Best workflow for Canon 7D (progressive) and Canon HX-A1s (interlaced)

I have been doing 2 shot interviews using the Canon 7D and Canon HX-A1s. What is the highest quality and most efficient workflow in 29.27 fps with the 7D being progressive and the XH-A1s is interlaced? I have been converting the 7D footage to ProRes 422 (HQ).
What Capture Preset is best for HX-A1s and Sequence Preset for radiating?
Your help would be most appreciated.

If you have the space, capture as ProRes....you can do that via firewire. If you are short, then capture as HDV and just work with it with a green render bar over the footage, and render later. Mixing formats is pretty easy as long as your sequence settings are ProRes.
And your interlaced camera will take on a progressive look. If you are OK with that.
Shane

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Best workflow for burning Blu-ray and DVD

Hi,
What's the best workflow for effciency sake for burning both a Blu-ray and a DVD of the same project?
Essientially I'd like to export and create a menu once, then be able to downrez to DVD. However, I'm not sure that is possible since blu-ray and DVD are differnt codecs.
Thank you

The only way that you can get acceptable re-scaling of menus is to go from BR to DVD, and do the editing in Photoshop. Simply re-scaling the menu here will not give acceptable results.
I usually copy the various button layers from the BR menu to a new DVD menu file created using the provided Photoshop preset. You will still have to do some manual re-scaling and alignment. The thing that has given me the most trouble over the years is round button highlights - a segment is often chopped off. Font sizes will probably need adjusting too.
Unless you are adept with handling layers and groups within Photoshop, it may be easier to start again.
Any attempt to convert within Encore is unlikely to produce acceptable menus in my experience.

What's the best workflow for Home Movie Importing and Enjoying?

I'm new to iMovie (and the mac) and have started importing all my home movies from my camcorder into iMovie. I quickly realized that movies take a huge amount of disk space and it may or may not be reasonable to import all my movies and keep them on the hard disk in .dv format. At 12GB/Hour I would need 1.2 Terabytes of storage (plus backup). If that is the best workflow, i'm happy to invest in a few terabytes of storage and back up. But before I do that, I want to check to see if there is a different workflow I should follow given my use case.
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I have 100 hours of 8mm and miniDV tapes already and plan to continue creating more.
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I plan to watch the movies from my iMac on my TV via my TIVO (i've already ordered the Roxio Toast software that I understand I need, per the Tivo web site).
The final piece of my use case is back-up. I'd prefer to back up my movies on disk this way I maintain any editing i've done in case of a disk failure. Depending on what video format is recommended, this may bump me into a RAID multi-terabyte system as both working and automatic backup?
Here are my questions:
Should I maintain my event library in .dv format? (and bite the bullet on the storage)
Or is the .dv format intended only for temporary editing and users are expected to compress into another format after editing? if so, what format and which tool is recommended? (keeping in mind that I want to view the clips via Tivo and Roxio/Toast).
If I need to byte the bullet and invest in storage, my quick math suggests I'll need about 2 terabytes for the library and 2 more for back up for a total of 4 terabytes!?. Is a RAID system recommended for this? (I was surprised that the Apple store did not carry such a system, so perhaps that is not the best option). What would you recommend?
Anyone out there with a similar use case? I know I've asked a lot of questions here. I'd appreciate any recommendations you may have, even if you cant answer all of them.
Thank you.

I am in a similar mode, though about half as much existing DV footage.
+Should I maintain my event library in .dv format? (and bite the bullet on the storage)+
Short answer, yes; long answer:
I did "bite the bullet" since 1T drives are at or just over $100. I'm using a MacBook Pro so I bought an 2 port eSATA card for my cardbus slot ($34), and a 1T eSATA/Firewire/USB drive ($119). I don't plan to "back up" as I am not going to get rid of my Mini DV tapes/vhs/analog tapes, etc. Those will be in an off-site dark cool closet elsewhere. I don't want to do RAID or such as it still puts everything in the same drive unit, in the same location. Basically I'm splitting my video import to two different physical drives. So if lightning, thieves, personal incompetence or whatever strikes, there's more chance it'll only affect one of the drives. I've thought about a Drobo, which you might consider. It is unique device that offers a spin on RAID that offers some advantages.
Everything I read here on these boards suggests that it is best to grab the source video in the original format whenever possible. Since storage is cheap, makes sense to me.
It is likely you wouldn't compress your video unless you were going to edit it. For example if you wanted to make a video of the kids growing up to give the relatives you'd likely end up compressing to burn them a dvd. You would compress if you were going to use MobileMe, YouTube, etc. to post some footage. Whether you watch the video from home, or output to DVD for others, or post online, at least you'll have the source video in it's best possible original format to work with.
This is an aside, but might be useful, I imported one tape at a time, let iM09 create a new event and split per each day. THen I renamed every event based on what the content was before doing the next tape. This really helps later on once yo realize you have a hard drive with 50 hours + of everything in your life on it. I included the year in the name in some way, for example, John's wedding 1994, Hawaii 2000, Hawaii 2004. Then I ended up drag/dropping Hawaii to one event.

Best workflow for footage in 1440x1080 and vid rate 23.98fps going to a PAL DVD player in europe

I am new at this and still getting a grasp of the technical details. I've made several trips to Germany over the last three years and each time have shot using different settings. Right now I am editing the footage from the first year where I shot 1080i and 24p (Canon XHA1). I've already sent some DVDs with films I edited from this trip, but not sure I've achieved the best result that I can in terms of image quality. What i think i've been doing so far is to edit in the original NTSC, and then when i get ready to burn the DVD to send to my relatives in Germany, I have set the Project Info settings in iDVD to PAL. But from reading the boards I am getting the sense that there are multiple ways to do this, each with varying results. Obviously, I'd like to have my German viewers view a DVD with the best quality picture, and am wondering what is the best way to go about this. I've also read on the boards that most PAL dvd players will play NTSC, which makes me wonder if burning the DVD with iDVD set to PAL is necessary. I've already been told by one of my relatives who has viewed the same film here in america (burned as NTSC) and in Germany (one I sent burned as PAL), that the PAL versions did not have as good a picture quality. Any suggestions?
Also, if you knew that your primary audience was going to be PAL viewers, and you are shooting with an NTSC camera, what would the ideal settings be? On my canon xha1, my frame rate options are 60i, 30f, and 24f. My 'comp out' options are 480i and 080i/480i. My understanding is 1080i50 would be better for PAL, but 25fps is not an option on my camera.
Thanks,
Paul

Well it must be 24 over 29.97 then because it is working with it. I have been able to create timelines and export quicktime movies, etc. The item properties (in FCE Browser) of the clips definitely say 23.98fps-- as I would expect because I know I had the camera set to 24p. However, the frame rate of the sequences i've been editing on say 29.97. This is without me having made any conscious effort to manipulate any settings for the sequences at the outset-- I didn't even know the sequences had settings for this when i started. I just began dragging and dropping footage out of the browser and it must have automatically set the sequence to 29.97. Who knows what I had the Easy Set up set to when i brought the footage over from my camera two years ago. I knew even less then. Are the settings on Easy Set up critical when bringing the footage onto your computer from your camera? What processes are the Easy set up settings governing?
Even with all of that said, you would recommend burning the DVD as an NTSC? An NTSC in a new PAL DVD player will look better than an NTSC burned as a PAL? I suppose I could send them both versions and see which one looks better.
Thanks for you help Tom.
P.S.
On the true 24p issue, I did find this:
There are many posts out there about the Canon XH A1 not having "true 24p".
I think much of that misinformation out there maybe stemmed from (correct me if I'm wrong):
Canon Frame Mode on the standard DV cams was a "simulation: of the 24 frame look.
The Canon HDV 24p actually records each single frame progressively, but using an interlaced method.

Is there Camera RAW support for Lightroom 4.4 and Canon 7D Mark ii?

I need Camera RAW support for Lightroom 4.4 and Canon 7D Mark ii. Is there a Camera RAW version for me?

Thanks for your help. I checked out DNG on YouTube and understand more
about it. I downloaded the DNG converter and transferred in files from my
camera. Then I imported into Lightroom. It works! Thanks again.
On Wed, Nov 19, 2014 at 5:56 PM, Jeff Schewe <[email protected]>

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As a video guy, in Final Cut I do this by having two identical copies of my media, and simply transferring the FCP project file back and forth between the two computers.
Is there an equivalent in Aperture of transferring your selections/edits between two copies of Apeture with the original master files on both in identical projects?

I don't know what you mean by "bandwidth options". If you mean the frequencies and bands the iPad can use with cell carriers, those are listed in the Wireless and Cellular area of the tech specs. For iPads sold in the US, see:
http://www.apple.com/ipad-mini/specs/
If that's not what you meant, please post back and clarify what you mean by "bandwidth options".
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Best workflow for creating games for pc and starling games in AIR

best workflow for creating games for pc and starling games in AIR.
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In starling you have to
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2. use texture atlases for loading graphic assets - well its the recommended way
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CHEERS

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Well, actually not exactly but near enough - maybe it might be easier to create separate projects and just cut and paste the new code introduced.

Where can I obtain Canon Printer drivers for Maverick 10.9.2...since I have moved to Mavericks none of my printers work. I have the following Canon Printers, Selphy CP720, Canon Pixma IP6600 and Canon Pro9500 Mark II

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Printer and Scanner software available for download:
http://support.apple.com/kb/HT3669?viewlocale=en_US
Canon drivers for Mavericks:
http://www.usa.canon.com/cusa/support/consumer/printers_multifunction/pixma_mp_s eries/pixma_mp160#DriversAndSoftware

BEST Workflow? MPEG-2 Cutting and preparing for DVD...

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I am in the process of putting together a showreel. The only way I can get my work on a DVD is to record the DVB-T Stream (its Swiss Television), which Quicktime says is "MPEG2 Muxed, 720 x 540 Pixel" - and it's with 25fps.
Now I'd love to cut those Files in FCP with as high quality as possible and export it for DVD-Studio. If I would not be cutting these files, as I already did last year, there is not much conversion but only demuxing needed to use them in DVD Studio.
But how can I cut those MPEG-2 in FC Studio 2 without much quality degredation?
Whats the best workflow for this?
I read somewhere here in that forum, that I have to convert this into DV, cut it in FCP, and then convert it again to MPEG-2 -- but that sounds like a lot of compression going on...

Thanks for your reply Shawn.
Im aware of the fact that a recompress is not the best way to go. But I don't have any other chance, since a broadcasted signal is already in MPEG-2 and there is nothing I can do about it, this is my only available source. There is no tape for me.
I was basically just wondering if there is something like a smart Compress..say, it only recompresses where there have been changes, between two I-Frames... and evrything els thats unchanged just get copied. that would be the way to go...
Message was edited by: loop 66

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My first question would be how well 5.1 would work with SL. People have reported problems.
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Good luck.
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I see in CS6 there is now Speed Grade available from Premiere Pro. can you export your entire timeline into Speed grade and it retain your titles and trasitions?
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If I can CC in Pr, I will. What prevents me from staying in Pr is if I need to do a lot of masking, secondary type corrections. Ae is better for that, IMO.
I guess my general rule is, "The more love I need to put on my footage, the more likely it is I'll need to take the project to Ae."
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For example, part of the sequence is an interview. Instead of just cutting the sequence up, I would like to first mark and label the portions of the interview that I would like to keep. That way I can easily go through and know what the interviewee is speaking about in each clip without having to play the whole thing. I understand that to do this on the original clips in the source monitor, I would need to create subclips. But how do I do it on a synced multicam sequence? Is there a way to open the sequence in the source monitor? What's the best workflow for something like this?
I've been using Premiere for all of two days (switched from FCPX), so any help would be much appreciated. Thanks.

I use comment markers for this sort of thing as I prefer to keep my project bins thin. To open a sequence in the source monitor, right-click on the sequence in the project window and select Open in Source Monitor. Position the play head at a point of interest and press M. Go to Window>Markers to view a list of markers and add comments. When you want to review a marked section click the corresponding marker in the marker window and the play head will advance to that point. Btw, you can do this within the timeline and in any monitor, not just the source monitor.

Best workflow for doing a QC check?

Hi all,
A client wants me to do a technical QC check on video files I receive before editing them. The items they want checked are as follows:
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o   Macro blocking
o   Artefacts induced during transfer from VT, frame rate conversion, size or bitrate conversion
o   Field dominance issues
o   Chroma/luminance levels
o   Aspect ratio discrepancies
o   Flashing/strobing
o   Frame slicing
o   Audio levels to EBUR128 recommendation.
o   Wide dynamic range
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Most of these are fine, as they can be spotted during manual playback. But what would be the best workflow for monitoring the Chroma/luminance levels? I figured I could turn on the YC waveform and play the clip back through a monitor - but the main issue is keeping an eye on both the picture & the waveform at the same time.
Can the scopes be set to give me a indication/alarm when a specified peak occurs? The same way audio does when it clips, where you get a red dot on top of the level meter?
And is there anything else Im overlooking?
Thanks in advance - cheers!

Thanks shooternz,
The client has specifically requested each file be QC checked. They will be delivering files to us for editing, which will be broadcast after we return the files.
So we need to manually watch each video we receive to check for any audio peaking or pixelation/slicing/artefacts, etc, that may have occured during the enciode - but I'm just wondering if the YC waveform can be set to raise an alarm or "peak" if the video file goes outside of legal limits at any stage. We will be viewing the video file - so it'll be awkward to also have to try to watch the YC waveform too, so hoping that part can be automated via a 'peak alarm' or similar!

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Hi Folks.
Would anyone like to suggest the best workflow for deleting files after a project? Let's assume that i have no future need for any of the captured footage or PE7 files. It would be helpful to know what the default locations are for all the footage and files that are now on my computer.
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>I'm using FCP 6.5
NO you are not. You might be using FCP 6.0.5.
Well, the only way you can ingest only sections of tapeless media is by using Log and Transfer. And you cannot Log clips first, and transfer later. You cannot do the same thing you did with tape, make a Batch Capture list. So you would look at your footage in the FCP L&T interface, and you can send one to be transcoded while you move onto the next one to watch. That can happen at the same time.
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And the other options...Avid Media Composer and Adobe Premiere...don't have a "log and transfer" type interface. They bring in the full clips only. With Premiere, you are stuck with them being full length. But with Avid, you acccess the footage via AMA (Avid Media Access), and then you'd make your selects on a sequence, and then consolidate/transcode only the footage on the sequence.
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Best workflow for Canon 7D (progressive) and Canon HX-A1s (interlaced)

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