Best workflow advice

I'm a relative newbie, so excuse the obvious - I'm working on some Photoshop still images, some layers of which I'm animating. I want to render them out to Premier Pro to make a movie. This is for display on iPads. I want to know what's the best format to export to Premier Pro in. Should I choose Photoshop Sequence? I know what Apple's video requirements are from Prem Pro, but wondered what the best way to get them from AE into PP. Thanks.

It really doesn't matter much, you're probably making it more difficult than necesary.
Set your comp up in After Effects to be the same format, codec, frame rate, pixels aspect ration and size in pixels as your Premiere sequence. That keeps everthing simple.
If you need to know about more advanced functions, ask more questions.

Similar Messages

Best workflow using DNG files from Odyssey 7Q in Premiere 8.1

Finally, the magenta highlights issue has been fixed in this new 8.1 version of Premiere - lovely! :-)
I'm wondering though, what the best workflow is when using 2K/4K raw dng image sequences from the Odyssey7Q? In this case, shot on the Sony FS700.
Is there a simple and easy way to batch import a bunch of clips?
The behavior of the Media Browser in Premiere is a little different than the last version... When you choose the individual dng clip folders it now shows one single dng sequence files instead of a bunch of individual png images. But you still have to browse to each clip folder and choose the dng sequence file. If you just choose the root that contains the clip folders or if you choose multiple clip folders, it will import the content of those folders as individual dng image files! Pretty annoying...
Does anyone know of a better way to import where you don't have to choose each clip manually?
Also, how do you bring a PP edit sequence into AE for ACR processing? You can't copy/paste the files and you can't choose "Replace With After Effects Composition" - those two methods will just import one single DNG frame into AE.
You can import a whole PP project into AE but that will just show the entire PP sequence as one single file. You can't access the individual clips or open it in ACR.
The best method I know of is export all the DNG sequences as proxies, edit the material using the proxies on PP timeline, copy/paste that into an AE comp and then manually replace each of the used proxy files with the original DNG files, which will open up the ACR. But that's a bit of a hassle...
Is there any way of taking advantage of the full dynamic range of the DNG files in Premiere? When I bring down and overexposed image using either fast color correction or by right-clicking on a clip and choosing "source settings..." and using the exposure slider, the image looks "flat" but when I do the same thing using the ACR, I can reintroduce the details otherwise lost in the overexposure.
Any info or advice on this will be greatly appreciated

Hi EyelightKasper,
See if this method will work for you: Re: How to import multiple DNG files into Premiere
Thanks!
Kevin

Film workflow advice

Hello,
I need some workflow advice for a feature film and I would really appreciate some input and technical expertise. I am working with telecined footage from 16mm film and I need to perform reverse telecine with Cinematools so that I can edit the footage in Final cut. My end format will be a 35mm blow up from my original 16mm negative, so I need Cinematools to track my footage correctly so that I can later export a cut list for the negative cutter.
My digital footage is SD and is on DV cam tapes. The lab used a telecine speed of 23.98 when they transferred the footage. The lab provided flex files which I used to create a cinema tools database and to batch capture all of the footage.
First, I need to confirm that the footage was captured correctly.
To capture I used the FCP preset: DV NTSC 48 kHz (29.97 fps DV-NTSC Best Quality 720x480)
I did not use the FCP capture preset "DV NTSC 48 kHz Advanced (2:3:3:2) Pulldown Removal" because my understanding is that this preset is designed to remove pulldown during capture when used with external hardware designed to remove pulldown during capture, correct? In this case I will be removing the pulldown with Cinema Tools instead.
I also am assuming that setting the capture fps to 23.98 would have been wrong because my footage is coming from DV Cam tapes, which can only be 29.97, right? So even though the telecine speed was 23.98, the footage needs to be captured at 29.97 and then processed with Cinematools to make it 23.98 or 24 fps, correct?
Second, I need to know if my goal should be to make my footage 23.98 or 24 fps with Cinematools. If my end goal is to export an EDL for a negative cutter to go back to my 16mm footage to cut from, should I edit at 24 fps? I think the answer is yes, but then I am worried that my telecine was done at a speed of 23.98. My audio was recorded at 30 fps - though my understanding is that the fps of the audio doesn't matter since audio is recorded in time and not frames. However, I did read in the Cinematools manual that if the footage is 23.98 as opposed to 24 fps, then it means that my footage is going to playback at a slightly slower rate, thereby affecting audio sync. If that is true, will I have to slow my audio slightly to maintain sync? This doesn't seem ideal.
Third, I am having trouble when I do a reverse telecine test with Cinematools on my footage. I am looking at burned-in key code and film frame numbers in my footage and observing that when I advance through my footage frame by frame in FCP, the film frame numbers of every frame are perfectly clear and legible (they advance thus: A2, B2, C1, D1, D3). However, when I view a clip in Cinematools (pre-reverse telecine), the frame numbers are blurred and have interframe flicker (the interlacing field pattern). The same is true after I perform reverse telecine on the clip. The cinemtools manual mentions this as something to be avoided in a clip that has been reverse telecined (in "Checking you Reverse Telecine Results on page 132) - however I see this problem in clips that I have not yet reverse telecined.
I am worried because another person worked with this footage before me and I fear that they performed reverse telecine on the footage already (and incorrectly) and directed Cinematools to overwrite the original file instead of creating a new one. If this is true then I would have to start over and recapture everything. On the other hand, it seems like if that were the case I would see the problem in FCP as well. Is there a way that I can tell for sure?
Thank you so much in advance for any advice you can give me! I really appreciate it.

Thanks Jim. The project is sort of like an "extended music video".
So it is a record, 45 minutes long and then using that as a guide,
we shot the footage. Its not gonna be just lipsyncing all the time, but
there will be other things inserted there as well.
It is just the workflow that bothers me and mainly:
1 Should I convert HDV material after capturing with prores 422 or stay in native
2 When should I convert from PAL to NTSC?
3 Should I s t a r t, by importing the 5.1 surround mixes to FCP6 and then work
with that as a guide?
I´ve done some music videos before, but this is more like a music movie and
will be sold as a sales DVD.
I would appreciate any help you guys can give.
Thank you, timo

Best workflow - iPhoto + Photoshop (Elements) or simply drop iPhoto?

Hi everyone.
I am an amateur photographer but I like to take good pictures and have them look at least semi-pro. My wife and I have been using iPhoto for years to organize our photos. Some basic editing is also done in iPhoto.
However, the biggest reason to use iPhoto is the ease of organization and the sharing features (share via email, Facebook, etc. right from iPhoto).
I am ready to move to Photoshop (via Photoshop Elements, I don't need the full program). But I am not sure it is easy to go from iPhoto to Elements.
Would you recommend:
1. using iPhoto + Elements (how? right click a picture in RAW and "edit with external editor"?)
2. simply organize and edit it ALL with Photoshop Elements and forget iPhoto (is there an easy way to import the iPhoto Library with at least some of its organization elelemtns like albums, RAW pictures and dates into Adobe Bridge or Elements?)
Please help, what would be the best workflow?
Maybe Lightroom or Aperture? (which don't seem to offer the same features as Photoshop or Elements)...

We need to clarify a few things.
You cannot edit a RAW file.
A RAW is a dump from the camera's sensor. All the data that the sensor "saw" is poured into this container. Nothing can be done with this data. It can't be printed or anything else. All that can be done is to process this data into a usable form - that is to a recognised graphic format: jpeg, tiff, png etc.
In a point and shoot camera this process is done automatically by the camera. With high end P&S and with dSLR you can either have it done for you in the Camera or do it yourself.
When you use Aperture you are doing it yourself... Processing the RAW into a working format.
So, in the iPhoto version you would send the RAW to the Elements, +process it to a jpeg (or whatever)+ and save that jpeg to the desktop and then import it.
Oddly, iPhoto and Aperture share exactly the same engine for processing RAWs. You've just got more fine control (read: knobs and sliders) with Aperture. If you're content to process your RAWs in iPhoto then it's the same machinery as Aperture.
With Aperture here's what happens:
You import the RAW and process it. Aperture records your processing decisions +in a database+ and next time you view the pic applies them live as you view it. (This is why the Hardware requirements for Aperture are much higher than for iPhoto). Again, if you want to print, Aperture makes a printable version on demand.
There is nothing to be gained (that I know of) from sending the RAW to Elements from Aperture.
If you want to further edit in Elements Aperture will send a processed tiff to Elements for work (or psd - it's a setting in the Preferences).
1. I have a lot of pictures which were RAAW and I edited in iPhoto without knowing it would convert them to JPEG as soon as I hit the "edit" button. Now, when I import to Aperture, will Aperture import BOTH the original RAW file AND the edited JPEG version?
iPhoto did not convert those files to Jpeg. It preserved the RAW and processed the file and saved the output as a jpeg. Want to see your actual RAW? File -> Export: *Kind: Original*.
Yes, if you use Aperture's Import iPhoto Library option it will bring it all over. But experiment first, because some folks don't like this and prefer to only bring over the RAWs and re-process them in Aperture.
3. Will Aperture preserve the organization I had in place (e.g. tags, albums, faces, etc.)?
Yes and No. I'm fairly sure that it brings over Events and Albums. It definitely brings over tags and keywords. It certainly does not bring over Faces. Faces are not part of any standard metadata at this time, and Aperture (and LR) has no way to work with them.
My advice always when considering a change like this is to download the trial, import a couple of hundred pics and explore and see what happens when you press this button or that.
Regards
TD

Multipage forms- best workflow for future editing

I'm struggling with understanding the proper workflow for creating and editing multipage forms. I need to create a medical history form (PDF) where patients can enter their medical history and patient info.
This form is usually 6+ pages. Each page has a header (logo and office address) and a footer (page number).
The problem I'm running into is when we need to make a change like add a question or change the wording of a question. Is there a way we can edit the form (either in Word or an Adobe product) and not have to recreate the form in Acrobat Pro?
I've hired contract workers from Odesk and each one I've hiried claims they can edit the questions after the form is created. But each time this happens, the form looks worse after each edit. I'm pretty sure this is the problem because they are editing the text in Acrobat Pro, which has very limited text editing capabilites.
I'm wasting so much time going back and forth with contractors explaining to them that the text format looks like crap.
I'm very capable of designing and editing these forms myself, but I just don't have the time. So I'm contracting this work out.
I'd greatly appreciate any advice on the best workflow for PDF forms.
Thanks!

Yes, there is a way. You need to edit the original file format (Word, in
this case), and then create a new PDF.
You then open the old version (that has the form fields in it), and use the
Replace Pages command to replace the old pages with the ones from the new
file. This will maintain the form fields in place, although you might need
to rename them and align them with the new page contents.
This is a much better approach than trying to edit the PDF directly
(although this option has been greatly improved in Acrobat XI).

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.
Here is my use case:
I have 100 hours of 8mm and miniDV tapes already and plan to continue creating more.
I want to import them all into the iMac for ease of organization, searching for the clips of interest, and watch them either on my iMAC and also on my TV (via TIVO).
I may do some editing, but this is not a big priority for me at this time. I may do more editing in the distant future when I have more time. My editing for now will be limited to rejecting portions of clips I don't want.
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.

Aspect Ratio issues getting 16:9 to look right, what is the best workflow?

Hi all,
I am having trouble getting my 16:9 footage to look right when I export, especially when playing on DVD. I shot the footage with a Sony HDR-HC1 which apparently shoots in 16:9 anamorphic. Originally when I imported the footage it appeared it the FCP viewer and canvas in 4:3 letterboxed form, the image did not look squeezed or stretched but appeared with black stripes on top and bottom.
I have tried several experiments with exporting this footage to dvd with the following results:
Using Compressor with 4:3 setting in export:
DVD Studio Pro track settings to 16:9 looks extra squashed vertically
DVDSP track settings to 4:3 image looks in proper aspect ratio but displays with black stripes on all 4 sides.
Using Compressor with 16:9 settings in export gives the same results.
In conclusion, if it appears in 4:3 letterbox in FCP viewer and canvas there is no way to get it to export and display in DVD with proper 16:9 aspect ratio.
I have also done some experimenting with re-capturing some of the footage from the tape.
For one sequence I recaptured the footage and it displayed in 4:3 without the letterboxed effect (filling the whole screen) but appeared squeezed, I am guessing that this is because of the anamorphic nature in which my camera captures the footage. No pixels were missing. In the FCP viewer and canvas it looked squeezed and did not display in the correct aspect ratio, however when it was exported via Compressor in 4:3 and then in DVDSP Track Settings put to 16:9 Letterboxed, it is displayed perfectly (letterboxed vertically, the image filling the width of the screen without the extra stripes on the sides).
So I thought that I had my solution here, although that did involve re-digitizing and batch capturing all 18 tapes used in the project, so its not exactly a quick fix.
This is where it gets a bit confusing. In order to understand where I had originally gone wrong in my workflow I did some more experiments, this time with the settings on the camera (which I use for a deck in batch capturing). I found the function on the camera where you can set the "TV Type" to either 16:9 or 4:3. I switched the TV Type to 4:3 and when batching it went back to the original letterboxed look (in the batch preview screen that you see while capturing), however when put into the viewer and canvas it was too letterboxed and looked squashed vertically. So then I switched back to TV Type 16:9, now it looks 4:3 squeezed in the batch preview screen (no letterboxing, no missing pixels), however when it goes into the viewer and canvas it becomes letterboxed like the original footage that I had described earlier.
So now even though I have switched the camera back to its original settings it will not display in that 4:3 squeezed look in FCP viewer and canvas.
So after all that my main questions are, in 16:9 can I view it in the FCP viewer and canvas in its correct (anamorphically converted) aspect ratio and still export it without the black bars on all sides?
(The FCP canvas seems to only display in 4:3)
If not, what setting do I need to capture in FCP in the 4:3 squeezed look I have described earlier?
(This is the only setting that I have found that displays properly when anamorphically stretched via DVDSP)
I know that this is a long essay so thanks for making it this far. I have spent weeks experimenting trying to find the best solution so please help me if you know how! I will be very appreciative.
Thanks
Liam

Hi there,
I am not sure if it is necessarily a bug, but its a matter of understanding all of the settings needed. I had the same problems for a while but after a fair bit of trial and error have found some workable settings.
It probably has more to do with the export settings rather than what viewer options have selected (I don't think that viewer settings affect your export).
What program are you using to export?
I am using compressor to export with aspect ration set to automatic 16:9. Then use DVDSP with the track set to 16:9 letterbox, it seems to export to DVD with the correct aspect ratio that way.
I am having trouble with the image strobing, looks like some kind of interlacing problem, but at least I have got it in the right aspect ratio.
Its typical video, solve one problem and it just creates another.
I am yet to find the absolute best workflow.
In response to Andy above, the original letterboxed footage probably did have something to do with the downconverting settings on the camera, as when I import without downconverting it does not letterbox. In the HDR-HC1 there is an option in the menu called "TV Type" with options of 4:3 or 16:9. I was reviewing my footage on a 4:3 television so I most likely had it set to 4:3 which created the letterboxing in the viewer when I then imported the footage.
Importing the footage in HDV solves the issue of aspect ratio, but creates a new problem with the image strobing.
I hope this was some kind of help to you.
Liam

Why jpeg file exported from Aperture with 300 dpi's it opens with 72 dpi's on PS ( image size)? I've tried several combinations and all give different results. And I am confused on what is the best workflow for me.

Ok.
My workflow is
RAW > Aperture Library > export jpeg high resolution 300 dpi's > one file on PS > edit > Save us jpeg. The I realised that files from PS were being save in a smaller size from the ones exported form Aperture. That is when I went o see <image size> on PS and files were with 72.
Since ten I've trying different things
1. Aperture > export as PSD > open on PS > edit > Save us jpeg = small file (around 15 MB)
2. Aperture > export as jpeg high resolution 300 dpi's > open on PS > CHANGE dpi's to 300 on <image size> edit > Save us jpeg = big file (Huge, actually)
What am I doing wrong? Would someone give me guidance and tell me what is the best workflow, considering I edit photos to deliver to my clients and I shall give them 300 dpi's.
Thank you

This is a known Aperture issue: Problem with Aperture 3.6 preset exports. | Apple Support Communities
Benjamin

Need Help! Encore/PRPro 5.5 Slideshows w/ stills & videos: Best workflow/settings?

Warning! Rookie here--I apologize ahead of time for the forthcoming dumb questions!
Gear: 4 month old iMac, 12GB RAM, Lion. CS5.5 Master Collection.
First, my goals:
*Take 4-500 large DSLR stills (shot in 24MB RAW and JPEGs from 6-17 or so MBs with some Sony panorama shots sprinkled in) and 20 AVCHD/Sony HD videos (only 10 to 30 seconds long and labeled as ".MTS" files) and create a slideshow with the videos interspersed among the stills.
*No audio, manual advance.
*Create high quality file from Blu-Ray setting for playback over Apple TV from iMac or iPad 3 to LED HDTV (1920 x 1080, I believe).
I've watched Lynda.com's tutorials regarding Encore CS.5 the past few days (watched the Premiere Pro course a while back for just a very short video DVD and I did OK--but no stills/no slideshow), but I'm quite confused and frustrated. For example, I tried to import the stills as assets and got an error message saying I didn't have the right software, leading to having to hit "return" for a few hundred error messages!
After lots of google searches and searching this forum, I surmised my files sizes are too large. OK, but that's about as far as I got for this stage. Then I saw Bill Hunt's article on workflow and about converting all stills to .psd files, so that may be next...?
But I would really like somebody to walk me through things that are still confusing given I am not familiar with all the terminology and things such as pixel/frame sizes etc.
Given my goals, what would be the best workflow/course of action? I don't need every detail given that I have the Lynda.com tutorials, e.g., I have some menus set up from a background image with text that I made in Photoshop and I get the linking procedure for creating buttons that work once the image is a item in Encore.
The main questions, I guess are:
1. What should I do with with my stills to get them into Encore? Should I do as Bill says and make them .psd files? How do I then get Encore to accept them as assets? I'm really confused about the sizes to use during conversion--4:3 vs. 16:9 and/or 720 vs. 480 vs. HD sizes (1000 x 750?!). I gather this should be done in Photoshop, but not clear how, exactly. (My head's about to explode reading up on file types, sizes, pixels, for the slideshows with stills and videos blah, blah, blah....).
2. How do I get my short videos into Encore? Do I create a timeline in Premiere Pro first? Should I create a timeline or sequence with both stills and videos in Premiere Pro and use the import sequence feature into Encore?
3. Where are the stills and videos best interspersed--Encore or PRPro?
4. Given Encore will only create slideshows of 99 stills, once I create multiple slideshows in the project panel, am I correct that I link to the second, third, etc. slideshows with "end actions" and the viewer will see a seamless transition? I plan on using some chapters for different sections of a 10 day vacation, so will there be any conflict with the multiple slideshow transitions?
Thanks so much for your help! This trip was a dream come true as I hadn't had a vacation in 12 years and I was finally able to take my now teenage boys on a proper wilderness adventure a few weeks ago! I would really like to be able to show everyone a nice slideshow and eventually give the boys a Blue-ray disc they will always have as a keepsake etc. In other words, lots of emotion wrapped up in this one.....thanks again!

1. Your images are square pixels, Blu-ray (BD) is square pixels, keep your images square pixels when you resize them. That means a Pixel Aspect Ratio (PAR) of 1.0. Fortunately, PS defaults to square pixels. As for the frame size, the video will be the limiting factor if you want it interspersed with the stills. Determine the frame size and frame rate of the video that was shot and use that as the basis for resizing your stills. If you don't plan on doing any panning/zooming, then you resize your stills to match the video frame size (1920x1080 or 1280x720 are the likely choices). If you plan on mild panning/zooming, then increase the size of the resized stills by roughly 30% in both dimensions. More dramatic panning/zooming will require a larger increase in frame size; just don't go over 4000 pixels in either dimension. And remember that video work makes any DPI or PPI value irrelevant. The video frame size is exactly what it is, in pixels. No more, no less.
2. and 3. If you want video mixed in with stills, then you'll have to put them all together in a Premiere Pro timeline before sending them to Encore. Unfortunately, that makes the manual advance feature you want problematic. It can be done, sort of, but it probably won't work the way you expect.
4. If you use Pr to create your stills/video timeline, there is no 99 slide limit. Make the Pr timeline seamless and it will remain seamless in En. If you do a slideshow in En, then moving from one 99-still slideshow to another will not be seamless.
NB: the key to your project will be planning. Take and old-fashioned pencil and paper and layout how you want the audience to view the finished BD. Do you want just the main program? Do you want quick and dirty slideshows of just still images that they can access by menu? And so on. You can make *almost* any navigation scenario work in En, but you need to know beforehand how you want the audience to get from here to there and back again.
Jeff

What is the best workflow for Final Cut Pro X across multiple computers?

I travel on a team that is in a different location every week, so all of our video editing has to be fairly moble. We have 3 macbook pros and would like to use final cut X on all of them. What would be the best workflow for us all to work on the same project and sync it across the computers? (eg, one of us editing the footage, one editing the sound, one working on visual effects?)

My first question would be how well 5.1 would work with SL. People have reported problems.
As far as cameras are concerned, I would guess most any tape-based camera would work and so much depends on the kind of projects you work on that I wouldn't want to start guessing at your needs.
If you want broad access to tapeless and advanced formats try to locate and purchase an upgrade disk to 6 or 7.
Good luck.
Russ

.wmv into FCP back to .wmv - best workflow with Flip4Mac?

Apologies if this has been asked before, can't find a specific answer to this.
My client has provided a .wmv (windows media video 9) source file that needs to be edited.
The client needs the final format to also be .wmv with the WMV9 codec.
I've downloaded and shelled out for Flip4Mac Studio, no problem playing the file in QT or FCP. Now, apart from being able to play, import and export to wmv, I assumed I would be able to also create a .wmv sequence in FCP, but not getting any wmv9 codec in my sequence settings.
Am I missing something? Or if it's not possible to create a wmv9 sequence, what's the best workflow?
Source file is 720x540 @ 25fps, bit rate 2303 kbps, audio is 44.1kHz
Thanks.
(PS Belated Happy Thanksgiving to all my pals over there in the US)

Thanks Jerry - believe me I wouldn't be working with this version if I didn't have to. It's for presentation within Windows Media Player ultimately so it will probably be OK if I can maintain most of the original quality.< </div>
Coming into Quicktime is an issue simply because they're different universes, but you know that.
You know what I'd do? I'd find some yutz with a PC and pay him/her to edit it on some Microsoft product. Instant in, instant out.
Short of that, converting the .wmv to something simple that will work in FCP is not going to give you any appreciable compression hit if it started out so small. Compressing again for .wmv v9.0 isn't going to improve anything but it shouldn't diminish either.
bogiesan

Best workflow for colour correction?

I’m still new to fcp and Iv e just started using the colour correction tools. I haven’t looked at color (part of the final cut studio yet) this may seem stupid but what’s the best workflow? After I’ve cut every thing and then go though it one clip at I time it seems a long-winded way of doing it as some of my cuts are only a 6-15 frames.
Dose every one else colour correct their clips before starting to cutting the footage?

You always color correct after...and you always do each shot individually, even if they are 15 frames.
Color is a highly professional application, I suggest getting a tutorial for it. Or learning the 3-way color corrector to start...to get your feet wet with color correction. Because Color is VERY deep and has many many controls that can be intimidating.
http://www.amazon.com/Apple-Pro-Training-Encyclopedia-Correction/dp/0321432312/r ef=sr11?ie=UTF8&qid=1238509072&sr=8-1
http://store.creativecow.net/p/66/stopstaring_and_start_grading_with_applecolor
http://www.amazon.com/Call-Box-Digital-Correction-Workflow/dp/B000UZUL3Q/ref=sr115?ie=UTF8&s=dvd&qid=1238509138&sr=8-15
Shane

Best workflow for working on a project on two computers (i.e desktop and a

What is the best workflow for the following--
I have a project where I want to do some work on my laptop, then work on the desktop, then back to the laptop?
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".
Regards.

Best workflow for premier 13 and how to produce dvd's?

Hi all.
Historically I use imovie, idvd, and a little final cut express.
My machine is a 2008 iMac recently upgraded with a new HDD and more memory, now 6GB. It is intel.
Primarily I did this due to final cut not working my camera not recognised etc, but i discovered this is not ow supported in Yosemite.
All is now well with the imac.
I bought the elements bundle from Adobe and am getting to grips with the video editor just now also the organiser.
I have loads of archived movies from the imac upgrade i did saved on and external HDD which I tend to try to use rather than filling the imac HDD up, although not so much an issue now with 2TB.
I am working through my old footage and using a combination of imovie and premier elements, to produce a final movie.
My question is, what is the best workflow, I am going on a trip of a lifetime this year and want to practice the best workflow.
I currently have files all over in various formats, so its a nightmare.
Also what is the best way to produce a DVD?
I used to produce movies with imovie then when i had a few I would produce a DVD with a few menus and buttons and movies on.
This doesn't seem to be so straight forward anymore, I have tried to save a elements movie to a .mov and .mpg file to import to imovie then idvd but the aspect was changed to 4:3 for a start, so I may give up on that.
I intend in future to download the files from cameras to folders I can recognise, although I have historically downloaded straight from camera, it would be a new method for me.
What is then the best way to then produce my DVD's, I am not into blue ray as yet.

Hello, Brian,
What are you trying to burn...movies, photos, data???
Whats the best & easiest way to burn DVDs?
Are you using iDVD? It is the easiest way to burn a DVD. You need to have your video on your computer, usually imported into iMovie and then you create your DVD by putting your movie into iDVD and burning your disk.
Have a look at this support section from Apple. Do all the tutorials and explore all the options. You will learn quite a bit and should be able to burn DVDs after that: http://www.apple.com/support/idvd/
is there anyway to rip video from DVDs?
If the DVD is a home-made one, you can copy it. Follow the directions from Dan Slagle via Silly Rabbit's post and also Matti Haverli's in this thread: http://discussions.apple.com/thread.jspa?messageID=1642959&#1642959
If it is a commercial DVD, it may not be legal to rip it. There are web sites that will give you info about how to do it.

Best workflow for colour grading in CS5.5

What is the best workflow for colour grading in Premiere Pro CS5.5? I don't like the 3 way colour grader in Premire I like to use Levels and Curves, so I normaly use Color Finese 3 LE in After Effects but it's hard to export an entire timeline to AE due to it not improting transitions and title text correctly.
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?
So how are most folks colour grading their finished timelines in Premire Pro?
Kevin

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."
When I do CC in Pr, my tools of choice are RGB Curves (which is CUDA friendly, and I have a CUDA card) for CC, and I use Three-Way or Fast CC mostly for increasing saturation. I leave the other controls alone.
The advantage to doing CC in Pr, is the CUDA accelleration. If you use CUDA effects, you can work a lot faster, due to less rendering. Once you go to Ae, you lose CUDA, but you gain flexibility. Therefore, there's not a single one-size-fits-all answer.
I also have a lot more available plugs in Ae. I like Frischluft Curves, which is an oustanding curves based plug. And the native Hue/Saturation effect in Ae is extremely useful for single hue corrections. Pr doesn't have a similar native effect.
And then as a last step, after getting all my corrections "evened out," I'll add Magic Bullet Looks to an adjustment layer for an overall treatment.
I only opened SpeedGrade once after installing it. I don't see why anybody would use it, unless they were already familiar with it. You can't go back to Pr easily. And in my world, projects are rarely finished. Clients think they can make massive changes at any stage of post, even after mastering and delivery. I've had clients make changes to spots after they've been airing for several days. I laugh at editors who name anything "final."

Best workflow advice

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