Best settings for project with multiple format sources

New to Premiere Pro after leaving FCP behind and I feel like I've got enough under my belt to start a new project. Working in PP CS6.
Question: my source footage is going to be in many different formats from ripped flash video to footage shot on a C300; includes stills, QT files, etc. (My work involves a lot of found footage, image recycling, etc.)
I want to finish most likely at 1920x1080; exhibition will be festivals, but also DVD, streaming, etc. And I want to work in 24p.
What would be the best settings to use for this project? What codec? Etc?
In FCP I would have used Prores 422, but wonder if something native to PP would be better.
Thank you.

Assuming the C300 footage will be 1080p/24, I'd probably work in that sequence myself. Or possibly 720p/24 if the other assets were smaller than 1080.

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Question: Best practices for dealing with multiple AM configurations

Hello all,
I have a project using ADF Business Components and ADF Faces. I would like to set up multiple configurations for the Application Modules to support the following scenarios:
1). Local testing and debugging - using a connection defined in JDeveloper and AM Pooling turned off.
2). Testing and debugging on an application server - using a JDBC Data Source and AM Pooling turned off
3). Production deployment - using a JDBC Data Source and AM Pooling turned on.
It is no problem to create multiple AM configurations to reflect this scenario. In order for the web part of the application to use the correct configurations, the DataBindings.cpx file must specify the correct ones. I was thinking to have 3 different DataBindings.cpx files and to change the CpxFileName context-param in the web.xml file as needed.
My questions:
1). Does this make sense as an approach? It should be better than having to change a single AM configuration every time I deploy or test. Is there any easy way to keep multiple DataBIndings.cpx files in synch, given that we may add new pages from time-to-time? Alternatively, can we do some type of "include" processing to include just the dataControlUsages section into a common DataBindings.cpx file?
2). How would you manage the build-and-deploy process? For the most part, in JDev we would be using configuration #1. The only time to switch to configuration #2 or #3 would be to build an EAR file for deployment. Is this something that it would make sense to accomplish with ANT? I'm not an ANT expert at all. The ANT script would have "build-test-ear" and "build-prod_ear" targets which would swap in a correct web.xml file, recompile everything, build the EAR, then put the development web.xml file back. I'm relatively sure this is possible... comments?
3). Is there some other recommended approach?
I appreciate any insights from experience, or even just ideas or thoughts that I can test out.
Best regards,
John

Hi K,
Sorry for the long long delay in responding I've been traveling - and thanks for the e-mail tickler too...
To answer your question in short, I do think that ANT is the right way to go; there is an extra ANT task called XMLTask that I was able to download and play with, and it seems it would make this manipulation of the cpx file (or the xcfg file, for that matter) pretty straightforward. I don't have any code to post; it's just in the conceptual stage for me right now. I didn't see anything magical in JDev 11 TP3 that solved this problem for me either.
Having said all of that, it's more complicated than it might appear. In addition to the DataBindings.cpx file (stores, among other things, which AM configuration to use for each data control), it's certainly possible to programmatically access an AM (specifying the configuration either directly in the code or via a properties file/etc). I'm not sure what the most common use case for AM configurations is, but in my case, I have a Test configuration and a Prod configuration. The Test config, among other things, disables AM pooling. When I am developing/testing, I always use the Test config; in Production, I always use the Prod config. Perhaps the best way for me to do this would be to have an "Active" config and use ANT tasks to copy either Test or Prod to "Active." However, our Subversion repository is going to have a few complaints about this.
John

Is there a way to set up browse sequences for project with multiple TOCs and conditionalized modules

I'm using RoboHelp 9 with WebHelp output.
I've got five outputs, one of which contains Help for common functions, while the other four contain Help for licensed modules. When a user opens the Help for a licensed module, the user sees the core Help and the licensed Help. In addition, files are conditionalized so that searching for unlicensed content from a licensed Help module brings up nothing.
I've been troubleshooting problems with the Previous Topic and Next Topic which, thanks to William, I learned are related to browse sequences. After trying assorted configurations, I've got a couple of questions:
Does RH support only a single browse sequence in a project, even when the project has multiple outputs & TOCs?
If RH supports only a single browse sequence, does that mean there is no way to create a unique browse sequence for each separate output?
If RH supports multiple browse sequences, what is the workflow?
I also maintain a 'master' TOC that contains all the modules, both common and unlicensed. What I've done for now is to autocreate a browse sequence based on the 'master TOC'. When I generate output for a licensed module, which is conditionalized, I only see the TOC for that module and, therefore, can only browse between books and subbooks in that module. I've also verified that topics that do not appear in the conditionalized module, such as for another licensed module, do not appear in the Search results list either.
Carol

Me again, Carol
You also asked about the functional differences between WebHelp and WebHelp Pro, so let me elaborate.
I'm aware of only two major differences (other than the extra benefits of feedback analytics reports and management of "Areas" with authentication in RoboHelp Server).
The behavior of Browse Sequences as explained above
The fact that Content Categories are not supported in WebHelp Pro for this latest version 9.
As for the Browse Sequences you are trying to provide for different modules (licensed, etc.): Multiple Browse Sequences are included in a single .BRS file. The sequences are defined in the XML within the single file.
As a workaround (for either WebHelp or WebHelp Pro) you could create a NGP Help.brs. which you have already created for one module; then backup and archive it. Then, create a modification for the different module before you generate again. The NGP Help.brs. will need to have the same name as your project so you will have to manage the desired .brs file into the project folder when you generate that version. All of your other choices (TOC, Index, Conditional Tags, etc.) would remain the same for the respective modules.
Finally, I note that you are apparently generating WebHelp Pro right now even though you are not publishing it to the RH Server? This is really not the best practice. You should generate plain WebHelp for a web server that does not have RH Server on it (even though you may be getting away with it). As for your concern about "breaking" something; each output is placed in a different !SSL! folder automatically when you generate, so you should be able to generate WebHelp without interferring with the WebHelp Pro output. Then, you can re-publish to the RH Server using WebHelp Pro whenever the server is ready.
John Daigle
Adobe Certified RoboHelp and Captivate Instructor
Evergreen, Colorado
www.showmethedemo.com

Best settings for show with just JPEG at 300 psi

Hello,
My son is working on a school video project. The elements are music, JPG stills (scanned at 300 psi from a black and white negative) and text (a poem by Lawrence Ferlinghetti).
He will use the motion tools to zoom and pan on the images, etc.
Can anyone suggest the best set-up for working with black and white still jpg images. He will be using FCP 6 on Mac G5.
Thanks.

In the first (and most important) instance the video will be played off a standard Mac laptop (an old Powerbook) probably through a fairly basic school projector. Nothing fancy (no budget in public schools for anything like that).
I am playing about with the JPG set-up (square pixels at 720 x 480). Though my instincts tell me I should wait and hear and get the official line (or best practice as they say in some circles).
The images are scanned from a 35mm black and white negative as a 4x6 300dpi jpg.
I have color corrected in Photoshop and have made copies in a re-sized 720x480 screen size (if that will help).
Thanks
A

Best Settings For Video With Quick Movements?

The video project I'm working on contains a lot of quick movements. When I try exporting it into a Quicktime file, most of the video looks fine, but any of the quick motions have a strange choppiness to them that I've never seen before. The choppiness exists only in the isolated areas of the movement.
What settings would you recommend? I have tried numerous. Or has something gone wrong with my Final Cut Express HD?

Try the Deinterlace Filter on the dodgy bits. I can't promise it will work but it's worth trying.
Effects>Video Filters>Video>De-interlace.

Best workflow for multiclip with multiple microphones?

I'm working in sequences with nine cameras (one of which, unfortunately, is being turned off and on occasionally). The cameras are jam-synced, although sometimes there are discrepancies.
I also have nine different microphones that are a mixture of lavs and booms. None of the mics correspond to any particular camera, so I've been doing the following:
- Using multicam sequence to lay out my video on individual tracks based on their jam-sync TC
- Doing the same for the audio and manually syncing all of the video tracks to it.
This gives me a sequence with everything nicely lined up, nothing as multicam just yet. I'm then able to break the sequence down into chunks, multiclipping based on when the cameras are turned on and off.
But I haven't found a good way to get the 8 audio tracks linked to the video in my master multiclips that I'm creating. I tried linking all of the audio to my first angle (with the intention of keeping the multicam switcher always toggled to angle 1 audio while I switch between video tracks), but when I link the eight tracks to my first angle, and then create the multiclip, the first angle only retains ONE audio track split out as a stereo pair! Not all 9.
Any advice?

Good news, past me! I figured out that it wasn't including all eight tracks because when I was linking the audio to angle one, and then match framing before dragging my clip to the browser, I didn't realize that it was match-framing to the in-camera audio, not the newly - linked audio.
But does anyone have any general advice for how they do a multi-cam audio setup like mine? Do you use reference clips, generate aux timecode, etc?

What are the best settings for ripping cd's in the AAC format?

I have researched and found out that the AAC format rules over the MP3 format as fas as sound quality goes with lossy formats. Example: AAC at 128 is better than MP3 at 160 as so forth. My questions are: What are the best settings for ripping cd's in the AAC format? Will I be able to burn cd mixes with the tracks I import into itunes after importing using the AAC format? Does the AAC format have VBR like the MP3 format? Is there other ripping software such as dbPoweramp and Exact Audio Copy that does a better job ripping cd's in the AAC format? Please help!

mysteryroach wrote:
My questions are: What are the best settings for ripping cd's in the AAC format?
It is a matter of opinion, but I suggest 256 kb/s, CBR, and leave all other settings on automatic.
Will I be able to burn cd mixes with the tracks I import into itunes after importing using the AAC format?
Yes. Just put them in a playlist and burn.
Does the AAC format have VBR like the MP3 format?
Yes. You will see it as an option in the Import Settings.
Is there other ripping software such as dbPoweramp and Exact Audio Copy that does a better job ripping cd's in the AAC format?
EAC does a better job of correcting errors in damaged CDs, but for normal CDs iTunes does a fine job of ripping to AAC.

What are the best settings for exporting video in Premiere Pro Cs5.5 in HD MP4 format?

What are the best settings for exporting video in Premiere Pro Cs5.5 in HD MP4 format?
Any help would be greatly appreciated! Thanks

function(){return A.apply(null,[this].concat($A(arguments)))}
bmiller0525 wrote:
What are the best settings for exporting video in Premiere Pro Cs5.5 in HD MP4 format?
Any help would be greatly appreciated! Thanks
thats way too vague of a question... best what? quality? size? playback?
best quality then use high bitrate, small size use low bitrate.

Is it possible to save a Photoshop project with multiple tabs (inducing images) for later use. Now, when I close Photoshop, it ask to save each tab separately and they are not staying in the project for later usage. Thanks in advance for you help.

Is it possible to save a Photoshop project with multiple tabs (inducing images) for later use. Now, when I close Photoshop, it ask to save each tab separately and they are not staying in the project for later usage. Thanks in advance for you help.

You should ask in Photoshop General Discussion
The Cloud forum is not about using individual programs
The Cloud forum is about the Cloud as a delivery & install process
If you will start at the Forums Index https://forums.adobe.com/welcome
You will be able to select a forum for the specific Adobe product(s) you use
Click the "down arrow" symbol on the right (where it says All communities) to open the drop down list and scroll

Best settings for highest quality results, Blu-Ray vs DVD

I am shooting AVCHD 1080p 60fps with a JVC GC-PX100, using a Windows 7, i7-2600 3.40Ghz., 8Gb.RAM, 1 TB HDD with PE11 and a Pioneer Blu-Ray writer drive.
I'm looking to find the best settings for replay on a 55" HDTV. I have tested both BD and DVD without seeing very much difference between the two as far as video quality is concerned,
but I want to make sure I'm using the right settings for the best quality on both drives. Can someone please offer a step by step settings procedure for both BD and DVD, also which do you
think is the better route to take between the two?
Also, I have noticed there is a ghosting image after letters/numbers on faster moving content (like railroad cars) on my video even before transferring it, can anyone give some insight to what that might be and if there may be a solution ??
Many thanks for your anticipated help.

Rikko
Thanks for the reply.
Referring back to your post 4.
Additional info: When I published my test video for DVD I chose “Computer” on the Publish+Share drop-down list, then chose MPEG, Presets: HDTV 1080p 29.97 High Quality.
Saved and burned to DVD. I also did the same choosing AVCHD Presets: MP4 – H264 1920x1080p 30. Saved and burned to DVD
Let us clarify. When the end result is "...burned to DVD" in either case, are saying that you take your saved file to DVD-VIDEO on DVD disc or AVCHD on DVD disc, using another Premiere Elements 11 project on Windows 7 64 bit.
My post numbered 1, contained the step by step for taking your 1080p60 Timeline directly to DVD-VIDEO on DVD disc or Blu-ray disc format on Blu-ray disc.
If you are going to introduce intermediates in your workflow (Timeline content saved to file and then burn to disc), then I would offer the following scheme
a. 1080p60 project preset (project 1)
b. 1080p60 Timeline saved to file via
Publish+Share
Computer
AVCHD
with presets = MP4 - H.264 1920 x 1080p30 (and then under the Advanced Button/Video Tab, customize the export settings for 1080p60 instead of 1080p30)
c. Import that back into Premiere Elements 1080p60 project (project 2) and burn to disc DVD-VIDEO on DVD disc, AVCHD on DVD disc, or Blu-ray disc format on Blu-ray disc..
This is another alternative interpretation to your saved and burned to DVD.....in one project, you are doing two different exports...one to a file saved to the hard drive and after than the burn to disc (be it DVD-VIDEO on DVD disc, AVCHD format on DVD disc, or Blu-ray disc format on Blu-ray disc). If this is the case, there is no "intermediate".
There used to be the discussion about HDV to DVD-VIDEO format on DVD disc - whether HDV file should be imported into the project as source or whether the user should downsize the HDV to DV widescreen in the camera before import into a DV Widescreen Premiere Elements project. As we getting into this type of question with your 1080p60 to DV widescreen?
Please review and consider. And, then please let me know if any of the above addresses your considerations.
Thanks.
ATR

Best Settings for Exporting DVD Footage in a Movie File

Hello,
I've been trying to find the best settings for exporting DVD footage into a movie file from Adobe Premiere CS6.
I recently have been using my Magnavox DVD recorder for recording VHS tapes that I made long ago for shows and various other things, and no matter what, my footage doesn't come out as it needs to be.
Here's an example of what I did recently with my own settings:
http://www.youtube.com/watch?v=qFV4sT7rHGs
I'm not expecting HD footage, I know these are tapes, but I'm playing the raw footage on my Xbox 360, and it looks better than this. I had to directly use the VOB files on the DVD for this, as trying to rip the files into an AVI or any other format with a DVD ripper didn't do anything, in fact it degraded the quality and made the audio not play in Premiere.
So what would be some good settings for exporting a sequence with DVD footage that is from a VHS into a movie file, preferably one that wouldn't degrade the quality?
Thanks!

First, read Why not edit mpeg http://tangentsoft.net/video/mpeg/edit.html to get a general idea of why a VOB makes a very poor source file (which is a renamed MPG, with some other stuff like menu screens)
Also, Read Bill Hunt on editing a VOB/MPG file http://forums.adobe.com/thread/464549
Once you have a DVD compliant VOB on your timeline, and understanding that a standalone DVD recorder sometimes plays fast-n-loose with "compliance" per the DVD specification, about all you can do is export to standard or widescreen DV AVI and accept the fact that re-encoding an already compressed file is just not going to give great results

Best settings for 4k video in Premiere Pro CS6

I am trying to nail this down. I have an (Asus G20AJ Series) ASUS i7 3.6 Ghz with 16GB RAM 64 bit. I now have a drone that uses 4k video. I am pretty sure I have the rendering down but I wanted to ask if you guys can suggest options for all the best settings for setup, playback and export of the video. My drone does video of 4096x2160 @23 fps. When I went to render the 6 minute file, wow, it was going to take more than 4 hours! Is this right? Any info you can suggest would be greatly appreciated!
Thank you!
Jeff
https://farm9.staticflickr.com/8805/17142255269_0702f8b8b0_k.jpg

4 hours sounds about right for this source material on such a system. Better hardware may be needed to reduce the exporting time or you have to convert the source material to a less demanding format.

Best settings for film based PAL to MPEG2?

There's a fair amount of useful information online regarding the best settings for film based NTSC footage export etc but I'm unable to find anything regarding the best Compressor settings for the export of MPEG2 from PAL video from a 25 frames per second film sourced master.
Can anybody help?

Okay, so after reading heaps of stuff on interlacing and progressive, my head is hurting. Since my 1080i50 Pal footage captures into Final cut interlaced and setting field dominance to NONE doesn't do much, I realise I need to de-interlace in an another application. Ken Stone has a great example of what to do in compressor though I dont have the current version (3) and am not sure how to reinterpret this for Compressor 2. I had a go without much luck. I am in the process of trying to use MPEG Streamclip to deinterlace and trying getting the right settings. Will see how that goes. I also have tried using JES deinterlacer but also wasnt sure about settings etc with this application either.
Which is the best to use and what settings should I set. I wish to use my footage for watching on our macs primarily and also from our mac server which is hooked up to our hdtv. I can then convert to other formats for iphones and web etc. But my main problem is this interlacing issue. I have a nice new HDV camera but it certainly isnt looking too much better atm than my old dv footage.
PLEASE help!

Best settings for Panasonic DVX100B

Hey all. I shot footage in 24pAdvanced on my Panasonic DVX100b. Now I am stuck trying to figure out the most optimal capture, sequence, and export presets. I want to get good clear 720p video out of the footage, but when I export it looks grainy and low quality.
Can you guys post your workflows for the DVX?
As of now I have:
L/C: DV NTSC 48 kHz Advanced (2:3:3:2) Pulldown Removal preset wit Firewire NTSC NDF
Sequence: NTSC DV - 48kHz 23.98
Export: Current Settings
ANy help?

I have found the best settings for any user using the Panasonic DVX AG-100b shooting with 24pA
These settings get rid of issues like Pulldown Cadence Errors, Dropped Frames, Horrible Quality, and so on.
USER PREFERENCES
TAB: "Timeline Options"
Starting Timecode: "Drop Frame" Option should be unchecked
SYSTEM SETTINGS
TAB: "Playback Control"
RT: Unlimited
Video Quality: Dynamic
Frame Rate: Full or Dynamic
Pulldown Pattern: 2:3:3:2
Gamma Correction: Accurate
Frame Offset: 4
Record: Full Quality
(I have all options checked except "Play Base Layer Only")
EASY SETUP (CUSTOM)
AUDIO/VIDEO SETTINGS
TAB: Summary
Sequence Preset: DV NTSC 48kHz - 23.98
Capture Preset: DV NTSC 48 kHz Advanced (2:3:3:2) Pulldown Removal
Device Control Preset: FireWire NTSC NDF
Tab: Sequence Presets
Edit: DV NTSC 48kHz - 23.98
Aspect Ratio: NTSC DV (3:2)
Anamorphic 16:9 CHECKED (If you shot with widescreen)
Editing Timebase: 23.98fps
Timecode Rate: Same as Editing Timebase
QuickTime Video Settings
DV/DVCPRO - NTSC
(Under Advanced)
Compression Type: DV/DVCPRO - NTSC
Frames Per Second: Custom 23.976
Quality: BEST
Scan Mode: Progressive
Aspect Ratio 4:3
Audio Settings: Leave alone
TAB: Video Processing:
I have this set to Render ALL YUV material, but you can set that to your preference.
Now back to AV settings under tha CAPTURE PRESETS tab:
Edit/Duplicate DV NTSC 48kHz Advanced (2:3:3:2) Pulldown
Frame Size: NTSC DV (3:2) Anamorphic 16:9 CHECKED
Digitizer; DV Video
Input: AG-DVX100B
Compressor DV/DVCPRO - NTSC
Quality 100%
FPS: 29.97
QuickTime Audio Settings:
Device: DV Audio
Input: First 2 Channels (If that's what you used)
Format 48.000 kHz 16-bit 2-chan
(Don't change this unless you know for a fact another setting woks, b/c the DVX doesn't go higher than that setting)
Capture Card Support Simultaneous Play Through and Capture (CHECKED)
Remove Advanced Pulldown and/or Duplicate Frames from FireWire sources (CHECKED)
High-Quality Video Play Through (UNCHECKED)
Back to AV Settings under the Device Control Presets tab:
Edit FireWire NTSC NDF
Protocol: Apple FireWire
Time Source: DV Time
Frame Rate: 29.97
Default Timecode: Non-Drop Frame
I changed my Pre-roll to 2 seconds.
And when you're done editing, EXPORT USING COMPRESSOR and find the best settings.
Hope this helped. Wish I had this when I was figuring out how to do this.
My advice, SAVE ALL OF THESE to an easy setup and copy this post just incase you lose the settings.

Best Settings for Audigy 2 ZS Recording Out to S-VHS or DVD Recor

I?m recording some very machine intensi've video & sound to outboard devices. I'm using these outboard devices so that the recording process itself does not impact the demonstration performance.
Concerning the sound out, I?m using the line & 2 out of the card, and running it through a pro level audio board (Mackie) for any adjustments & monitoring before taking the line out of the board into the recording device. When returning the sound for monitoring, I?m also running from the external device directly to the board and directly from there to either headphones or control room monitors. Thus, I?m using the Audigy for initial sound generation. So far, I've not really made any ajustments at the board other than level or balance. I like to keep things pretty flat in recording.
I?ve looked around for recommendations as to the best settings for the Audigy card from its internal software for this situation, but find no ready reference. My concern is that I have the ?hottest? signal from this device, while being very concerned with audio quality. I?m looking for both ?punch? and ?clarity? of signal.
Is there a document or source that would give me this direction? While I can move from this SB card to other more studio based cards, I?d like to keep the demo product in line with what the actual target audience would have in their machines, and be able to replicate at their workstation.
For example, does the card function best at 00% (0db) output, or 50% (-5db) output?
Or some setting in between...most likely...
Or, is there some other setting I?m not aware of?
I have what I believe are the latest card drivers and software suite, XP Pro, with every possible OS and other machine hardware update available.
Thanks,
Rich

I?m recording some very machine intensi've video & sound to outboard devices. I'm using these outboard devices so that the recording process itself does not impact the demonstration performance.
Concerning the sound out, I?m using the line & 2 out of the card, and running it through a pro level audio board (Mackie) for any adjustments & monitoring before taking the line out of the board into the recording device. When returning the sound for monitoring, I?m also running from the external device directly to the board and directly from there to either headphones or control room monitors. Thus, I?m using the Audigy for initial sound generation. So far, I've not really made any ajustments at the board other than level or balance. I like to keep things pretty flat in recording.
I?ve looked around for recommendations as to the best settings for the Audigy card from its internal software for this situation, but find no ready reference. My concern is that I have the ?hottest? signal from this device, while being very concerned with audio quality. I?m looking for both ?punch? and ?clarity? of signal.
Is there a document or source that would give me this direction? While I can move from this SB card to other more studio based cards, I?d like to keep the demo product in line with what the actual target audience would have in their machines, and be able to replicate at their workstation.
For example, does the card function best at 00% (0db) output, or 50% (-5db) output?
Or some setting in between...most likely...
Or, is there some other setting I?m not aware of?
I have what I believe are the latest card drivers and software suite, XP Pro, with every possible OS and other machine hardware update available.
Thanks,
Rich

Best settings for project with multiple format sources

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