Best workflow for 2 people working on a project?

2 students owning CC subscription.
What is the best workflow to work on the same project?

Put everything in a Dropbox folder. One of you can share it with the other.

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Automator- Workflow for time worked based on project #

Hello All,
Trying to use automator to automatically do this workflow:
          I receive email that lists a project number as well as other info but proj. number is most important.
     I do the work etc..,
Then generate an email sending an invoice for my time worked and other details based on that project number to ONE emaiil address; thus my invoice for payment.
Goal:
          Thus keep track of which projects I have completed and sent an invoice for...
Can anyone get me started. I don't see how to get automator to pull that project number out of that email message to begin.
Thanks,
Al

Hi Al,
No expert here, but see if you can modify this Applescript to extract it...
http://macscripter.net/viewtopic.php?id=29554

Best Workflow for Deleting?

Hi Folks.
Would anyone like to suggest the best workflow for deleting files after a project? Let's assume that i have no future need for any of the captured footage or PE7 files. It would be helpful to know what the default locations are for all the footage and files that are now on my computer.
Thanks, Stan

In my book I recommend that, whenever you start a new project, you create a new folder for it. That way, all of your captured video, project files, rendered video and scratch files are in the same folder. Removing it all from your hard drive is as simple as deleting the folder.
If you didn't do that, things get a bit more complicated. Once you've backed up what you want to keep, you can manually delete the captured video, rendered files, etc., from the sub-folders -- but you'll need to do it manually. Hopefully the files will be recognizable by the names you gave your project and capture files when you created them.

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.

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

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 for Multicam Sequences?

I have a project that includes video from 2 cameras and audio from 2 audio recorders. I synced everything up using PluralEyes, then imported it back into Premiere. Then I opened the synced sequence, deleted the camera audio, nested the video, and enabled multicam. After that, I started going through and editing the multicam footage by selecting the appropriate camera by pressing 1 or 2 (or command-clicking on the appropriate camera in multicam view). My question is, now that I've synced everything up and finished my rough multicam edits, how do I mark the selections of the sequence that I would like to keep?
For example, part of the sequence is an interview. Instead of just cutting the sequence up, I would like to first mark and label the portions of the interview that I would like to keep. That way I can easily go through and know what the interviewee is speaking about in each clip without having to play the whole thing. I understand that to do this on the original clips in the source monitor, I would need to create subclips. But how do I do it on a synced multicam sequence? Is there a way to open the sequence in the source monitor? What's the best workflow for something like this?
I've been using Premiere for all of two days (switched from FCPX), so any help would be much appreciated. Thanks.

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

Best workflow for creating logsheets before ingesting.

I'm looking for the best workflow for creating detailed log sheets of my avchd footage before ingesting/transferring it to FCP. I have many hours of footage shot with my Sony NX5U and only want to ingest the necessary clips. I'm using FCP 6.5 on a MacPro tower. Thanks.

>I'm using FCP 6.5
NO you are not. You might be using FCP 6.0.5.
Well, the only way you can ingest only sections of tapeless media is by using Log and Transfer. And you cannot Log clips first, and transfer later. You cannot do the same thing you did with tape, make a Batch Capture list. So you would look at your footage in the FCP L&T interface, and you can send one to be transcoded while you move onto the next one to watch. That can happen at the same time.
But, there's another issue here. The Sony NX5U uses an AVCHD format that is slightly different than normal...not that there is a normal. But I discovered that importing clips up to 10 min in length work fine, but anything over 10 min, and it took 4-5 times longer to import. meaning a 30 min clip took just over two hours. It was something that ClipWrap2 addressed before FCP did...and they only addressed the issue with the FCP 7.0.3 update. FCP 6.0.5...or even the last update for that version, 6.0.6, doesn't address this. There might be issues in importing this footage into FCP 6.
And the other options...Avid Media Composer and Adobe Premiere...don't have a "log and transfer" type interface. They bring in the full clips only. With Premiere, you are stuck with them being full length. But with Avid, you acccess the footage via AMA (Avid Media Access), and then you'd make your selects on a sequence, and then consolidate/transcode only the footage on the sequence.
And no, there's no way to make a logging sheet for these apps either.
The best you can do is watch the footage, note the timecode, and manually enter those numbers when you go to bring in the footage.

Best workflow for burning Blu-ray and DVD

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

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

Best workflow for creating games for pc and starling games in AIR

best workflow for creating games for pc and starling games in AIR.
I need to develop for tablets with starling and AIR as well as for pc without starling ie: downloading from a server.
In starling you have to
1. instantiate starling
2. use texture atlases for loading graphic assets - well its the recommended way
3. use juggler
etc...
ie: with all these differences is it best to:
1. create completely different projects
2. just create different classes for the starling specific parts
3. use a conditional compile constant
    eg: CONFIG::STARLING
            "then do this"
or      CONFIG::CPU
          "then do this"
I currently have the latter but it feels a little messy. I would prefer separate classes for each platform where the image loading is concerned.
There must be so many game developers out there but in large gaming companies that know exactly what to do. Perhaps you can point me in the right direction with a book or something.
CHEERS

The other thing is that I can't see the games being very different as you suggest. I have downloaded Lee Brimelows tut on creating a starling game on Lynda.com and the code is great for creating games using states for menu, play, gameover etc... The only difference is that he uses texture atlas and there is a great difference in loading them etc... so technically you would only need to handle them in a different class as collision and the rest of game play should be the same in both. I think!!!
Well, actually not exactly but near enough - maybe it might be easier to create separate projects and just cut and paste the new code introduced.

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).

Best practices for folder structure in SOA Project

Actually, In my project, I have more than 10 BPEL process and several DBAdapters and some HumanTasks. For each BPEL process, JDeveloper creates .bpel, .componentType, wsdl files. For DBAdapters JDeveloper creates lot of files, and same for HumanTasks as well.
By default Jdeveloper puts all these files in root directory of the Project. It looks messy having 100's of files in root directory.
How can I organize all these files?
What are the best practices for folder structure in SOA Project ?
Thanks

Yes Yatan. I did noticed that Polling service WSDL disabled in EM . But I want to try this approach beacause I want to move all database related stuff to one composite. I have another composite with 3 BPEL Processes. One BPEL queries external webservice and save the response in DB. One BPEL just fires the first Process(Query) and respond to caller with an unique id. I have Another BPEL which keeps polling on database for 5 sec(I'm using PICK Activity), if there is any new record in database it will retrun to caller. If no new records in database, returns empty to the caller after 5 sec.
If I put all these in one composite, having lot of files in root directory, the composite really looks very messy.
As you said, I want to have 2 composites. First Compoiste will have 3 BPEL processes, and 2nd Composite will have DB Polling and DB Save. I will have another project for MDS to store XSDs.
So because I can't have Polling service as exposed service, I have to keep Polling service in the same Composite where the BPEL is. Now again it goes back to Big and messy project.
Is there any way I can separate all DB related including polling in a separate Composite ?
Thanks
--Sreeny

Best workflow for doing a QC check?

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

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

Best workflow for Blu-ray/DVD projects

For most of my encore projects, I end up creating a blu-ray and dvd version of the project. What is the best way/workflow to do this? I always seem to end up running into problems.

Unless you are working with a high end pro format, Pro Res 422 is perfectly fine to use as a master file. PR 4444 is PR HQ with an alpha channel so you probably can save a lot of space and speed up your exports by dropping down two levels.
If you use the BluRay prests in Compressor, it should do a very good job of encoding. Perhaps Toast is recompressing your file. I don't use the software but I think there is a setting simewhere to avoid the second compression.
Or have FCP make the BD directly.
Russ

Best workflow for FCP 7 HVX200 or XHA1?

I know these are older technologies but if you could get a great deal on an Canon XHA1 or HVX200 with 16gb card for roughly the same price (1500 for Canon, 1600 for Panasonic) what would you pull the trigger on?
I need a camera to take on the road to do some simple interviews for a documentary. The more complicated shoots will be done by my DP and his much better equipment.
But when I figure rental fees, convenience, and the likelihood I may need it to do some more simple projects by my lonesome in the future it could be a good investment if the price is right.
Both cameras are being sold from (seemingly) reputable industry professionals who are upgrading their own inventory and have given histories of the respective cameras uses, environments, hours, and any repairs.
My top priority is picture quality and workflow with FCP7. I know Canon has the better chips but is tape. How are the P2 cards with FCP7? What's the best bang for buck picture-wise? Of course other features will be taken into consideration. It's been a while since I shot on my own so I am a little out of touch with technology. Thanks for any insights!
Thanks,
BJ
www.bjbarretta.com

Both are very good cameras. The Panasonic uses P2 cards and the work flow on that (DVCPRO) and the HDV of the Canon are both supported in FCP7. The P2 is ingressed via Log and Transfer using the builtin P2 plugin which can easily be set for ProRes 422. The Canon uses basic firewire and log and capture. They both have 4 pin firewire connection and of the two the Canon is more renowned for being fidly and hard to connect. That said There are lots of XHA1 out there (I have an XHA1S no issues). Picture quality is fantastic on both and you pays your money ... your question was workflow's .. ingest the captured product either DVDPRO or HDV to ProRes and away you go..
Jim

Best workflow for 2 people working on a project?

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