Best workflow for Uncompressed 8-bit 4:2:2?

I need to submit Uncompressed 10-bit or 8-bit video to a stock agency. I shoot HDV 1080i.
*Current workflow:*
When I import my clips, I use the HDV Apple intermediate codec 1080i50, as it is the only HDV codec that I see in te list of "easy setup" that suits my camera. But I can see that it produces a framesize of 1440 x 1080. Afterwards I export to quicktime, using the Uncompressed 8-bit 4:2:2 setting in Quicktime, sizing my video to 1920 x 1080 as requested by the stock agency.
Is this the correct workflow? I feel as if I'm blowing up/interpolating my original material which can not result in the optimum quality... Or am I wrong about this? Your tips on the right importing settings or workflow are highly appreciated!
+(I posted in the Quicktime forum that I can't export to Uncompressed 10-bit 4:2:2 without FCE crashing - but this is a different issue.)+

Hi(Bonjour)!
Sony FX1000 shoot in HDV and miniDV. You already know that HDV is a compressed format.
3CMOS and a quality lens will make a huge difference in term of quality but, the material will be compressed to HDV. May be you can think about renting a professionnal model. As Tom said, FCP is the way to go if you want better control over the compression shem and worklow toward professionnal output.
If you think about any color correction, HDV is not a good choice. FCP allows to capture and edit in ProRes422, thus the color corection and compisiting give better results. ProRes is only available with Final Cut Studio 2 package.
Think to upgrade your RAM, and buy an dedicated hard drive for video storage if you go this way. You did mention how you will distribute the material to tha agence, but uncompressed material can represent an issue on DVD data storage.
Michel Boissonneault

Similar Messages

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.

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 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 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 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 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 options for uncompressed HD master?

I've just finished my first feature-length project in HDV on FCP, and I have some questions about output. In the past I've always been editing SD DV under 60 mins, so master output was always easy. But between the HDV and the 90 min. run time, things are a little more complicated.
We shot and edited in native HDV 1080/60i. We've rendered our final master sequence in HD ProRes, but I don't know where to go from here. These are my main questions:
1. My primary distribution is going to be SD DVD, but I want to keep an uncompressed HD master file backed up on multiple hard drives. What's my best output option for such a file? Can I just export a self-contained QT in sequence settings? Will that apply compression I don't want? Is there a better output option in Compressor?
2. Keep interlaced or deinterlace? Again, most people will be seeing this as an SD DVD.
3. I'd also like to get a local video outfit to make an HD tape master for more secure long-term archiving. What tape format is recommended?
4. Question I should have asked but didn't? Please, do tell.
Thanks in advance for any help.
Stu

Ken Summerall, Jr. wrote:
The absolute best quality that you are going to get is by exporting a QT movie using current settings and making it self contained. Since you shot and edited in an HDV sequence this will add no further compression (remember that HDV is already heavily compressed).
Uh-oh. That's not actually correct.
HDV is relatively unusual as shooting formats go, in that it's a GOP format, as opposed to an I-frame format. In I-frame formats, each frame of footage (or pair of fields, if you're shooting interlaced) is compressed all by itself, independently of all other frames (or field-pairs). But in a GOP format, a number of frames are compressed together — that's what "GOP" means: "group of pictures." The first frame is compressed independently, then the next frame is described in terms of what's different from the previous frame.
When you edit HDV +and then export it as HDV again,+ whether to videotape or to a Quicktime, the GOPs must be "conformed." As you edit, you make cuts that break the GOP structure, so the timeline cuts from the middle of one GOP to the middle of another without including the first frame on which that second GOP depends. So when you export or lay off, Final Cut has to go through and convert a bunch of I-frames to B- or P-frames, and convert a bunch of B- or P-frames to I-frames.
In essence, exporting or laying off HDV imposes a compression hit. You will reduce the quality of your footage.
Since the question was about the best option for mastering, HDV is +definitely not it.+ Would it be okay? That depends on the footage, and on how picky you are. But it's not the best option. The best option is to master to a (ha ha) mastering format. Uncompressed 8-bit, Uncompressed 10-bit and ProRes are good choices here.
As for tape … that's tougher. You can absolutely send an uncompressed or ProRes Quicktime file to a dubbing house and get it laid off to videotape, but the question is to what format? HDV is a poor choice, because of the aforementioned compression hit you take when conforming the GOPs. DVCPRO HD would actually be a step down for you, because it would downsample your 1440x1080 native footage (or your 1920x1080 master, if you chose to upres) to 1280x1080.
That leaves HDCAM and HDCAM SR. If you've done things like color correction or compositing in a 10-bit color space — or even long-slow dissolves to or from black, which is one of the places where 8-bit really falls apart on you — choose HDCAM SR. HDCAM is an 8-bit format only, and you'll lose color precision if you go to that format. But if you stayed 8-bit all the way through your workflow, then you can go to HDCAM without any real problems.
Note that both HDCAM and HDCAM SR +are compressed formats.+ Your only option for uncompressed HD videotape is D6, and good luck finding a Voodoo recorder nearby. But HDCAM and SR are good enough for professional mastering, so they'll surely be good enough for you as well. And they're both available in 94- and 124-minute lengths, so you can master your whole feature on a single tape.
(While you're at it, consider getting your uncompressed or ProRes master file dubbed off to a data tape format as well. You worked really hard on this project, so it makes sense to be a little paranoid about preserving the fruit of your labors.)

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.

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 Rich Grayscale Images on Press

Hi, we're preparing a piece that uses mostly grayscale images and we want them to look as nice and rich as possible. So wondering about proper workflow to convert the images to CMYK using best percentages for nice, rich shadows, etc.
What I've done so far is:
1) Got a photo looking pretty decent as a grayscale image.
2) Convert the image to CMYK using a custom profile I created similar to 'SWOP, 20%, GCR, Heavy' - except that I manually adjusted the Black Generation curve to remove most of the CMY from the highlight areas.
3) Do any final levels adjustments to get the photo just right.
4) Save the file embedding the profile.
Now the photo looks good in Photoshop, and is very neutral (what we want). The darkest shadow areas are 95%-99% black, but with a good 40, 30, 30 mix of CMY. The highlight areas are black only up to about 16%, then color starts creeping in at proper ratios.
NOW I'M A BIT FUZZY.
- When I drop the photo into InDesign, the Prepress defaults strip the profile and convert to US Web Coated SWOP, BUT preserves the numbers. The photo takes on a cooler, more blueish tint. Is this to be expected?
- We may not know the printer of the job ahead of time, and even if we do I've found many who don't fully understand color management and don't have a custom profile for their printer. What is safest in this case?
- If we do get lucky and find out who the printer is, and they have a printer profile, how would we implement this?
- Any other tips???
THANKS!

This may not be the most appropriate forum for your question. The separation you are using is done using the Custom CMYK engine, which is a legacy (pre-CM) mechanism in Photoshop that has no direct relationship to ICC color-managed workflows. Legacy questions may be better addressed to other forums.
On the other hand, if, rather than use the Custom CMYK engine, you wish to separate your grayscale image to a CMYK ICC profile appropriate to your output conditions, the procedures are clearly outlined in "Real World Color Management", by Bruce Fraser, Chris Murphy and Fred Bunting. (Look for it on the Amazon site.)
When the output conditions are not known, make sure to speak to the printers once they have been picked, and clearly communicate to them your concerns. You can provide a CMYK image file separated for US Web Coated (SWOP) v2, and ask them to reseparate it appropriately for their own press conditions. You could also provide the grayscale file, if they would rather have that one. In any case, make sure to tell them that you are looking for a high GCR.
It's also a good idea to send them a properly color-managed proof (aimed at US Web Coated (SWOP) v2), and tell them to make sure to match it. Other than that, and in the absence of any information that is more detailed and specific, there's not much else you can do.
>When I drop the photo into InDesign, the Prepress defaults strip the profile and convert to US Web Coated SWOP, BUT preserves the numbers. The photo takes on a cooler, more blueish tint. Is this to be expected?
InDesign is
i not
converting the image. The North America Prepress 2 color presets use the "Preserve Numbers (Ignore Linked Profiles)" policy for CMYK. This policy
i ignores
the CMYK profile embedded in the image and
i assigns
the default CMYK profile instead. The image numbers are left untouched, but the appearance changes because the default profile (U.S. Web Coated (SWOP) v2) describes print conditions that differ from those established in your Custom CMYK profile.

Best workflow for Uncompressed 8-bit 4:2:2?

Similar Messages

Maybe you are looking for