Best WorkFlow to sample a 64 count in a house track and loop it

I've had to do this a number of times and I know i'm doing it the hard and long way. Anyone know a simple or shorter workflow to achieve this?
I don't have Ableton Live to do it in either.
Thanks
Je

Rexy wrote:
One more thing, I have found out the session will be recorded into PT HD. Can PT HD bounce off line like our fantastic LP 8. or do engineers have to sit back and watch the clock and get richer... ha
Actually, the consolidation process does happen "offline", it isn't a bounce per say, it just consolidating, or merging the sections of audio into one contiguous region, starting from bar 1.
So it does happen relatively quickly... you don't have to sit through a song in real time.
I can give specifics if you need them, but Ive yet to meet a PT engineer that didn't know the drill...

Similar Messages

What is the best workflow procedure for importing DV SP 16x9 footage into FCP7 and then exporting the best quality 16x9 to standard DVD so that it looks great (or at least good) on a 50" Samsung LCD TV ?????? Please help! anybody?? Thanks!

We are using a Sony HDV-Z7U camera for acquisition. We recently recorded an event using the camera's non HD capabilities. We set the camera to record "DV SP" 16x9 settings on both Mini-DV tape and CF card.
To import the DV SP footage into FCP7 we chose the "DV NTSC anamorphic" setting in the log and transfer settings window. After a successful transfer from the CF card (the CF card held approximately 83 minutes) we checked the size of the file and found it to be 16 Gigs! Why so big? An 83 miniDV tape shot in SD should easily fit on a standard 4.7 gig MPEG2 DVD.
We need to burn DVDs of this show - we sent it to compressor and got horrible quality.
What is the best setting to use in FCP7's log and transfer settings window to import DV SP 16x9 standard def. footage and what is the best method for exporting for outputting this footage to DVD that preserves the original quality of the DV SP footage?? Anyone? Many thanks

> Why so big? An 83 miniDV tape shot in SD should easily fit on a standard 4.7 gig MPEG2 DVD.
No it doesn't. DV is 13GB per hour.
In any case, a Video DVD uses the MPEG 2 codec, not DV.
>What is the best setting to use in FCP7's log and transfer settings window to import DV SP 16x9 standard def.
DV NTSC anamorphic.
>what is the best method for exporting for outputting this footage to DVD...
Use the Compressor DVD preset "Best Quality 90 mins".
>...that preserves the original quality of the DV SP footage?
Not going to happen, you are compressing by a factor of 1:4. Shooting as HDV would have given you better quality material to start with. DV is at the bottom end of the scale.

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

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 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 To shoot in HDV mode or DV from HDR-HC1

For a final DV project burn on a DVD, what will be the best workflow using FCP to get the BEST quality when I will put my DVD in my DVD player, sit and enjoy the work from the filming to the burning process. I bought the Sony HDR-HC1 and I've play with FCP and iDVD a few times.
-Should I run the camera in DV mode ?
-Will I get a better image quality filming in HDV and converting in DV ?
-What will best the way to export the projet to get full quality ?
-I'm expecting to use iDVD, will i get a better quality using DVD PRO STUDIO ?
- What are the best setting using iDVD to get the BEST ?
Merci,
Jean

Jean:
why not spend the time and try it on a 10 minute sequence both ways.
What I or others think looks "best" is pretty subjective.
I do both with a Sony Z1U. Sometimes downconverting HDV looks best; other times shooting in DV looks best.
As to DVD authoring. . . iDVD is a consumer application with virtually no controls.
It also only provides uncompressed audio.
DVD SP is a professional environment with flexibility and capability a free consumer app can't equal.
Sometimes everybody's opinion is just that.
Your opinion by experimenting is what counts.

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

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

Best practice for retail store cycle count

Hi experts
Would you have any experience/best practice in designing for cycle count process for your clients?
By cycle count, I mean for frequent counting (daily) for specific item category / exceptional count request.
My client want to implement a cycle count process to minimize the effort for full stock take which happen around 3 times per year.
They are using SAP as the core system to keep track of inventory, and using external store system, so some considerations would be on, for example:
- whether the count variance or counted quantity shall be interfaced back to SAP
- whether SAP should be the source to initiate a stock count process or POS initiate
It would be very nice if you can share some best practice as in the process flow, system information flow, etc.
Best regards
Dominic

Hello
Both can be done but as you say SAP is the core system at least for tracking inventories, better create and integrate inventories is SAP aswell.
The main advice I would give is to avoid specific tables for inventory integration because standard tables and specific won't be updated well sometimes and support would be needed, stick on standard transactions.
If the inventory is centralised in SAP, you can for example count them with PDA, send to SAP connectors your counting which will be integrated from a xml file transformed in a Idoc for SAP.
One parameter is important to consider as the freeze for inventory. You have to decide if you take into account any stock movement that could occur after your inventory creation or not. If you do, the variance after the counting will depend on the initial stock value and also the movement.
If you don't, the variance will only take into account your initial stock value withotu considering the stock movement.
Hope it helps you,
Génia.

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

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

.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 to sample a 64 count in a house track and loop it

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