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  #1  
08-25-2015, 11:42 AM
Winsordawson Winsordawson is offline
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I have a Pro Res 422 encoded QT file that I need to send for further editing on a Windows machine. The recipient said he can't take Pro Res files as he lacks a Mac. Is there a lossless intermediate codec I could convert to on a Mac system? The best I found on Final Cut was to convert to AVI in DVCPRO50 (the footage is digitalized SD), but I would still rather have no downgrade in quality. On Premiere I have DNXhd, MXF HD, etc. but no Huffyuv or Lagarith as I only have a Mac.

Is all this trouble worth it? I thought one could edit Pro Res on Windows if Quicktime was installed?
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  #2  
08-29-2015, 12:20 PM
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Goldwingfahrer Goldwingfahrer is offline
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open your Prores file in TmpgEnc Mastering Works 5 and output to avi, choose Canopus HQX Super Fine, this is 10bit and you will not get banding

Post 10 of Anton Strauss
http://forum.grassvalley.com/forum/s...ad.php?t=24983

or
Video to Video converter:
http://www.videotovideo.org/

Give me a small section of the ProRes 4:2:2 MOV, I try that on a PC.

ProRes is a standard feature on Apple Mac computers, whereas with Windows PC's QuickTime component (media player) must be installed in order to play and edit a ProRes file.
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  #3  
09-02-2015, 05:15 PM
Winsordawson Winsordawson is offline
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Thanks for the help...I could not download TmpgEnc as it was not free. I was trying to see how I could convert to a viable format using only a Mac, but did get a chance to use Video to Video on a PC. I converted it to an MPEG-4 file in xvid, but is that suitable for editing? The file size was much less so I do not know if image quality suffered. I may just export Pro Res in an avi container...


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File Type: mov Converted ProRes 422 Clip.mov (66.37 MB, 7 downloads)
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  #4  
09-03-2015, 02:51 AM
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Goldwingfahrer Goldwingfahrer is offline
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Quote:
I converted it to an MPEG-4 file in xvid, but is that suitable for editing?
no good idea,
Yes, unfortunately, these programmes cost dollar or euro or Swiss franc
however, it must not always be the newest version.

here I can encode your movie in VirtualDub to Lagarith 4: 2:. 2
Ie But Directly in Edius under Windows 7 32 bits without problems read in.

Picture 1 = Original
Picture 2 = VirtualDub
Picture 3 = to VirtualDub
Picture 4 = original ProRes and result in Edius [V.6.08]


Attached Images
File Type: jpg 1.Original.jpg (63.5 KB, 10 downloads)
File Type: jpg 2.VDub-to-Lagarith-422.jpg (46.1 KB, 11 downloads)
File Type: jpg 3.Target.jpg (58.0 KB, 9 downloads)
File Type: jpg 4.EDIUS_2015-09-03_09-26-03.jpg (71.9 KB, 10 downloads)
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The following users thank Goldwingfahrer for this useful post: Winsordawson (09-04-2015)
  #5  
09-03-2015, 08:52 PM
Winsordawson Winsordawson is offline
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Thank you, can a normal PC without VirtualDub or Avidemux read Huffyuv or Lagarith? When I converted Pro Res to AVI Huffyuv the Adobe Premiere on my Mac could not read.
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  #6  
09-04-2015, 02:23 AM
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Goldwingfahrer Goldwingfahrer is offline
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Adobe premiere CS6 can recognise here the original and also the Lagarith version.
Huffyuv_MT [HYMT], however, not.

See picture


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File Type: jpg Adobe Premiere Pro.jpg (61.0 KB, 5 downloads)
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  #7  
09-04-2015, 09:06 AM
Winsordawson Winsordawson is offline
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What if one only has a Mac? I have options like to be DVCPRO50, DVCPRO HD (but it would later have to be cropped), MPEG IMX/ XDCAM, or Apple PNG.
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  #8  
09-04-2015, 10:27 AM
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Mac I do not have.

DVCPRO50, DVCPRO HD, MPEG IMX/XDCAM.... and other under Edius

Apple PNG. and other with Procoder 3 or Sorenson Squeeze 10
and still other also go under Windows PC.

With avisynth it does not work on a Mac.
FFV1 cannot be read in 4:4:4 on a Mac.


Attached Images
File Type: png ProCoder 3_2015-09-04_17-15-44.png (7.6 KB, 2 downloads)
File Type: png ProCoder 3_2015-09-04_17-16-08.png (6.0 KB, 2 downloads)
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  #9  
09-04-2015, 10:43 AM
Winsordawson Winsordawson is offline
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Thanks, what I meant is that Mac is a bit limited in conversion options, and those are the codecs I have that appear to be the best of them. Would you recommend any of them (assuming I can not access a PC for transcoding)?
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  #10  
09-07-2015, 01:10 AM
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Professional workflows should have access to ProRes without any issue. To convert formats, I often use MPEG Streamclip (Mac version required) and export it to uncompressed AVI. From there, stick it on a Windows machine, and do whatever you want.

Avisynth and VirtualDub, I think, have a way of opening ProRes422. But I prefer the Mac-native method.

What are you having done to the file?
Did you ever solve that dropout issue? I never heard back. Because of your sample, I perfected the process even more.

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  #11  
09-07-2015, 03:08 PM
Winsordawson Winsordawson is offline
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Thanks. I think I did give you an update but given how busy you get I thought it was understandable. I believe the person just does not know if Pro Res works on Windows, when it does. Problem is, when I send it to for post-processing (hint hint) he would not be able to export as Pro Res.

I just received that tape from the first place, but because of their TBC, they were only able to fix about 85% of the dropouts, leaving dropped frames in areas. I don't want to send it to you until the conversion occurs with no dropped frames (it's a U-Matic). You said the issues could possibly be reduced if a better TBC was used, like DataVideo.

The next person I tried to find to do this said that only a U-Matic TBC with a digital dropout compensator could improve this by replacing dropout lines as they occur. It would take the RF from the VTR when the signal was low. Alas, he only has built-in compensators on other VTRs, since U-Matic is quite old. Is that what you were getting at?

Another place said it usually handles tapes that other companies had trouble with, but their set-up is an ADVC-300, which from what I recall is not the most professional option...
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  #12  
09-07-2015, 05:10 PM
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Goldwingfahrer Goldwingfahrer is offline
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If a Canopus ADVc300 is there would already try ichs.
In front with S. video and audio purely.
Behind by YUV [Y Cb Cr] out.
All Settings on Default.

The ADVC is no professional device, however, I already succeeded sometimes.
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  #13  
09-08-2015, 12:08 AM
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I'd only worry about dropped frames, and not the dropouts. The magnetic dropouts can be fixed, as you saw. Dropped frames, however, cannot.

I call BS on this: "only a U-Matic TBC with a digital dropout compensator could improve this"
- If referring to the dropouts, his skills are just limited.
- If referring to dropped frames, I still say to try a DataVideo TBC (100, 1000, 3000, etc)

The ADVC-300 is wrose than the 100/110 because of the artifacts it creates when trying to "filter" the video. Remember, that's the best that existed about 15 years ago, and it's hardware on that devices that cannot be shut off. So it is forever crappy.

I often doubt this as well: "it usually handles tapes that other companies had trouble with". I'd have to see proof of that.

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  #14  
09-08-2015, 09:45 AM
Winsordawson Winsordawson is offline
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Thanks.I too don't care about dropouts, only dropped frames. But the first place had trouble even keeping the image aligned, leading to the frame drops. That is why I am concerned about the second company if they are using such old equipment. With an ADVC 300 I might as well do it myself as Goldwingfahrer wrote.

The other guy (who is seems to be experienced in this), has a GTH ACE and a G2 MSTC Ultima. Could either solve the issue without resorting to a Datavideo? I showed him the critique of the GTH ACE here on this site and here is what he said:

Quote:
The unit is in no way related to the CTB-100, he's quite wrong in assuming that it's some kind of licensed product. GTH designed and built, and still support these units themselves. Furthermore the writer seems to be saying it can't be any good because it's not expensive, rather than having actually used one.

It is true that the NTSC to PAL conversion and vice versa is choppy, and that's true of all lower cost Standards Converters. Even professional units don't get that right all the time. However for our requirements, that's not relevant, since we are going to keep the NTSC signal all the way through the capture process. I always capture in the same television system as the source material.

The colour correction is basic, however it does include the ability to re-align chroma to luma both vertically and horizontally, something that's missing in every other low-priced and some expensive units. This is very, very helpful in correcting colour alignment in multi-generation VHS (or Beta etc.) copies which all drop the chroma by one line and often plant the chroma somewhere to the left or right (usually left) of the luma. Most of my particular ACE units have a firmware upgrade which also allows for 3200K correction, where a customer has used a camcorder outdoors which was set for indoor lighting (and so is blue). I have also found the Sharpness control has a particularly useful ability to "tune out" a defect called ringing, which often plagues Umatic recordings due limitations of the Umatic format, especially low band Umatic.

Having used the G2 recently, my impression was that the NTSC to PAL conversion was better than the ACE units, but I couldn't see any other improvement, indeed it lacks some of the chroma alignment adjustments. When I looked inside both units (bearing in mind that one cost about 300 and the other probably 5,000+) I was surprised to find quite a lot of the same (or just different versions of) the chips in there! It leaves me wondering if the professional equipment is so expensive just because it comes in a 19" rack cabinet instead of a plastic box!
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