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

Similar Questions

• When you try to import a .mp4 file in windows movie maker, the program does not list the file when I search for it in his file.

  When you try to import a .mp4 file in windows movie maker, the program does not list the file when I search for it in his file.  Help, please.

  As I suggested previously, conversion to a format like
  . WMV before you import it into Movie maker may be the solution.

  The free Converter from Microsoft can be a place to start:

  (FWIW... it's always a good idea to create a system)
  Restore point before installing software or updates)

  Download Microsoft Expression Encoder 4 with Service Pack 1 (SP1) (freeware)
  http://www.Microsoft.com/download/en/details.aspx?displaylang=en&ID=24601
  (runs under WinXP SP3 / Vista / 7)

  When you install the program...
  Start Microsoft Expression Encoder 4
  (Start / programs / Microsoft Expression /)
  Microsoft Expression Encoder 4)

  On the "Load a new project" screen...
  Left click... "Transcoding project '...

  When the program opens, click on... File / import...

  (If at any time you get lost while browsing
  the program of... to... Window / active Reset
  Type or workspace... CTRL + SHIFT + R)

  Look for the file/s that you want to convert.
  (If files do not appear... open the fall
  window and choose... All files)

  Click (highlight) left the files and the left on the Open button.

  You can see the files in the "Multimedia content" pane

  In the right column... left click on the tab "Output"...

  Open the drop directory window and choose an output folder.
  (This is where you will find your converted file)

  On the left, click on the button "encode".

  Wait... video encoding CPU intensive and can
  be a slow process. It is always best if you do not have
  multi-task while files are encoded.

  Now... try import you again. File WMV in Movie Maker.

  More converters:

  There are to many converters available on the net...
  the following links are some examples. You can
  need to experiment to find the best result.

  Proceed at your own risk *.

  (FWIW... it's always a good idea to create a system)
  Restore point before installing software or updates)

  (1) format Factory (freeware)
  http://www.videohelp.com/tools/Format_Factory
  (the 'direct link' is faster)
  (the file you want to download is: > FFSetup270.zip<>
  (FWIW... installation..., you can uncheck
  'all' boxes on the last screen... even in this case, it may
  install the Ask toolbar on your system)
  (Windows XP / Vista / 7)

  First, you will need to decompress the file or just open the
  Drag FFSetup270.exe out of the folder
  and drop it on your desktop. To install left click.

  (2) Freemake Free Video Converter (freeware)
  http://www.Freemake.com/free_video_converter/
  (Windows XP / Vista / 7)

  (3) Koyotesoft Free Video Converter
  http://www.koyotesoft.com/indexEn.html
  (2000/XP/2003/Vista/Seven)

  (4) Sothink Free Video Converter
  http://www.Sothinkmedia.com/video-converter/
  (Windows XP / Vista / 7)

  (5) hamster Free Video Converter
  http://www.PCWorld.com/downloads/file/FID, order 155794, 4 pages, 1/download.html
  (Windows XP, Vista, 7)
  (If you choose Custom Installation
  You can uncheck additional modules you
  do not want to install)

  (6) quick Media Converter
  http://www.Cocoonsoftware.com/
  (Win XP, Vista, Win 7 Home Premium)

  (7) SUPER © Simplified Universal Player Encoder & Renderer
  http://www.videohelp.com/tools/Super
  (the download mirror site is faster) (Windows XP / Vista / 7)

  (8) Xilisoft Video Converter
  http://www.Xilisoft.com/video-converter.html
  (not freeware but receives good reviews)
  (Windows XP (SP2 or later) / Vista / 7)

  Good luck...

• Images of transcoding DSLR: Prores Alternatives?

  After much research, I am convinced that I should try adding a transcoding step to my 5 d Mark iii footage before editing it. I've been editing in native h.264 files in first with no problems, but the forums around the internet promise more flexibility with the color and effects if I transcode. Of course, Prores is mentioned as the best option. But I don't have FCP and therefore do not have access to Prores from MPEG Streamclip. The SOUL prores preset that adobe offers (found here) warns that I have of the FCP for it to work. So I'm lost. I want to try the workflow of transcoding before as I edit, but I don't know how to get Prores. Is it possible to get it on my machine without the FCP? If this is not the case, what is an alternative that will give me this enigmatic performance/color advantage, that everyone talks about.

  Thank you all!

  Johnny

  Hi Johnny,.

  Johnnymangosteen wrote:

  Kevin,

  Thanks for the reply. I do have a mac. If I had to transcode all my images before editing it, I would with a program of commands like prelude or media encoder. I do not see ProRes either. Am I missing something?

  Sorry I was wrong in asserting that the ProRes presets are installed automatically. They are not. You must create your own presets in the SOUL, and then they will be available as a prelude. To save time, download the presets here: Adobe - Adobe Media Encoder: for Macintosh: SOUL CS6 additional Presets for ProRes (MAC ONLY): thank you that have been created to CS6, but they have not changed since then, so it's OK to always use them.

  After the download, them, in the SOUL, click program category, and then use the import Presets button to browse the downloaded presets. Click Open and they will be imported in the SOUL. Prelude to revival and the presets are available, as well.

  I hope it works for you.

  Thank you

  Kevin

• Flash Movie becomes slow

  Hello

  I have a dynamic portfolio site that gets more I load SWFs.

  I am sure that I unload and remove headphones as well, but something is not right because after enough back my site slows to a crawl.

  Here are the commands that I use to create/cancel assets:

  site_mc.feature_mc.menu_mc.back_btn.addEventListener (MouseEvent.MOUSE_UP, backToGallery);

  site_mc.feature_mc.menu_mc.back_btn. RemoveEventListener (MouseEvent.MOUSE_UP, backToGallery);

  swfLoader = new Loader();
  site_mc.feature_mc.loader_mc.movie_mc. AddChild (swfLoader);
  var bgURL:URLRequest = new URLRequest (link);
  
  swfLoader.contentLoaderInfo.addEventListener (Event.COMPLETE, swfLoadComplete);
  swfLoader.load (bgURL);

  function swfLoadComplete(e:Event):void
  {
  
  trace ("file loaded");
  change the frame rate
  getFeatureData();
  trace ("FRAME RATE:" + _frameRate);
  stage.frameRate = _frameRate;
  showFeature (site_mc);
  }

  TweenLite.to (site_mc.feature_mc.loader_mc.movie_mc,.1, {alpha: 1, delay:. 45, crush: 0, onComplete:unloadFeature, onCompleteParams:[site_mc]});})
  
  function unloadFeature(site_mc:MovieClip)
  {
  unloadSWF
  swfLoader.unload ();
  site_mc.feature_mc.loader_mc.movie_mc.removeChild (swfLoader);
  }

  I tried Loader.unload origin, but for some reason any my loaded SWF would not animate properly. It's probably some incompatibility of AS2 nerka, but I was hoping that I was doing something appropriate cancel these loaded assets.

  Is this correct? Or is there something that often causes that I'm missing?

  It's not like you're unloading all of the loaded content.

• How to import a mp4 Movie Maker Windows XP Home edition

  How to import a mp4 video in windows movie maker.  It does not recognize this file extension

  Hello

  You can import files with the following file name extensions into Windows Movie Maker to use in your project:

  • Video files: .asf, .avi, dvr - ms, .m1v, .mp2, .mp2v, .mpe, .mpeg, .mpg, .mpv2, .wm, and .wmv

  • Audio files: .aif, .aifc, .aiff, .asf, .au, .mp2, .mp3, .mpa, .snd, .wav, and .wma

  • File Picture: .bmp, DIBs, .emf, .gif, .jfif, .jpe, .jpeg, .jpg, .png, .tif, .tiff and .wmf.

  See also:

  http://support.Microsoft.com/kb/308464

• 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

• LOSSLESS are COMPLIANT (60 fps to 24 fps) to MP4?

  Hey all,.

  I remember back in the day using Apple's Cinema Tools to conform to my videos and turn them in slow motion. It was very useful because there is no need of any rendered so it is instantaneous, but best of all there is no rendering is necessary so no loss of data. Cinema Tools unfortunately doesn't support MP4. I was able to transcode to ProRes but there are a lot of images, and I don't want to lose all that space for this project. If I transcode to H264, it changes the color slightly - almost as if it warms up the shot. So I would avoid transcoding to another format at all if possible and just comply with the original MP4 clips as how I used to be able to make Cinema Tools with my SBDAs. Does anyone know a way to do this, but with the MP4? I can't do first because first does not support consistent with the forms of proxy frame rate and I need proxies.

  IvanTheEditor wrote:

  How is it different from their export to ProRes format?

  It is an alternative to the Pro Res.

  What is less compressed than ProRes?

  CineForm and ProRes are far, very far, much less compressed that your original source footage, will suffer less artifacts of compression during the drafting process, as both are designed especially for use in editing and support subsequent recompression in a deliverable format.

  I try to avoid transcoding the original files either, and simply change the frame rate. It is possible to do with SBDAs, why can't do with MP4s?

  The MOV extension is just a label. It's like a box a shelf marked "movies." It does not what is inside the box - movie 8 mm, VHS, DigiBeta tabes, etc. A file with the extension .mov quicktime can be a format ProRes file, it could be H.264 or mpeg.

  That said, to answer your question, Cinema Tools works only with the intra- image files, not inter- frame files. Your mp4 clips are inter-frame, which means that individual images are packed together in groups, rather than as individual images. Res Pro and Cineform are intra-image formats, which means that each image is kept stored individually - make the file a lot easier for the NLE to work with (but the file sizes are much larger).

  For the acquisition and delivery, inter-field formats are acceptable as they keep the file size small.

  For editing and composition, it is best to work with the intra-image formats to preserve the quality of the image.

  Even give up a lot of productions using inter-field during acquisition and record directly to an intra-image with recorders outboard format.

  MtD

• 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.

• PP 2015 despises wrapped mov h.264? What is ClipWrap, 'PF' 29.97 cadence Canon...?

  OK, ok, I know that many recommend transcoding to ProRes and DNxHD codec h.264... something not long-GOP. BUT I "ve been doing this for years in PP with no problem in waiting Media + we have just upgraded to a new MacPro.

  After several hours of testing and tweaking, we have 2015 PP solid running, YET it takes between 15 to 20 minutes for the graphic Media pending at the end before any work can be done. After testing various projects on different Macs, nothing changes. It is clearly a problem with PP 2015, possibly in tandem with our images. (See the link to the previous post at the bottom of this post with more details).

  PP really don't like h.264 images now? WHAT is our 'footage' workflow AVCHD 1080 p shot with a Canon C100 Mark II in Canon PF29.97 frame rate is 24mbps: wrapped in mov with ClipWrap. So no transcoding. I'll test by creating a temporary project linked to the AVCHD video right. I really prefer not to transcode if possible.

  BUT I wonder someone else's thoughts on the issue pending Media and this workflow for the Canon PF29.97.

  Thank you!

  See previous related post below who succumbs to a lonely death :

  Media waiting for 20 minutes after the opening of a project to create

  OK, so finally I have found the common denominator, at least with any variation of H.264 videos we have (all original AVCHD, or all of the original MOV or ClipWrapped AVCHD to MOV format).

  With first CC 2015 (2015.0.2) If you have any medium-sized project (in our context: 35 sites in icon view on the second monitor, 60 gigs H.264 source images) with several open bins and set of icons, it takes 15 to 20 minutes for the multimedia graphics pending to go. Once the waiting Media chart goes, any clip load immediately when I double-click on, however at the start of the images appears and audio, but the video is frozen for more than a few minutes, then all right. The project behaves as I expect no problems. 15-20 minutes before I'm running, really?

  IF I go to each bin icon to display the list, save the project, re-open/close, pending media appears as a matter of seconds before first is up and running with no problems. We did not have this issue of media in super long wait with first CC 2014 and that we actually use a MacPro 2010 older at the time.

  Something has changed in the way the first treats H.264.  I'll post a bug report.

  My first test with original AVCHD not included many of the images and not all bins have been put in icon mode. So my bad for not comparing apples with apples.

  -----

  We currently use a MacPro 2015, 3.7 GHz quad-core with 10 MB of cache L3, 12GB (3x4GB) of 1866 MHz DDR3 ECC, 512 GB of flash storage based on PCIe, Dual AMD over-pants D300 GPU with 2 GB of GDDR5 VRAM each. First 2015.0.2 last Yosemite (10.10.5) with a pregnant crush Sonnet with a Kona convince, SeriTek eSATA and SCSI card. Training software five RAID connected via eSATA.

• 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

• Audio in .mp4 cutting file

  The audio in the mp4 file, I try to use gets cut. He plays 95% of it, but for some reason any interrupts audio towards the end. I checked the file on a PC and Mac as well as on both the audio shows very well, but when I open it on my computer (Mac), it is cut. I tried a clean install of AE CC 14 and that did not help.

  Export the audio track in a separate audio file, not COMPRESSED like wav or aiff and use it in AE.  Media encode from Adobe should do.

  While you're there, you might just transcode mp4 as well; a movie quicktime in codecs Photo JPEG or PNG would be better for the use of AE... and you can keep your audio with the video file, too.

• 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.

• Burn (.mp4) iMovie to disc w/iDVD?

  Created a movie w/iMovie - is 28 + min long - "exported 'Théâtre'" & created a file on hard drive... exported as a .mp4 file in "events movies/iMovie / * .mp4", however when I open iDVD (7.1.2) and try to create a new project, or Magic DVD... whatever... the .mp4 file appears not anywhere in my options. Can I just move it (drag & drop)? IDVD does support the .mp4 files? I'm so confused by this...  The file is "too long" (more than 15 minutes) to be supported in iCloud, so it will not appear in iDVD... is that correct? Why do not these programs get along perfectly...?

  DVDs are standard definition so your HD file cannot be used.

  Share file into iMovie and change the size of the 480 size and save it to your desktop. Use this file with iDVD.

• Netflix movies are inaudible, when I stream from my computer all of a sudden

  How can I get the movies to become audible when I play streaming netflix, I uninstalled silverlight and reinstalled, but it do not have movies become audible.

  Hello Najlaahasan,

  In response to what Veritas Aequitas suggested, it's the Netflix support site:
  http://www.Netflix.com/help

• Adobe Media Encoder is not looking for additional audio top titles when the video clips to transcoding.

  I have 4 K images with 4 mono audio tracks recorded.  Two of the tracks are dead audio, both are mic on the camera.  I need this audio, synchronize externally recorded in PluralEyes tracks, but that is besides the point.

  When I use SOUL 6.0.2.81 (part of the CS6) to transcode my 4K MOV files in images of 1080 can be used for offline editing, it seems that pick up the first two tracks (dead) and ignore the titles 3 and 4, which contain audio live.

  So far the only solution I found is to put each clip in the first separately.  First recognizes all 4 tracks.  I remove the first two, then export to first to 1080.  It's waaay to strong workforce given the number of shots.

  Any ideas why SOUL would not pick up the two audio tracks?

  Under settings QuickTime Audio, you can try the 'Uncompressed' codec that is multi-channel options?  Then, please use option 'Channel 4 '.  This should export all the four channels.