ProRes / DNxHR conformed outputs are unplayable in the browser
(HTML5 video: MEDIA_ERR_SRC_NOT_SUPPORTED). The library was
referencing the ProRes original as the only source.
After the asset row is inserted, queue an H.264 proxy build the same
way services/mam-api/src/routes/assets.js does on ingest:
proxyQueue.add('generate', {
assetId,
inputKey: outputKey, // the conformed mov / mp4
outputKey: `proxies/${id}.mp4`,
});
The proxy worker writes the H.264 mp4, updates assets.proxy_s3_key,
and from then on /assets/:id/stream prefers the proxy over the
original. The library player can decode it natively.
Failure to enqueue is logged but doesn't fail the conform job — the
asset still exists and can have a proxy re-queued later.
Co-Authored-By: Claude Opus 4.7 <noreply@anthropic.com>
The final concat-demux + encode step erred with:
[mp4] Could not find tag for codec prores in stream #0,
codec not currently supported in container
[out#0/mp4] Could not write header (incorrect codec parameters ?)
ProRes and DNxHR live in QuickTime (.mov), not MP4. The output path,
S3 key, and asset-row filename were all hardcoded to .mp4.
Pick the container from the codec:
prores / prores_hq / prores_4444 / dnxhr_hq → mov
h264 / h265 / anything else → mp4
outputExt is computed once at the top of the worker (before tmpfile
creation) and reused for the temp output, the S3 key
(jobs/<id>/conformed.<ext>), and the assets row's filename column.
Co-Authored-By: Claude Opus 4.7 <noreply@anthropic.com>
ffmpeg 8.x removed the `ocl` shortcut option from aresample (it was a
deprecated alias for out_chlayout). The per-segment trim+normalise call
errored immediately:
[fc#-1] Error applying option 'ocl' to filter 'aresample': Option not found
Split the chain: aresample handles the sample rate, aformat asserts +
auto-converts to stereo + fltp.
aresample=48000,aformat=channel_layouts=stereo:sample_fmts=fltp
Co-Authored-By: Claude Opus 4.7 <noreply@anthropic.com>
ffmpeg 8.x's concat filter kept dying with the opaque
[fc#0] Error sending frames to consumers: Invalid argument
even after we locked fps + sample rate + pixel format + SAR in the
filter graph. Mixed sources (AV1+H.264, 23.98+60 fps, 44100+48000 Hz,
tv-range+unspecified-range pixel format) just don't survive the
concat filter cleanly in this build.
Switch to the more reliable 2-pass pattern:
1. At the trim step, re-encode each segment to a uniform intermediate
spec: libx264 ultrafast, 1920x1080 (letterboxed), yuv420p,
seqFps target rate, 48kHz stereo AAC. Per-segment ffmpeg.
2. At the concat step, use the concat *demuxer*. Because every input
now matches exactly, the demuxer is well-behaved. Transcode the
concatenated stream to the final target codec (ProRes 422 HQ etc).
Costs an extra intermediate encode (libx264 ultrafast ≈ realtime on
this hardware) but eliminates the filter-graph fragility on mixed-
source timelines, which is the workload that actually matters.
Co-Authored-By: Claude Opus 4.7 <noreply@anthropic.com>
After the demuxer → filter switch, concat still failed with
[fc#0] Error sending frames to consumers: Invalid argument
on Job 8. The filter graph normalised pixels (scale+pad+yuv420p) but
left the time-domain axes mixed:
segment-1: 23.98 fps video, 44100 Hz audio
segment-2: 60 fps video, 48000 Hz audio
segment-3: …
ffmpeg 8's concat filter requires identical frame rate + audio sample
rate + channel layout across inputs. Force them on each leg:
video: fps=<seqFps>, setpts=PTS-STARTPTS
audio: aresample=48000,
aformat=channel_layouts=stereo:sample_fmts=fltp,
asetpts=PTS-STARTPTS
setpts/asetpts re-zero each input's clock so concat's per-input PTS
window resets cleanly between segments.
Target fps comes from the sequence's frame_rate (rounded) — same axis
the sequence editor stores. Sample rate is pinned to 48000 (broadcast
standard) so the AAC encode is consistent.
Co-Authored-By: Claude Opus 4.7 <noreply@anthropic.com>
ffmpeg concat demuxer dies with "Error sending frames to consumers:
Invalid argument" when input segments don't share codec / pixel format
/ framerate / resolution. Mixed-source timelines hit this every time —
e.g. an AV1 clip + an H.264 clip going through the same concat.
Switch to the concat *filter*. It re-encodes through a filter graph
so disparate inputs are normalised inline. Each input is scaled to
1920x1080 with letterbox, format=yuv420p, audio resampled. concat=n=N
joins them into [outv]/[outa].
Co-Authored-By: Claude Opus 4.7 <noreply@anthropic.com>
Three cooperating bugs left the rendered output silent and in the
wrong codec:
1. executor.js trimSegment used `-frames:v` with no audio mapping.
ffmpeg dropped the audio track on each segment before they reached
the concat step. Add `-c:a copy -shortest` so each segment carries
its original audio.
2. conform.js audioFlag was `audio === 'include' ? aac : -an`. The
panel's v2.2.1 defaults send `audio: 'broadcast'`, which didn't
match 'include' → `-an` explicitly stripped audio at the encode
step. Switch to the opposite default: only an explicit 'none' or
'off' disables audio; everything else gets AAC 320k @ 48kHz.
3. conform.js video codec map only matched `codec === 'prores'`. The
panel sends `'prores_hq'` (and the conform slide panel can send
`'prores_4444'` / `'dnxhr_hq'`). All of those fell through to
libx264 and silently rendered H.264 instead of the requested codec.
Add a real codec map with the right prores_ks profiles (3=HQ,
4=4444) and DNxHR. Skip -crf for ProRes since the profile encodes
quality.
The asset-row metadata's `codec` column is normalised the same way so
the new asset record matches what was actually written.
Co-Authored-By: Claude Opus 4.7 <noreply@anthropic.com>
Panel had been sending xmeml with clipitem/name = the local Premiere
file path's basename (e.g. "dragonflight-Interstellar - Docking Scene
1080p IMAX HD.mp4"). The worker's old filename lookup ran
SELECT id, original_s3_key FROM assets WHERE filename = $1
which never matched, because the assets row's filename is the
original MAM ingest name without the "dragonflight-" prefix.
Fix: when job.data has sequenceId (always set by the conform endpoint
at routes/sequences.js:317), pull edits directly from sequence_clips,
which the panel already wrote with authoritative asset_id mappings on
push. We JOIN to assets for original_s3_key + filename and order by
(timeline_in_frames, track) so segment indices stay deterministic.
The XML is still parsed for sequence-level metadata (name, fps) when
provided, but its clipitems are no longer authoritative.
The legacy filename path (EDL input or fcpXml without sequenceId)
stays unchanged for backward compatibility.
Co-Authored-By: Claude Opus 4.7 <noreply@anthropic.com>
track?.@_currentExplodedTrackIndex is invalid JS syntax — @ is not a
valid identifier character. Replaced with track?.['@_currentExplodedTrackIndex']
so the worker process no longer crashes on startup.
The jobs table row no longer exists for conform jobs (POST /jobs/conform
now goes directly to BullMQ). The UPDATE queries were no-ops (WHERE id = NULL)
so they're safe to remove. BullMQ tracks completed/failed status itself.
