Best workflow for exporting clips

Hello.
I have an hour long video that needs to be cut and exported as 40 individual QT movies. What is the best way to do this? I have set markers at all the points that need to be cut. How can I highlight between markers and then export that area as an individual clip.
Thanks in advance

By setting the work area and only exporting the work area instead of the sequence.

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Best practice for exporting a dps folio so a third party can work on it?

Hi All,
Keen for some thoughts on the best practice for exporting a dps folio, indd files, links and all, so a third party can carry on the work. Is their a better alternative to packaging each individual indd file and sharing the folio through adobe?
I know there have been similar questions here in the past, but the last (that i've found) was updated mid 2011 and I was wondering if their have been any improvements to this seemingly backwards workflow since then.
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Nothing better than packaging them and using Dropbox to share. I caution you
on one thing as far as packaging:
http://indesignsecrets.com/file-packaging-feature-can-cause-problems-in-dps-
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I have recently begun working with a few AIC-encoded home movie files in FCPX. My goal is to compress them using h.264 for viewing on computer screens. I had a few questions about the best practices for exporting these files, as I haven't worked with editing software in quite some time.
1) Is it always recommended that I encode my video in the same resolution as its source? For example, some of my video was shot at 1440x1080, which I can only assume is anamorphic. I originally tried to export at 1920x1080 but then changed my mind as I assumed the 1440x1080 would just stretch naturally. Does this sound right?
2) FCPX is telling me that a few of my files are in 1080i. I'd like to encode them in 1080p as it tends to look better on computer screens. In FCPX, is it as simple as dragging my interlaced footage into a progressive timline and then exporting? I've heard about checking the "de-interlace" box under clip settings and then doubling the framerate but that seemed to make my video look worse.
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1) yes. 1440 will display ax 1920.
2) put everything in a 1080p project.
3) Compressor will give you more options for control. The h264 from FCP is a very high data rate and makes large files.

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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?
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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."

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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.

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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:
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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
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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?
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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 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.
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Hi,
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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.
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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.
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the standards for videoDVD are 720x480, and usually mpeg2 encoded..
so, your HiDef project HAS to be 'downsampled' somehow..
I would Export with Qucktime/apple intermediate => which is the 'format' your project is allready, and you avoid any useless 'inbetween encoding'..
iDVD will 'swallow' this huge export file - don't mind: iDVD cares for length, not size.
iDVD will then convert into DVD-standards..
you can 'raise' quality, by using projects <60min - this sets iDVD automatically to highest technical possible bitrate
hint: judge pic quality on a DVDplayer + TV.. not on your computer (DVDs are meant for TVdelivery)

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Whats the best codec for exporting animations (hopefully using loseless compression) that will retain alpha channel, and use the current sequence settings for fps and size?
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Anyhow.. Just seeing what others are doing..
basically Im reading out some titles that I'll end up dropping over video later.. but since they render out so slowly (**** lower 3rds is slow) Im trying to get a jump on the process..
Tx..

PNG should do it. I think PNG is lossless (that's what they say, anyway). But realistically, if you use PNG, Animation, or JPG2000 set on highest quality, I'd dare you to tell a difference.
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My first question would be how well 5.1 would work with SL. People have reported problems.
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What is the best setting for export movie in widescreen format?

Please tell me what is the best setting for exporting movie in Widescreen format?

Like in After effect we use "NTSC D1 Widescreen Square Pixel".,
Carefully examine the codec and pixel dimensions of that output file. That's certainly easy for an experienced VFX person like yourself.
Then carefully look over the presets in FCP to find the same attibutes. You can also use the online help system for FCP and search for "D1"
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bogiesan

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well, I simply either drag them in to the new/different project from the finder, or drag or copy and paste between open fcp projects. Never had any problems working this way. Just remember that if you delete a specific project scratch disk folder, you may be deleting media used in another project.

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.
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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/
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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
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Best workflow for exporting clips

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