5.1 workflow in PP cs6?

I'm working on my first CS6 project that will also have 5.1 surround (another first).
I can't find any tutorials on this so I'm looking for some direction here.
What's the proper workflow for creating 5.1 surround for a project?
On my PP CS6 timeline - I have my audio tracks with audio clips. Then I also have a Master 5.1 track.
No audio clips can be placed in the Master 5.1 track.
I'm assuming once I finish editing my project with audio. I send it to audition where I mix the tracks down to
the Master 5.1 track.. Then send the Master 5.1 track back to my Premiere pro timeline.
Once there - Delete the other audio clips so I only have the Master 5.1 track?
Thanks in advance.

Here some stuff that might help...
http://podcasts.creativecow.net/adobe-premiere-tutorials-podcast/premiere-pro-cs6-techniqu es-72-audio-2-51-audio-channel
http://www.retooled.net/?p=317

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STILL NO FLUENT AVCHD-WORKFLOW in PPro CS6??? COME ON, ADOBE!

I am very pleased with my CS6 Suite. I cannot tolerate the fact, that an issue like the AVCHD-workflow in PPro CS6 isn't patched until today. AVCHD is a very common Codec and a professional NLE-Software has to able to handle it! Transcoding from one Codec to antoher and back is a time killer! It leaves my work less profitable. So what is the status quo at the moment? Please be honest and do not tell me "We know about the issue, but don't have a timeline yet.."
Thank you very much.
Best,
ABR

Please be honest and do not tell me "We know about the issue, but don't have a timeline yet.."
Well, which is it, honesty or a fabrication?
"Hi All,
My name is David McGavran, I am the Senior Engineering Manager on Premiere Pro. We are aware of the issue and are able to reproduce it. We are currently investigating what we can do about it. We apologize for the issues and hope to be able to give guidance soon. I will continue to check back in here and update you guys as we have more information.
Cheers
Dave"
http://forums.adobe.com/message/5339963?tstart=0#5339963

Workflow to deactivate CS6 and clone

Hello Enterprise Deployment,
How do you deactivate/deserialize CS6 from a computer that is about to be cloned/image created from?
Background: I've successfully installed and serialized CS6 using AAMEE3.0 in my computer lab. Now its sometime in the future and I need to reimage/clone my lab again. My workflow is to select one of the lab computers and make clone image of it. Problem is this computer has a working copy of CS6 on it, so the image will not work on the cloned computers - breaks the one to one relationship. I'm hoping there is some easy way to deserialize computer and not be forced to do another 1) uninstall CS6, 2) install trial copy, 3) image, and 4) serialize. I must be missing something because this is way to difficult.
thanks,
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Nancy Olivier are you trying to install Creative Suite 6 on a computer which already has Creative Cloud installed? If so then please see Install and update apps - https://helpx.adobe.com/creative-cloud/help/install-apps.html for information on how to install previous version of Adobe Creative titles through your membership.

Is the gradient color selection workflow fixed in CS6?

http://www.bittbox.com/illustrator/illustrator-quick-tip-faster-gradient-color-adjustments
Double clicking the color in the toolbox panel to bring up the color picker, resets the angle of the gradient. The only way to use the color picker for a gradient color is to preselect it and place it in the color swatch. This is a blatantly incorrect implementation of a common workflow. Has this been fixed in CS6?

Okay.....
The color panel is essentially useless. Adjusting color based on RGB values is incredibly difficult/retarded.
Possibly, of course there's a color ramp at the bottom of the Panel as well.
The number of colors available for a particular hue are very limited. There is no reasonable way to change the saturation of a color.
Really? Again show me a single color you can not achieve via the color panel which the color picker can.
As for saturation... I guess setting the panel to HSB (Hue/Saturation/Brightness) wouldn't qualify?
Because of it, there is essentially no way to select from a wide range of colors and be able to live preview the color for a gradient, a standard way of doing things in Photoshop and every other graphics software.
Hmmm... again... the color ramp means nothing? You can't move sliders? You've not tried Live Color/Recolor Artwork at all???
Why not just outright state that you aren't comfortable with Illustrator and want it to conform to things you are comfortable with rather than learning to use Illustrator.
The entire "every other graphics software" section is completely incorrect. Painter doesn't use the color picker the same way any Adobe app does. In fact, once you venture away from Adobe you find many graphics apps approach color selection in many different ways. And even within Adobe software.. explain Fireworks color selection.... Indesign color selection... After Effects color selection.... Even merely looking at Adobe products alone your statement falls apart. You just want it to "be like Photoshop."
Look, I totally "get" that some people prefer the way Photoshop works. And I understand that they may want everything to operate exactly like Photoshop does if for no other reason so they can seamlessly move from app to app with as little a learning curve as possible. The reality is, Illustrator is NOT Photoshop. You can complain until you are blue in the face, that's not going to change the app. Adapt or fail.

Urgent! Adobe killed drag/dropping workflow in CC. Help restore it!

I posted this first FR at the end of another thread, here. Due to the importance of this issue, IMO, I'm giving this FR a new thread, plus adding as second version of the same FR.
My stance is simple. Every change Adobe makes to Premiere Pro should be positive to most or all people. If a change Adobe makes is negative for most or all people, then it must be removed.
Adobe did a negative change in CC, which brings about zero positive improvements (unless proven otherwise which has not been done yet).
In CC, drag-dropping clips no longer = dropping what you're dragging! If you only have a video track source patched, audio doesn't get dragged to the Timeline. If you only have an audio track source patched, video doesn't get dragged to the Timeline.
This is contrary to the way it worked in CS6 (where it made sense): drag drop clip = same clip dropped, regardless of Timeline settings!
Please help fix this by sending the following FRs as your own or writing a FR of your own based on this new problem Adobe introduced in CC. Thank you and God bless all those that care enough about Premiere to take action!
VERSION 1 (revert back to CS6)
*******Enhancement / FMR*********
Brief title for your desired feature:
Drag/Dropping video with audio clip from Source Monitor or Project window to Timeline should include both video and audio... always!
How would you like the feature to work?
The way it did in Premiere Pro CS6:
A. Video with audio dragged from Project window = video with audio dropped in Timeline
B. Three drag/dropping options from Source monitor, regardless of Source Patch settings. Drag/drop:
1. Source Monitor Image = Video + Audio
2. 'Drag Video Only' button = Video only
3. 'Drag Audio Only' button = Audio only
In CC, these options no longer work properly depending on Source Patching. This makes no sense, and provides zero benefits to the editor!
Why is this feature important to you?
Because intelligent workflows matter! There's nothing intelligent or efficient about the Source Monitor's buttons working some times but not others, or drag/dropping a clip from the Project window only to find its audio doesn't appear in the Timeline. When drag and dropping clips, Source Patching should determine default clip PLACEMENT, Not WHAT gets dragged to the Timeline!
VERSION 2 (give us a choice!)
*******Enhancement / FMR*********
Brief title for your desired feature: Preferences window option to disable Source Patching's effect on drag/dropped clips.
How would you like the feature to work?
If Adobe can't/won't revert drag/dropping back to functional CS6 standards, whereby clip dragged = same content dropped regardless of Timeline settings, then please give us the option of turning off CC's new drag/dropping behavior through a new check box option in the Preferences Window: "Source patching affects Drag/dropping".
Checked = CC behavior
Unchecked = CS6 behavior
Why is this feature important to you?
Because respecting workflows matters! CS6 and prior Premiere editors had their workflows disrespected when Adobe suddenly changed drag/dropping behavior with zero apparent benefits in return. Please give us a choice in this matter or revert to CS6's intelligent drag-dropping altogether.

I posted this first FR at the end of another thread, here. Due to the importance of this issue, IMO, I'm giving this FR a new thread, plus adding as second version of the same FR.
My stance is simple. Every change Adobe makes to Premiere Pro should be positive to most or all people. If a change Adobe makes is negative for most or all people, then it must be removed.
Adobe did a negative change in CC, which brings about zero positive improvements (unless proven otherwise which has not been done yet).
In CC, drag-dropping clips no longer = dropping what you're dragging! If you only have a video track source patched, audio doesn't get dragged to the Timeline. If you only have an audio track source patched, video doesn't get dragged to the Timeline.
This is contrary to the way it worked in CS6 (where it made sense): drag drop clip = same clip dropped, regardless of Timeline settings!
Please help fix this by sending the following FRs as your own or writing a FR of your own based on this new problem Adobe introduced in CC. Thank you and God bless all those that care enough about Premiere to take action!
VERSION 1 (revert back to CS6)
*******Enhancement / FMR*********
Brief title for your desired feature:
Drag/Dropping video with audio clip from Source Monitor or Project window to Timeline should include both video and audio... always!
How would you like the feature to work?
The way it did in Premiere Pro CS6:
A. Video with audio dragged from Project window = video with audio dropped in Timeline
B. Three drag/dropping options from Source monitor, regardless of Source Patch settings. Drag/drop:
1. Source Monitor Image = Video + Audio
2. 'Drag Video Only' button = Video only
3. 'Drag Audio Only' button = Audio only
In CC, these options no longer work properly depending on Source Patching. This makes no sense, and provides zero benefits to the editor!
Why is this feature important to you?
Because intelligent workflows matter! There's nothing intelligent or efficient about the Source Monitor's buttons working some times but not others, or drag/dropping a clip from the Project window only to find its audio doesn't appear in the Timeline. When drag and dropping clips, Source Patching should determine default clip PLACEMENT, Not WHAT gets dragged to the Timeline!
VERSION 2 (give us a choice!)
*******Enhancement / FMR*********
Brief title for your desired feature: Preferences window option to disable Source Patching's effect on drag/dropped clips.
How would you like the feature to work?
If Adobe can't/won't revert drag/dropping back to functional CS6 standards, whereby clip dragged = same content dropped regardless of Timeline settings, then please give us the option of turning off CC's new drag/dropping behavior through a new check box option in the Preferences Window: "Source patching affects Drag/dropping".
Checked = CC behavior
Unchecked = CS6 behavior
Why is this feature important to you?
Because respecting workflows matters! CS6 and prior Premiere editors had their workflows disrespected when Adobe suddenly changed drag/dropping behavior with zero apparent benefits in return. Please give us a choice in this matter or revert to CS6's intelligent drag-dropping altogether.

Workflow Export 5.1 Audio to WAV

Hi,
I want to improve my audio workflow in Premiere CS6.
My Task:
I have to master feature length movies in premiere and have to export the final 5.1 audio:
1. as 5.1 48KHz 24Bit RF64 multi channel broadcast WAV
2. as set of discrete audio channels L R C Lfe Ls Rs
What doesn't works for me:
1. Export multichannel WAV: because the multichannel file would be larger 4GB Premiere just gives an error on export.
2. Send to Audition: because the multichannel file would be larger 4GB Premiere just gives an error on export.
3. Export Quicktime - audio only: this always results in corruped files with random audio peaks. (looks like a memory leak in the export)
My Workaround:
1. Export 5.1 audio to AVI - audio only - uncompressed 5.1 48KHz 24Bit
2. Import the exported AVI into Audition
4. Resample from 32bit float back to 24bit integer
3. Save as 48KHz 24Bit RF64 multi channel broadcast WAV
4. Split channels to mono files
5. Save all 6 mono channels
My question:
Is there a way to export the audio WAV directly from Premiere?
thanks
nw42

I do not believe that PrPro can Export to Multi-channel (above 2-channel) WAV.
The only two choices that I know of are:
Export to DD 5.1 SS AC3 w/ Minnetonka Audio SurCode Encoder plug-in (optional purchase)
Per your workaround, Export as a muli-channel WMA, then break out each channel to a discrete mono file. This is what I do, to later Encode to DTS with the SurCode DTS Encoder (stand-alone, not plug-in)
Maybe others will have other ideas for you.
Good luck,
Hunt

Illustrator CS6 - Converting to a 1 Colour Job

I currently use Illustrator CS3 to process an SVG file into an EPS file via a particular method - I'm having a problem duplicating the results using CS6 and suspect it is to do with the Pantone + issue. If anyone could shed any light on this I would be most grateful. Here's the thing:
The SVG vector file originates from custom online-based code. The vector in question has maximum and minimum ink density information coded into it and these change from job to job. The SVG opens up as an RGB vector in Illustrator with numerous shades of grey as different colours. To convert this to a 1 colour job and regain the desired ink density information in CS3 I do this:
Select all. Edit / Edit colours / Recolour with Preset / 1 colour job. Then I choose the Pantone Solid Coated library. In this dialogue box I select 'Tint' as the mode for the colour adjustment sliders, and input the maximum ink density information for the file. I then click OK and hey presto, the vector is now a single spot colour with the ink density information faithfully correct as per the data input to make the original SVG file, created online. For example, if the max and min ink density info was 30% and 10%, the vector file now has exactly that.
(At this stage it doesn't matter what spot colour it is, just that it is 1 spot colour and the info is correct).
Problem is with CS6, when I input 30% and click OK, the resulting vector has a maximum of 100% and a minimum of 40% - nothing like what I've asked of it. The only difference I can see is that CS6 uses Pantone +, and CS3 Pantone. I've already tried adding the old Pantone solid coated.acb file into CS6 Presets and accessing that library, but still the same problem. Why is it doing this? What am I missing?
For now I'll stick with CS3, but any insight or clarification would be a great help. Many thanks.

Try contacting Pantone.com/support and asking this question there. I am sorry, but I have no answers for you. I'd also try contacting adobe.com/support and ask them the same question. I find it troubling that so many users are having workflow setbacks using CS6. Let me know if you get an answer, I'm interested to learn why adobe has created such a nightmare.

Designing with web fonts | Learn Dreamweaver CS6 | Adobe TV

Web fonts have become an important part of many web designers' workflows. Dreamweaver CS6 adds support for web fonts through the new Web Fonts Manager. See how to use the Web Fonts Manager to add, manage, and apply web fonts throughout your sites.
http://adobe.ly/IUFnwR

I've been wondering for ages why DW doesn't just show my web fonts in Design View, and now I'm none the wiser. Why doesn't Design View look at your fonts (not your system fonts, your folder fonts) and display them?
With Font Squirrel you don't even need to / or shouldn't even need to go through that rather bizarre "global" Web Fonts dialog. DW should just look at your fonts folder and work out it needs to display the fonts.
I'd give this first generation attempt 1/10.

Importing a prores xml from fcp7 into premiere cs6

I'm finally making the switch from FCP7 to CS6. I'm trying to import an xml of a prores (1080p, 23.98, prores lt) sequence from FCP 7. It doesn't have any effects, titles, etc in it, yet Premiere keeps giving me the file import error ("this project contained a sequence that cannot be opened. No sequence preview preset file or codec could be associated with this sequence type").
I made sure that I created a sequence setting/preset that matches my prores sequence from FCP. If I try exporting the xml from FCP as a DV or DVCPROHD sequence, it imports just fine in Premiere. It just won't import the prores sequence (which is a bummer because all my FCP projects use ProRes).
I'm on a Mac Pro running Mountain Lion (10.8.2) and Premiere Pro 6.0.2.
Any advice or help is greatly appreciated!

I have a similar issue with a film I am trying to bring into PP from FCP. I will need to lift sequences from this film into a longer compile and add new sequences, and since FCP 7 is now dead in the water it makes sense to transfer my entire workflow to PP CS6. However, on import the XML file is showing fine in the timeline, but the sequence settings do not seem to have been imported properly and I am getting a 4:3 aspect frame ratio on a film that was 1440/1080, 16:9, square pixel, Pro Res HQ in FCP.
I have tried to set up a custom sequence in PP with the same settings and also with the frame set to 1920;1080, but no matter what i do I cannot seem to get the XML file to import correctly.
I have downloaded and installed the Pro Res codecs to Library/Quicktime but that does not seem to have worked.
Anyone else got a a bright idea? Otherwise I will need to continue this project in FCP, which does not seem like the right thing to do any more....

Printing images from CS6. Where is the Output box?

I have been successfully printing images from CS3 on an Epson 3880. Now that I have had to upgrade to CS6, I have a big problem. In CS3 When I went Print-> Photoshop Manages Colors to choose an ICC color profile, there would be a companion Output box, where I could drag the Transfer slider down to brighten the image. I can't find Output in CS6! Since choosing Photoshop Manages Colors turns off the printer's color etc controls, I'm stuck with dark prints and no way to control brightness. Any help HUGELY appreciated.

Print-> Photoshop Manages Colors to choose an ICC color profile, there would be a companion Output box, where I could drag the Transfer slider
"Photoshop Manages Colors" disables the printer sliders under CS6 Photoshop
a proper Source-to-Print conversion should 'match' your monitor
just for grins try reviewing the updates/troubleshooting/workflow here: printing CS6
also recommend using a known good file like the PDI WhackedRGB reference file available on my link...

Multiple small stories with variable line counts assigned to different editors

I have a "best practice" question for you more experienced InCopy users about what workflow you recommend for my specific issue. I am experienced in InDesign, but am a InCopy newbie. I want to make sure I'm not missing a solution because my lack of experience with InCopy may be causing me not to see the forest for the trees.
Short version: What is the best way to allow multiple editors access to each of multiple small stories separately (one story per editor), but to allow the line count of each story to be variable each week, while adjusting the rest of the stories along with it on the page (see image below)?
Details: My publishing company's workflow is on CS6 with editors working in Word, and we're upgrading to CC2014 with InCopy. We have 7 in-house editors, and all files on an in-house server. We have quick deadlines (some are 15 minutes from editor writing copy to transmitting publication to subscribers). In the example below, we have 10 sections, and I have all seven editors writing different sections at the same time. A final editor has control over fitting the final page. My INDD files to test the new workflow use an assignment-based workflow. I understand I can place each of these sections as their own story, under the same assignment, so a different editor can have them checked out. However, each section does not have the same line count from week to week. Markets with more activity will get more lines.
In our current workflow, we have multiple rough Word docs pulled into one master doc with a script, that the final editor edits to fit, so each section can be a different number of lines as long as the total is the same. Then production staff load it in. When we upgrade, we can use a hybrid workflow where the final editor just loads that final Word doc into one InCopy story and edits it to fit.
It would be great if I just didn't understand how to make the text height variable for the story each editor is typing, and auto-adjust so the next story starts below where the story above it ends, and you all had an idea how I can do it!
Thanks! Nancy

I disagree to Seshu's answer to question 1.
Correct answer of question 1 is C and not A.
Sorry I didn't find time to check the rest.
To the examinee
I wouldn't assume all answers from SDN-ers are correct if my certification exam was knocking the door! I would rather try and find out the correct answers myself from the system instead of mugging these answers without any understanding of the technology involved! Find out the answers yourself from the system...that way it will help you to understand why the answer is 'C' and not 'A'...just knowing the answer is 'C' is not good enough...one has to understand "why" its 'C' and not 'A'. Hope you get my point! Good luck.

Deselect after moving will delete content!

Hello!
I have a huge problem with the selection tool and I need to know how to fix it because it totally destroys my workflow. (Photoshop CS6)
If I move content of a selection and deselect a part, it will delete the part I deselected. How can I turn that off?
I want photoshop just to deselect my selection without deleting anything so I can keep moving the rest of my selected contend.
Greetings Legolars
Edit:
How to reproduce the error:
1. Select a part in your picture
2. Use the Move-Tool and move the selected content
3. Switch back to Selection tool and now start to deselect parts of the selection
3.1. This will delete the deselected are, which I don't want to happen!

Hello,
sadly that's not what I want. I describe what I'm doing.
I did some sprites. For the complete animation I want to move some pixels and adjust those.
Therefore I select the whole Layer. I move it so the first row of pixels fit with the next frame. Then I want to substract the first row so I can keep moving the the rest.
While I try to substract the selection. It won't just substract but delete all pixels inside!
I don't get it why it suddenly is removing the picture inside?! Photoshop never did that before!
Someone exatcly has the same problems as me:
http://forums.adobe.com/message/4377148
What I don't get. After moving I switch back to the selection tool which means the "transformation" should be done by that time.

Strange Issue when Exporting Artboards as PNGs (Won't Include Layer)

As a part of my usual workflow in Illustrator CS6, I export a series of artboards as PNGs. The two layers I export are called "Content" and "Callouts." Neither is locked, and nothing is hidden. I've never had issues before, but today when I tried to export, Illustrator would only export the "Callouts" layer no matter what I tried. I made sure all layers were unlocked, I saved as a new document, combining the layers, I restarted my machine, I copy and pasted all the content onto a new layer—still nothing, that layer simply won't export though there appears to be nothing strange about it and it's worked in the past.
However, when saving as a PDF or saving for web, the "Content" layer does show up. Because I'm exporting a lot of PNGs, it's not convenient for me to save for web one by one, so this isn't a viable long-term fix. I'm at my wits' end here. Any insights?
Thanks in advance.
Edit: One thing to note, is that when I tried to merge these layers through the panel's dropdown, it said "cannot merge because the destination is locked or hidden." However, when clicking on options for that layer it doesn't show that it's locked OR hidden.

He meant to doubleclick on a layer and make sure a checkmark is in front of print.
Do a view >> overprint preview, if the graphics dispaear thatn menas you have for example somehting white set to overprint. That can be fixed with the attributes panel, by selcting the offending objecy and removing overprint.

Camera Raw Chroma Smearing with Fujifilm X Series

I'm using Adobe Photoshop CS6 with an up-to-date Camera Raw version 7.3 to process raw files from my Fujifilm X-E1. As widely reported, ACR introduces obvious chroma smearing into the images that other software (SilkyPix, in-camera processing, iOS PhotoRaw) have no problems with. The workflow for PS CS6 is great, but ACR's buggy demosaicing algorithm continues to be a real problem with the latest version of ACR. Aside from using SilkyPix or other, does anyone know of any near term fixes for this problem until Adobe gets their act together on demosaicing Fuji's X-Trans sensor?
Our eyeballs all have rods and cones that are irregularly spaced and sparse, and we all can see just fine without a Bayer array in our eyeballs, so there's no fundamental reason why Adobe won't be able to fix this issue with X-Trans demosaicing. I just hope they get on the case with a fix for the next version of ACR.
Here's an example that anyone can recreate: ACR's chroma smearing is especially a problem for any text that appears in the image. The numbers on the boats below show chroma smearing when processed using ACR, but not with SilkyPix or other software. It's also possible to see the same problem using dpreview's studio comparison tool. The lens is a 35 mm f1.4 so this smearing at the image center certainly isn't any chromatic abberation from the lens.
Original image (35 mm f1.4):
1:1 crops:
ACR (version 7.3) versus SilkyPix (version shipped with Fuji cameras):

As you say it’s been “widely reported” and Adobe knows about it.

Printing images from keynote resolution is terrible

When I export a keynote file to powerpoint that has print/imagery jpegs and print it the resolution is horrible. What can I do to get a better leave behind. We only convert to powerpoint because the user has a PC.

Print-> Photoshop Manages Colors to choose an ICC color profile, there would be a companion Output box, where I could drag the Transfer slider
"Photoshop Manages Colors" disables the printer sliders under CS6 Photoshop
a proper Source-to-Print conversion should 'match' your monitor
just for grins try reviewing the updates/troubleshooting/workflow here: printing CS6
also recommend using a known good file like the PDI WhackedRGB reference file available on my link...

5.1 workflow in PP cs6?

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