, and he just clips sent through first or AE. All cc 2014.

  If I drag and drop a gift so it works very well and usually will allow me to click on the links then. By clicking on the file record works just dandy.

  Computer settings:

  iMac 27 ", running Yosemite 10.10

  1 tb SSD.

  Soon, 24 GB of ram, i7 3.4ghz

  Anyone can fix for me wins a supply to life of Stretch Armstrong figures... (1 is 1 too many).

  I think I know what is happening here so if you could try this one more time, but wait a few minutes to see if the export settings dialog box is in place. There is a known issue in Yosemite that causes this dialog box to take a long time to open and make the application will appear as if it does not. If you try and the dialog box then opens, then we are talking about the same bug. The good news is that, once you've waited him once, the problem goes away until you raise SOUL. We have alerted Apple to the issue, and they hope to solve in a future update.

• 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.

• Since FCPX as file format for iDVD

  Hello.
  I wanted to know what is the right way to export a Final Cut Pro X on a DVD with iDVD software.
  Usually export to format ProRes, but files are very grain.
  There is a procedure for this purpose?
  Thank you.

  Export as a master file ProRes LT will work fine.

  Drop export into iDVD, and let it do the coding.

  Expect a drop in resolution is always standard definition DVD.

  Al

• 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...

• 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

• CineForm/ProRes

  Hello

  I need to provide a meeting place with a file of format ProRes on my movie.

  As a Windows user, I can not encode export to ProRes format (unless there is a way?), so am I could export to a lossless as Cineform codec to provide the venue with what they can then convert it to a format ProRes for screening of thought. They are happy to do it, providing the codec I give them working on a Mac with Final Cut Pro.

  I wonder if Cineform is the best option for this (and what are the best settings) and also if it is compatible with Macs running the FCP? I would like to avoid having the place need to install codecs so could use another lossless format that is already built in FCP when it exists.

  Thank you!

  CineForm is not lossless, but then again, isn't or ProRes.

  However, Cineform is good too like ProRes and a perfectly acceptable replacement.  Out of PP, it will be created as a QuickTime file, but this does not necessarily mean that it'll work on FCP.  You should send them a small sample file to see if they can work with it.

• Formats files and other things for hi-quality HD video, multifaceted question?  Help, please!

  I just bought a Panasonic SC - V770 HD camcorder.  He recorded in 1080/60 p AVCHD or 1080 / 50 M MP4 as options high Qual... First Q?  should what format I use to capture my videos at home for the highest quality.  2nd Q, my plan is to store them on a server computer that I use for broadcast on the network and watch on my HD TV.  What should be the final revised/rendering format of the first Pro CC for streaming and backup to keep my HD videos of high quality for years to come?   Should I store in a Hi-bitrate MPEG2 HQ or HQ, Hi-bitrate H.264 mp4?   Thank you!!

  There is no easy answer.   AVCHD and H264 MP4 are capable of high quality capture and storage.  Which is better choice boils down to what your made.

  Both formats are saved via a codec that compresses (but almost everything is these days.)

  In terms of absolute quality, AVCHD is probably wins by a nose.  However, in terms of compatibility, file size and current usage is, h.264/MP4 is probably the slight winner...

  FYI, AVCHD is a format jointly developed by Sony and Panasonic, so if someone can get the best out of it, there's a good chance it could be you Panasonic camcorder.

  Frankly, you will get good quality of work so be it.  If it were me, I would probably shoot AVCHD then, after editing, export to MP4 H.264 for the storage and distribution... but there is no answer "right".

• 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:

  

• Workflow | CS6 FIRST | PC Win7 | ProRes 4:2:2

  Hallo, community,

  Vacancies der says schon das Wesentliche actually: Ich habe mein erstes Projekt mit ProRes 4:2:2 auf Premiere Pro CS6 vor der Brust (die Kamera Canon C100 war) und bin nun auf der Suche nach dem idealen Workflow as Windows-Maschinen auf which man ja Previews Endausgabe noch die weder die mit dem ProRes Codec paper kann. Für alle PP6-Workflows ProRes, die ich ergoogelt habe waren bis dato as Mac. Technical specifications meines Rechners see unten. If additional info also breast, gauthier ich die sehr like leclerc.

  Den as Windows habe ich already runtergeladen ProRes Codec Pack. DAS Projekt ist ein Kurzfilm mit 16 scenes (zum Ende im Prinzip hin - und herschneiden zwischen zwei Motiven hin). Würde mich freuen, wenn sich da auch ohne Apfel-Rechner gut mit arbeiten jubilant .

  Mein Rechner:

  OS: Windows 7 | 64 bit | Ultimate

  Motherboard: Asus | P8P67 DELUXE

  Processor: Intel | Core i7 - 2600K 3400 1155

  GPU: ASUS | GeForce GTX760 | 1 dB

  RAM: G.Skill | Ripjaws 16 GB 1333-999 | 4x4GB

  System drive: ADATA | Internal SSD 128 GB | ASP900S3-128GM-C | SATA

  Monitor: Eizo | 23 L FS2331-BK

  Viele Grüße,

  Finn

  The translation was not perfect, but if I understand the question, you can EDIT ProRes on PC, but cannot export to ProRes format or use ProRes for previews. Apple has not provided the codecs for PC create format ProRes files, only to read.

  Don't worry previews, use the default format. To export, you can download the Avid DNxHD codec which is very similar to ProRes quality and also creates a .mov file. When you export, do not check the option 'Use previews', just that it made to export direct source on chronology format.

  Thank you

  Jeff Pulera

  Safe Harbor computers