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Where is ProRes Export Setting?

May 15, 2012 11:59 AM

Tags: #settings #export #fcp #premier #prores

I own FCP 7 and do not see where i can set up a Prores sequence NOR export out to 10bit uncompressed (animation)....basically my deliverable is Prores....but do not find anywhere Prores settings.

 

Do I need to import them from some place within my FCP app?

 

Below are snapshots of my available sequence settings....Screen Shot 2012-05-15 at 12.57.46 PM.png

 
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  • Currently Being Moderated
    May 15, 2012 12:07 PM   in reply to johnnyfriday

    Select Quicktime in the export dialog.   Ignore the preset.  Now go to the Video Codec in the Video Tab and choose Animation, Prores, etc.... it's all there.

     
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    May 15, 2012 12:30 PM   in reply to johnnyfriday

    OK - so looks like you figured out the codecs while I was doing a screen capture

     

    For the main sequence, either drag a clip to the new sequence icon and have it create a sequence for you, or simply create a sequence that matches your frame rate, progressive / interlaced and size (e.g. 1920x1080).  After that it doesn't seem to matter much.  It all plays well.  Once you've got the settings right you can save your own preset and use that from there on if you want.

     
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    May 15, 2012 12:32 PM   in reply to ExactImage

    Also, once you've chosen your export codec (see your screen grab) you can also set an export preset so that you don't have to do this over and over, it will just become one of the Quicktime options without having to select a coded lower down.

     
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    May 15, 2012 12:42 PM   in reply to johnnyfriday

    < scratching head here >

     

    Why don't you just set up your sequence as a DSLR 1920x1080 25p if that's what you are looking for and import your TIFF images as required?

     

    I don't think 1920x1080/50p is an official specification is it?    Maybe you mean 1920x1080 / 50i ?

     
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    May 15, 2012 1:30 PM   in reply to johnnyfriday

    I think you should take your tiff sequence out of the 29.97 timeline.  Then bring it into your 50i timeline.  Overall, you may want to watch these movies, which may help you

     

    http://www.retooled.net/?p=116

     

    http://www.retooled.net/?p=123

     
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    May 15, 2012 1:53 PM   in reply to johnnyfriday

    johnnyfriday wrote:

     

    I'm assuming there may be no advantage or downside to taking my current sequence where i imported Tiffs and dropped on my 1920x1080p @ 29.97 timeline....

    There is a MAJOR dissadvantage to doing this, and that is that Premiere will not retime the frames, it will have to interpolate the frames and you will almost certainly lose quality (possibly significantly).

     

    If your destination is intended to be 25p or 50i then I would create the sequence as 25p / 50i BEFORE you import the TIFF files so that on export each and every frame is taken from the source files instead of being interpolated when it gets retimed.

     
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    May 15, 2012 2:09 PM   in reply to ExactImage

    What was the source of the tiff sequences, was it footage?  A timelapse?  Graphics?

     
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    May 15, 2012 2:52 PM   in reply to johnnyfriday

    Glad I could help.  It was complicated for me coming from FCP7 as well, so when I had it figured it out, I thought I would pass along the knowledge.

     
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    May 15, 2012 2:59 PM   in reply to johnnyfriday

    Ok, with that said, I'm not sure why you went to a Tiff sequence.  But since you did, I would say, edit at 29.97, then do your conversion AFTER the fact.  That way, if you ever get an NTSC deliverable, you are set.  Also, you will get a consistent pull down when you convert to pal.  Of course, there are a million ways to do this, but for me, keeping your edit at what the majority of your source is, is the best bet.

     
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    May 15, 2012 3:06 PM   in reply to johnnyfriday

    Others correct me if I'm wrong, but the max bit depth is appropriate when doing color correction, it converts your sequence footage to be treated in floating point 32 bit space.  Max render quality mainly comes into play when doing a lot of different scaling.  So if you have 4K, 1080, and 720, that may be appropriate for you.  However, it may only be necessary for your exports, not your renders. 

     

    You will NOT be seeing the best image from your renders with iframe as your render setting.

     

    However, for your exports, that only matters if you check the Use Previews checkbox when exporting.  Otherwise, everything will be recompressed anyway.

     
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    May 15, 2012 3:16 PM   in reply to johnnyfriday

    I would suggest trying again with R3D, 2 years ago is a long time in the video world.  Whatever was the issue then, may work perfectly well now.  Of course your system will have to be beefy enough to handle it, but if you can handle tiff and dpx, there is a good chance r3d will work.

     

    If you want to keep everything consistent, you could transcode to prores in prelude at the start of the project. (I assume u are in cs6 right).

     

    One thing to be careful of is making sure you have a preset for all of your frame rates of your source.  Prelude suffers from AME's inability to just pass through frame rate into final encodes.  So it's pretty easy to mess that up if you don't know what your doing.

    OR if you are worried about that, just drag your source clips into AE.  Make a new comp for each by dragging all of your items on the new comp button, (can do as many at once as you like) and then all of their source settings will pass through.  Just make sure timecode is set to come through.  Of course, then you lose things like reel names (with AE, not prelude). 

     

    So if you are doing more of an online offline multifacility workflow, I would try just working natively first.

     
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    May 15, 2012 3:46 PM   in reply to reToolednet

    Thanks for those videos.  I *thought* I'd learned something that was going to save me lots of time - and in reality on a Mac they probably would.   Unfortuantely we've got a few PCs in here now too, and the options for preview rendering codec are somewhat limited.    Any on know how to shoehorn DNxHD in to the options?

     
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    May 15, 2012 3:52 PM   in reply to johnnyfriday

    10 bit uncompressed would be totally suitable

     
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    May 15, 2012 4:27 PM   in reply to reToolednet

    Not sure what you mean about the gamma shift though.  I tested some Red One footage, I don't have a ton at home, just a random clip.  Brought into a prores sequence in PP CS6, exported with match sequence settings.  Brought back in, looks exactly the same.

     

    As for PC options, I'm not really sure.  I do think Premiere needs a good codec option, especially on the PC.  Perhaps the AVI setting of V210, or whatever they call the Uncompress 10 bit AVI could be a good choice.  Any PC users want to comment?

     
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    May 15, 2012 5:41 PM   in reply to johnnyfriday

    johnny, I think you need to elaborate on your process that causes the gamma shift 100% of the time. 

     

    I'm not a colorist, but am very sensitive to gamma shifts.  The kind that plagued FCP and compressor for, pretty much always, including FCPX.  That said, just doing a native RED clip in PP, then exporting to prores.  I can bring the same prores clip back into the timeline, over the RED clip, enable and disable it and see 0 difference.

     

    Perhaps a hint on scopes, but none visible to my eye.  Of course, it could depend on the red camera the clip is from.  So more steps are needed on camera and what u are doing when seeing the shift.

     
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    May 15, 2012 7:17 PM   in reply to johnnyfriday

    But I'm not talking about using redcinex.  I'm talking about editing

    natively with the r3ds in premiere pro.  Then exporting to pro res.  PP

    handles native red edits surprisingly well.  For more info watch my

    video on the "default scale to sequence" setting in Premiere Pro.

     
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    May 15, 2012 8:05 PM   in reply to johnnyfriday

    Yeah, I did a few tests for you.  No issues on my end.

     

    First test.  Bring .r3d file directly into PP (not the quicktime proxys, but the actual .r3d), put into 1920x1080 23.976 timeline with ProRes422 as render file setting and make sure Scale to Frame size is checked on the clip.

    Add a three way color corrector.  Export, by hitting match sequence setting in the export sequence dialogue.

    Reimport. Lay prores clip over red clip.  Enable and disable.  They look exactly the same.

     

    Second Test.  Bring .r3d file directly into PP (not the quicktime proxys, but the actual .r3d), put into 1920x1080 23.976 timeline with ProRes422 as render file setting and make sure Scale to Frame size is checked on the clip.

    Right click on the clip in the project panel and click on source settings.  Change things like temperature, shadow, etc. in the RED RAW settings.  Export, by hitting match sequence setting in the export sequence dialogue.

    Reimport. Lay prores clip over red clip.  Enable and disable.  They look exactly the same.

     
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    May 15, 2012 8:29 PM   in reply to johnnyfriday

    So to clarify, you trancode out to prores.  Lets say from redcinex,

    correct?  Then open that prores file side by side with what?

     

    I have yet to lay off a red native job directly to tape from PP, as FCP7

    is still the main system at my company.

     
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    May 15, 2012 8:44 PM   in reply to reToolednet

    Also, may I suggest trying my steps and letting me know how that works.  Just out of curiosity to see if that works for you at all.  If not, I'm at a loss.... but maybe others here can help.

     
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    May 15, 2012 8:54 PM   in reply to johnnyfriday

    Oh well, sorry I couldn't be of more help.  I used to get gamma shifts

    on my system just for having the AJA uncompressed codec installed, so

    there are tons of variables that can effect every system.  Its hard to

    trouble shoot on two different systems.

     
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