Automatic render using HD Footage?

Just wondering why i have to render each clip in FCE when i edit HD footage. Is there any way that i can set it so that it renders automatically just like DV Footage

Look at the item properties for the clip and look at the item properties for the sequence. Do they match in every aspect. If they don't change the sequence settings so that they match.

Similar Messages

  • How can I make the status bar hide automatically when using safari?

    How can I make the status bar hide automatically when using safari?

    When Safari is in FullScreen mode, menu bar will be hidden.
    Safari window to fit the screen?
    Move the mouse pointer to the bottom right corner of the Safari window.
    Double arrows will appear. Drag it to resize the window to fit the screen.

  • Can I use 4k footage in a 1080p sequence, then export 4k without resolution loss?

    Hi,
    I cut a 1080p sequence using 4k footage that I scaled down in the Effect Controls window. If I export that sequence as a 4k file, will Premiere compress that original 4k footage to 1080p, then expand it back to 4k in the exported file (please say no)? Or is Premiere intelligent enough to interpret the export scaling using the size of original footage, rather than the sequence size? (Hope that makes sense)
    Of course it's wise to create a sequence based on your delivery requirements, but sometimes clients change their mind and I don't feel like rescaling every damn clip. But thanks for the advice
    Thanks!
    David

    Premiere will export to the settings of the timeline / sequence you've created.  It doesn't matter what formats you've used withing that timeline.  So if you use 4k in a 2k sequence, Premiere sees it as a 2k sequence and, without user intervention, will export at that format.
    Obviously you can up-scale during export but i) why would you want to do that when you've previously down-scaled and ii) anything above 100% magnification will begin to pixelate.

  • I am using 4K Footages for editing in Premiere pro CC 2014, but its getting crash in between at every 15 to 20 mins. Kindly suggest how can it be solved, does any plugins or settings needed to edit 4K footages? Also would like to mention that footages fra

    I am using 4K Footages for editing in Premiere pro CC 2014, but its getting crash in between at every 15 to 20 mins. Kindly suggest how can it be solved, does any plugins or settings needed to edit 4K footages? Also would like to mention that footages frame rates are 29.97 and i have set timeline to 25 FPS is requirement by client. kindly revert. Thanks

    Thanks Richarad ..It has solved the problem but still crashes some times .As the programme has the break (bumper)after every five minutes ,i hope it will not compress bumper time too after export.

  • What does "Render using LR" mean?

    Just wondering if someone could explain to me in layman's terms...
    I am using LR 2.7, ACR 5.7.  Photoshop CS3.  I understand that LR is using
    the newest version of ACR while CS3 does not have the capability to use ACR
    beyond 4.6.
    When I choose "Edit in Photoshop CS3" from LR and I have a couple of options
    one of them being: Render using LR, what is happeneing to my CR2 file if I
    choose this option?
    Thank you,
    kristin

    Simple anwser: Render using LR means, let LR process the raw data. Edit in Photoshop: Let whatever version of Adobe Camera Raw process the data. If the two were on parity (same version, same features and thus same processing), no difference. You wouldn’t even get that message. But ACR is older than LR so LR is telling you this. Newer functionality in LR isn’t available to ACR. In such a case, you want LR to process (render) the data. Just use the Export command and setup what you desire in terms of size, color space, file type, just as you setup your Edit in Photoshop preferences.
    Adobe doesn’t force you to have ACR and LR on version parity which is nice. And if not, you are warned of this disconnect in processing the raw data. You could have the older version of ACR do the processing but there is a possibility there will be a visual difference depending on what is ‘missing’ in the functionality in ACR.

  • [svn] 1307: modules: added support for automatically adding " use namespace X", depending on the -target-player value

    Revision: 1307
    Author: [email protected]
    Date: 2008-04-18 16:28:33 -0700 (Fri, 18 Apr 2008)
    Log Message:
    modules: added support for automatically adding "use namespace X", depending on the -target-player value
    * similar to how we add "use namespace AS3"
    * symmetric with ASC's -use feature, however we don't have equivalent commandline support yet
    Bugs: n/a
    QA: Nothing in particular, except for testing the new functionality of -target-player (email me about this)
    Doc: Maybe: If we doc about "use namespace AS3" being added to all Flex compiles, we may want to talk about this.
    Reviewers: Pete and Erik
    Modified Paths:
    flex/sdk/trunk/frameworks/flex-config.xml
    flex/sdk/trunk/lib/asc.jar
    flex/sdk/trunk/modules/asc/src/java/macromedia/asc/embedding/BatchCompiler.java
    flex/sdk/trunk/modules/asc/src/java/macromedia/asc/embedding/Compiler.java
    flex/sdk/trunk/modules/asc/src/java/macromedia/asc/embedding/ScriptCompiler.java
    flex/sdk/trunk/modules/asc/src/java/macromedia/asc/parser/Parser.java
    flex/sdk/trunk/modules/asc/src/java/macromedia/asc/util/Context.java
    flex/sdk/trunk/modules/asc/src/java/macromedia/asc/util/ContextStatics.java
    flex/sdk/trunk/modules/compiler/src/java/flex2/compiler/SymbolTable.java
    flex/sdk/trunk/modules/compiler/src/java/flex2/compiler/as3/MetaDataParser.java
    flex/sdk/trunk/modules/compiler/src/java/flex2/compiler/common/Configuration.java
    flex/sdk/trunk/modules/compiler/src/java/flex2/compiler/common/DefaultsConfigurator.java
    flex/sdk/trunk/modules/compiler/src/java/flex2/compiler/css/StyleDef.java
    flex/sdk/trunk/modules/compiler/src/java/flex2/compiler/css/StyleModule.java
    flex/sdk/trunk/modules/compiler/src/java/flex2/compiler/css/StylesContainer.java
    flex/sdk/trunk/modules/compiler/src/java/flex2/compiler/mxml/InterfaceCompiler.java
    flex/sdk/trunk/modules/compiler/src/java/flex2/compiler/mxml/reflect/TypeTable.java
    flex/sdk/trunk/modules/compiler/src/java/flex2/compiler/mxml/rep/AtEmbed.java
    flex/sdk/trunk/modules/swfutils/src/java/flash/swf/tools/SwfxPrinter.java

    Thanks for your attention.
    In the above logs, higher resolutions seems to be detected on both screens, hence my surprise :
    [ 391.631] (II) intel(0): Printing probed modes for output LVDS1
    [ 391.631] (II) intel(0): Modeline "1600x900"x60.0 110.00 1600 1664 1706 2010 900 903 906 912 -hsync -vsync (54.7 kHz eP)
    [ 391.897] (II) intel(0): Printing probed modes for output HDMI1
    [ 391.897] (II) intel(0): Modeline "1680x1050"x59.9 119.00 1680 1728 1760 1840 1050 1053 1059 1080 +hsync -vsync (64.7 kHz eP)
    If it can help here is also my current xrandr output (after having called it manually to use the preferred resolution of each screen)
    itanguy ~ $ xrandr
    Screen 0: minimum 320 x 200, current 1680 x 1050, maximum 8192 x 8192
    LVDS1 connected 1600x900+0+0 (normal left inverted right x axis y axis) 309mm x 174mm
    1600x900 60.0*+ 40.0
    1024x768 60.0
    800x600 60.3 56.2
    640x480 59.9
    VGA1 disconnected (normal left inverted right x axis y axis)
    HDMI1 connected 1680x1050+0+0 (normal left inverted right x axis y axis) 434mm x 270mm
    1680x1050 59.9*+
    1280x1024 75.0 60.0
    1152x864 75.0
    1024x768 75.1 60.0
    800x600 75.0 60.3
    640x480 75.0 60.0
    720x400 70.1
    DP1 disconnected (normal left inverted right x axis y axis)
    HDMI2 disconnected (normal left inverted right x axis y axis)
    HDMI3 disconnected (normal left inverted right x axis y axis)
    DP2 disconnected (normal left inverted right x axis y axis)
    DP3 disconnected (normal left inverted right x axis y axis)
    If needed, I may reboot and provide xrandr output after boot (it will be 1024x768), or could other logs help you ? Please ask...

  • After Effects Won't Render Using H.264

    OK, I am trying to use H.264 codec but I keep getting an error and I can't figure out why.  I select (Composition > Add to Render Que), then I select "Output Module > Custom and select "Lossless" and select H.264 and then get the message below:
    "After Effects: For reliable output with H.264 compression, please choose it directly from the Output Module Format menu instead of via QuickTime. (44 :: 81)"
    So I then did as it said and selected the drop down arrow beside Output Module and then selected "Custom" and then selected H.264. and then I get the same message:
    "After Effects: For reliable output with H.264 compression, please choose it directly from the Output Module Format menu instead of via QuickTime. (44 :: 81)"
    An idea what's going on? Why does it give me this message when I am doing it the way it is telling me? How can I render using H.264?
    Thanks

    Are you using the trial version of After Effects?
    from "Supported output formats":
    "The free trial version of Adobe After Effects software does not include some features that depend upon software licensed from parties other than Adobe. For example, mocha for After Effects, some effect plug-ins, and some codecs for encoding MPEG formats are available only with the full version of Adobe After Effects software."
    H.264 is an MPEG format (MPEG-4, part 10).

  • Render using LR or open anyway dialogue box missing

    I have LR5.3 and PS CS6 everything is currently up to date.
    Up till today I would do my basic edits in LR then right click>edit in> edit in adobe photoshop CS6 and a dialogue box would open up asking me 'Render using lightroom' 'open anyway' then it would open in PS CS6 as a .psd file where I could then edit more dramatically, go to file>save and the changes would then show back up in LR5
    For some reason today none of this is happening, I do my basic edits, same proceedure to open in PS CS6 and no dialogue box opens the file just opens straight into PS as a .NEF file.

    Thanks so much for responding Geoff.
    My files won't open in photoshop as .psd anymore though? I will have to do save as and select .psd otherwise it will override the original raw file? I just want to make sure so I don't do soemthing I shouldn't. I also won't have multiple stacked images in LR either?

  • What timeline format shall i use for footage in AVCHD format?

    I am shooting with the Sony HXR NX5, and i would like to ask what timeline format shall i use for footage in AVCHD format? I do not see any format in the Final Cut Pro and in Motion that matches my camera format.
    Thank you very much for your assistance.
    Best regards,
    Richard

    IF you are working with FCP 7.0.3 (the last version) then you use Log and Transfer to ingest your footage from that camera, and Log and Transfer will convert the AVCHD camera files to ProRes.
    Once the camera files are ingested, make a new (empty) timeline, and either drag a source clip or edit it to that timeline and you will be prompted to match the sequence settings to the source clip. Say yes and you should be good to go.
    AVCHD, H.264,etc. files are not directly usable in FCP without conversion.
    MtD

  • Trying to render using special effects in premiere

    trying to render using special effects in premiere

    Joe ...
    I'd almost just schlepped a big gulp of coffee just before reading this ... darn glad I hadn't! 
    Neil
    (still laughing ... )

  • Counting inbound emails (including those automatically deleted using ERMS)

    Hi all,
    I have a requirement to be able to count all inbound emails in SAP CRM (5.0).  This includes all emails that have been automatically deleted using ERMS after the creation of an Interaction Record and Service Ticket.  Can anyone think of an easy way of doing this in SAP CRM?  The Email Workbench and Agent Inbox do not display deleted email Workitems.  The best option that I have been able to come up with is to export the Workitem Selection Report from transaction SWI1 into a spreadsheet and filter column Workitem ID for unique entries.  Does anyone know of a better way of achieving this?
    Thanks,
    Onkar.

    By using POP3, mail is automatically deleted from the server once downloaded by the client without further user intervention (granted, not immediately due to BTYahoos recent non-standard implementation of the POP3 protocol). By contrast, the whole point of IMAP is that mail is left on the server to be available to multiple devices and requires user intervention to delete. Why would a system which is designed to be used for leaving mail on a server be recommmended to someone who wished it to be deleted? If you wish to be pedantic, I agree the OP didn't ask for mail to be automatically deleted, but then nor did he specify immediate deletion either. I interpreted the request as the former, you the latter. Perhaps if we understood the underlying reason why he wished the mail to be deleted in the first place it would help in providing a solution.
    There seems to be a recurring theme on this forum to promote IMAP as a universal panacea to overcome all mail problems which is diverting attention away from fixing BTYahoo's broken POP3 servers which have to my knowledge at least 4 problems. Two are deliberate by BTYahoo, lack of secure login and moving read items to the Trash folder temporarily before deletion. Two are faults which they seem either unable or reluctant to fix, intermittant authentication problems and inabilty to download even modest sized attachments on a slow connection.
    Correction, he did ask them to be deleted automatically.

  • Workaround? - Using Interpret Footage AME renders active content only for original movie length

    I submitted a bug on this behavior, but I am hoping that someone has found a workaround or maybe I am just using Interpret Footage incorrectly.
    Here is the problem:
    1. Import 20 second long 23.976fps source file into AME
    2. Right-click item in Queue and choose Interpret Footage
    3. Choose "Assume this frame rate:" and set to 18fps - Duration will update as expected to 0:00:26;19
    Results:
    Output file will have correctly re-timed active content up to 0:00:20;00 and then hold that frame (which correctly corresponds to 0:00:15;00 from the source file) to the end of the file at 0:00:26;18
    Expected results:
    Output file should contain the full content of the source file re-timed for the new duration.
    NOTE: This behavior will also be apparent in the Export settings Preview window prior to encoding.
    Mac OSX 10.7.5
    AME: 6.0.2.81 (64-bit)

    We are actually generating the files ourselves and keeping them 23.976fps (or 25fps for PAL-country clients). We're interpreting the incoming 23.976fps file as 18fps because that is the speed at which it was shot. Super-8 sound film like most other sound film was 'supposed' to be shot / projected at 24fps, but many shooters used 18fps to get more time out of a 50-foot camera load. Our company provides 24p (or 25p) files to clients, and in addition to providing 1 to 1 representations of their film at 23.976fps, we also provide 24p files with duplicate frames inserted so they are easy to work with in NLEs, yet approximate the correct motion for material that was shot at 12, 14, 16, 18 or 20 fps. Our Apple Compressor workflow works great for the 90+% of material that is silent or is sound film shot at 24fps. We would experiment with moving the entire speed-correction workflow to AME if it solved the 18in24 sound problem, and it _almost_ does. The behavior I described is obviously a bug and not 'works as intended' - it will then be a question of whether such an outside use case gets any attention. If I can come up with another use case that would be more popular, then I might get more visibility for the bug. I suppose that some may wish to batch out 24p files from 25p files using the same technique. That is, throw a pile of 25p files into AME, interpret them as 23.976 and write them out to 24p files. I would expect that the last 4% of those files would show a freeze frame...
    Message was edited by: buckbito - typo fix

  • Using HD footage in an SD sequence

    Hi,
    I have Final Cut Pro 5.1.4. I have a project which will be output as SD. I wanted to see if it is possible to import HD footage in such a way that I can have a large image which I can create a move across (as opposed to the loss of quality I would incur from simply blowing up SD footage). Can this be done by simply capturing and editing the HD footage into an SD sequence and then resizing the footage or is there a clever way of automatically opening the HD footage in the sequence in such a way that only an SD sized portion (720 lines by 576) of the HD (1440lines by 1080) is on screen. I am worried that if I simply edit the HD footage onto an SD timeline, Final cut will simply reduce the line resolution to SD and any resizing will be like blowing up native SD footage. Anyone done this?
    Thanks
    Dom

    Dom in Sheffield wrote:
    Any thoughts - am I off the chart?
    So long as you remove the scaling adjustments that FCP will make after you drop an HD clip into an SD timeline, you should be fine.
    Because it's typically what users want, when you drop in an HD clip, FCP will letterbox and/or scale down, but resolution in the clip itself is not thrown out. So, if you need to scale back up to 100% (basically) do pan & scan maneuvers, you won't lose quality. (Just don't go over 100% for the clip's scale)
    FCP +does not+ downsample or convert an HD clip into SD just because the Timeline is set that way.

  • Using 24p footage and 60i footage together?

    Hello,
    I am working on a project that will combine 24p footage and 60i footage. What would be the best way to go about combining these two. It's for a short that is shot similar to Cloverfield. I want to use 60i footage for the hand held footage shoot by the actors who are capturing their experience. I'd prefer to have that footage shot on 24p as well and degrade the quality in post, but I don't want to run the risk of them dropping my DVX100a and destroying it. I don't have any experience with 60i, or combining two kinds of footage, so advice is much appreciated!
    Thanks!

    > that they are not true 30p but really 60i rendered to 30p
    Well, I certainly can't speak for all of these cameras, but I have played around with some of this "30p over 60i" footage -- but most of this was from HDV cameras, not AVCHD. Avoid if you can. Basically, the luma is progressive and the chroma is interlaced.
    I have a function (it's actually part of the dv2film and hd2sd functions) that will deinterlace only the chroma, so can recover greatly true progressive output... but this is an unmitigated a pain in the *** to deal with all the time, and you certainly lose at least a little chroma resolution. Avoid :)

  • Create TO automatic by using wave pick for outbound delivery NLC (STPO)

    Dear all,
    In Cross company code process, we have to create TO automatic by using wave pick for outbound delivery NLC (delivery type NLCC). Time data in outbound delivery NLC have been fulfilled, but there is no TO created, what is wrong in this? pls help.
    Thanks

    Hi Kishor,
    Is there any requirement of TO when ECC system is Interfaced to EWM.
    As per my understanding we have terminology WT & WO in EWM.
    Regards,
    Rock

Maybe you are looking for