Bridge/Prelude/Premiere/Encore, Arrrgh! Workflow/Asset Managment overload! Help.

I've been viewing a tutorial series in addition to some random one's on the web, mostly covering functionality, but what isn't clear to me (yet) has to do with asset management and workflow. I know enough to understand that these two areas are the most important aspects of the whole process; without organized asset management and an orderly, systematized, hierarchical approach to accomplishing tasks the creative side of things will suffer dramatically at the worst time.
Regarding asset management, I have three separate drives for for audio, video, and stills. All the files reside in their original locations except for video files that I originally had stored on my stills drive. These video files were copied to my video drive into the Adobe Folder> Premiere Projects Folder> Project Name Folder. In addition, I have a folder on the video drive called "Raw Footage" that I'm using for random footage unrelated to any project; sort of a personal stock footage resource.
As a practice project for the tutorial series I'm using assets from a 45 day Rail Pass tour I took a few years ago. Assets include SDDV. m2ts, and mov, files with different sample rates, in addition to jpg and psd files.
Where would the following programs come into play and at what point in the workflow does the transition from one to the other begin and/or overlap?
Bridge
Prelude
Premiere
Encore
Where does Bridge come into play and when?
There are folders with m2ts files on my stills drive that I've copied and pasted to my video drive. Should I have used Prelude to ingest and "Transfer Clips To Destination" ("destination" being my video drive)? Should I have transcoded to a less resource hungry format and, if so, does Prelude create an EDL that can be used to conform the final edit replacing the low rex clips files the the original higher rez files?
I know I have to capture SDDV as DV (not HDV) with Premiere but what else do I need to know about such capture? As far as actual editing goes the tutorials are covering a lot of that.
Eventually I'll use Encore to author a proper DVD that is compatible with every DVD or Blu-ray player. Right?
I guess the question could be, "What is yout multi asset workflow?"
I feel like such a noob.
Thanks.

Michael,
I thought that might be the case. Sigh!
Well, as far as I can tell, if I were you, I would offer it with an alI I-Frame option first. That would probably be the easiest to implement cleanly. Those who can shoot that way would probably start shooting that way. Me included.
Then, take the AVCHD from a few of the most popular cameras, Canon, Nikon and of course, the Panasonic DMC-GH3 (my camera) and whatever video cameras are popular right now. Back up to the beginning of the long GOP and finish at the end of the long GOP. There is no need to get too specific with frames for subclips. After all, anyone who does not leave handles on their subclips while ingesting gets what they deserve anyway. In fact, there should be an option to always add one second of handles to every subclip. Personally I would leave that on as a default.
As for me, I recently posted a few videos using different codecs for people to download to test them. The links can be found in this forum post along with a short discussion: http://forums.adobe.com/thread/1239519?tstart=0
I usually use 50Mb/s 60p using the MOV format, but if I was to shoot anything serious, I would probably shoot 72Mb/s 24p. Keep in mind, that if Adobe made it possible to ingest subclips without transcoding,I would change what I shot to all I-Frame for almost everything, either at 30p or 24p. And if you did it for my 60fps MOV files, I would be ecstatic.
I don't shoot AVCHD but I suppose that so many people do that the moment you gave the feature to all I-Frame shooters, there would be a huge clamor for AVCHD.
In my opinion, this could be a major game changer and everyone who could would start using Prelude without a second thought. Like photographers are flocking to Lightroom 5, this would be the videographers Lightroom. Reelroom? Naw. Prelude is a good enough name.

Similar Messages

Adobe Bridge As A Digital Asset Manager

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Adobe also suggests that Bridge is a "powerful program for previewing and managing a diverse array of assets." This suggests that Bridge can be used as a Digital Assets Manager (DAM) for stills, audio, swf, and video files.
The more work we do in media development - the more we need to better manage our media. I'm curious if there are any with experience attempting to use Bridge as a DAM and if so, how it has proved as a viable tool for asset management. Please let me know of any experience or knowledge you may have.
Thanks!

I posted it to this group for three reasons.
1) I'm curious if Bridge really does "bridge" well between Adobe and Apple products or is it really just for Adobe products. With Final Cut, we often find ourselves bridging between these competing companies. Id Bridge a viable solution?
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Hope that helps to clarify my question.

Bridge (& Prelude & Media Encoder) included in a Premiere-only account?

Hi!
I have a full CC account myself, but for a client of mine, I'm looking into different accounts. A production company I work for, is going to make the transition to Adobe CC. Because I have years of experience using it, they have asked me to oversee the operation. Now, as they don't need the full CC for all their workstations, I was thinking to install Premiere-only accounts on some of their sets. On the master workstation, there will be a full CC account so that After Effects and Photoshop and everything else are available, but on the others there only has to be Premiere Pro installed.
But are programs like Bridge, Prelude and Media Encoder available in a Premiere-only account? I can imagine it would be Premiere Pro + support programs. But there is no info on that to be found. Can anyone say something about this?
Thanks, Bart

Installing just Premiere will probably no problem. Have had setups like that on several machines, and it never was a problem. Less possibilities, that's true, but for editing it works just fine.
Before CC, Bridge was a 'free' program you could download if you had Photoshop, Premiere or something else. AME indeed came with the production bundle, but you could use it on as many machines as you liked, without a license. The same with Bridge, you didn't need a license. Since it became part of CC, I never bothered anymore on my own sets. But now, for the situation mentioned above, I'd like to know if I can still use bridge as 'complementary' feature for archiving footage...

Bridge for data asset management?

I've been looking for a while for a 'simple' data asset management application.
What it should be able to do or have is:
1. a simple interface, manageable by anyone.
2. both mac and windows compatible
3. drag and drop facilitated for both images AND their description into inDesign.
Why?: we work for a large mall group, that produces some 20 large folders a year. No need to say we have built up an image database of thousands of items, most of which are reused regularly. Locating them for use in a new folder is not such a problem in itself; but reusing the text is. Each time, our client provides more or less the 'same' texts and prices (they retype them), which means that all texts, whether they have been published 10 times before or not, always have to be reread, reviewed by a copywriter, and on top of that, retranslated (in Belgium, you always need editions in Dutch and French). This is a silly and costly situation.
I love to use Expression Media for comparing pictures, and it's drag and drop capable - for picutres - not for text. Bridge doen't seem to do the job either, and it's not an actual database.
So is there a simple way or application (affordable) to get over this problem, without the need of some complicated Unix-based, nerd-interfaced server?

So is there a simple way or application (affordable) to get over this problem, without the need of some complicated Unix-based, nerd-interfaced server?
Did you tried to explore Canto Cumulus ?
They have two editions, the 'single user' (very affordable) and a more complex build to order. When you have many users on different locations or use over a network it might be to complex for the single user version I'm afraid ;-(

Asset Management WORKFLOW

Hi All,
I am doing a asset management workflow wherein i have 3 levels of approvals.
right now i am just handling the Scraping of a Asset scenario. Here i go into TC Ar01 select my asset, create a worklist with 'Retirement without revenue' and saving the info. I then go to AR03 and release the asset. I tried setting the agents through OAWF but am unable ot get a workitem in the inbox. Please suggest if there are any standard workflows for this scenario or any other scenairo in asset management.
I knw there is a BO BUS1022. Are there any otehr BO with which i can handle my scenario?
Thanks and Regards,
Soumya G

Hi Soumya,
One of the methods to check all the BO and the events triggered while executing a transaction is by checking the event trace. Follow the following steps to get the info:
1. Go to SWELS - Switch on the Event Trace
2. Trigger your transaction, go to AR01 select your asset, create a worklist with 'Retirement without revenue' and save the info. Go to AR03 and release the asset.
3. Go to SWEL - Check all the events that have triggered after execution of the transaction and check the receiver type of the BO events.
You can use all these BO and events to trigger your workflow depending on the scenario.
Hope this helps!
Regards,
Saumya

Mass Video Asset Management in Lightroom 4 - Watch as I Test (Flail and Fumble)

The Project is to: catalog, keyword, manage, rate, and organize over 3400 video clips (AVCHD clips re-wrapped as MOV files) shot in 30 days in Costa Rica. The shoot was purely run and gun -total guerrilla style. As we were unable to do much transfer and review in the field, I came home with a huge project to complete before editing videos. I've limited the choices of software for asset management & organization down to Lightroom 4 or CatDV. Ethically, I feel obligated to say that I"m pulling for Adobe since I use the entire suite, and there are some nice fringe benefits keeping everything "in house,"
First Step: All video files are AVCHD files which are re-wrapped (by ClipWrap) into MOV files. This step is crucial, since AVCHD does not include/store metadata in the video file itself.
Second Step: Files are stored on the MAC-OS level into folders corresponding to the dates the shots were taken
Third Step: Get the 3400+ files organized, weeded, and prepped for editing
@#$!)~*(*&%^ <-- That's what a record scratch looks like in the digital age
I started examining software solutions and gave each a couple of good tries to narrow the choices down to TWO packages of software:
OnLocation - Couldn't feel it and it looks like it's meant to work for a different flow. No.
Cosmos - Couldn't really do much of anything with metadata. No.
Bridge - Almost there, but pretty limited and not dual screen friendly at all. No.
CatDV - Now there you go...almost. Everything is in a catalog meaning you have to go between this software and Premiere. Definite maybe.
Lightroom 4 - Comes with heaps of background in organizing stills, how will it work for massive amounts of video? Definite maybe.
CatDV and Lightroom 4 both imported everything just fine.
I'll post more as I get into it. Soon, if anyone cares to read more.

Lightroom 4 has completed the task of importing 3440 video clips. CatDV (fully functional 30 day trial) crashed again on the large import. I'm going to try importing 10 folders at a time in CatDV.
As I start to play in Lightroom4 with asset mgmt:
PROs
Slick relatively tweakable user interface
Keyword buttons are great (wish we could have more on the surface)
Nice "twirl-down" flow that Adobe uses in the product line -I love this
CONs
Lightroom4 video previews are horrifically sluggish at best, and at this point is unusable for a large collection
The scrub over (video thumbnail) preview is a huge resource hog and would benefit from a disable option
Second Monitor pane has some issues/incongruencies with the main monitor pane:
Grid view will not allow multiple files to be graded/keyworded/etc simultaneously
Loupe view will not play video files and treats the video file preview like a photo
This is all for now. More on CatDV when I get it going.

File Type Association fails when opening multiple files from Bridge to Premiere

I'm running Vista 32 bit CS3 Bridge and Premiere.
According to the Video workshop
http://www.adobe.com/designcenter-archive/video_workshop/
under Premiere > all 19 topics > Managing Media in Adobe Premiere Pro > at 02:46 it shows group selecting a bunch of quicktime files using Edit > Select all, then File > Open With ...the drop down shows Premiere.
Mine only show Premiere if a single file is selected. If I multiple select, it only shows Quicktime Player 7.6.
I've checked the file type association in preferences of Bridge to open these files in Premiere but it still only sees Premiere if a single file is selected.
I've upgraded Bridge to 2.1.1.9 and set to run as Administrator but to no avail.
Any ideas?

Import has always worked fine. this is not the issue.
I have now changed the file association in Vista, re-started Premiere and Bridge and then after having started just Premiere chose File > Browse and the selected all the .mov files and selected Open With. Hurrah! Premiere is now listed!
However, If I continue the focus changes to Premiere but a warning appears "This file path does not exist on disk at this location".
Nothing is imported. Unlike the video workshop mentioned above.
If however, I chose Open and not Open with then the files are imported.
Seems to be a bug with Open with with more than one file chosen. If a single file is chosen and Open With is applied then the focus changes to Premiere but no file is imported.
I have seen the exact same problem in another discusion "Re: Bridge CS3: Not importing clips into Premiere CS3" (see the More Like This panel on the rightside of this window)

IPhoto 08 and Photoshop - suggestions on workflow and managing PSD files

Hi Everyone,
I'm a long-time Photoshop user, and a recent convert to Mac (BTW - I love my new Mac), therefore I am also new to iPhoto 08. I must say that I actually enjoy how iPhoto manages my pictures, as it is not all that different from how I've been managing my pics manually for years (by year, by event, etc.). I've read the various discussion topics on how to set up and use Photoshop as an external editor from iPhoto, and have not had any problems up to now.
I'm now looking for suggestions on workflow and managing my PSD files. I apologize if this is a little long, but I want to make sure I explain the problem clearly. Here's the scenario:
- From iPhoto, I choose to edit an existing JPEG file in the external editor, Photoshop.
- I perform my edits (including advanced edits with layers etc.)
- I do both a "Save As..." and a "Save". That way, I "Save" the flattened JPEG back to my iPhoto library properly, and "Save As..." a PSD file in case I want to do further edits on the image later (days, weeks, months later).
I'm looking for suggestions on where to put my PSDs. For now, I am saving the PSD to my desktop (using max compatibility), and then importing the PSD into my iPhoto library (into the same Event as the original JPEG). However, this leaves me with 2 copies of the same picture: 1 JPEG, and 1 PSD.
The problem is, I now want to go back and do more tweaks on the PSD, the end result of which will make the JPEG version out-of-date. I can either
1) Open both the PSD and JPEG versions at the same time, tweak the PSD, then copy and paste the flattened layers on top of the JPEG version and "Save"
2) Open only the PSD, tweak, and save a copy as a JPEG onto my desktop and re-import into iPhoto.
Although a little tedious, both options seem to work. Are there any other options? What do you suggest? I'm curious to see how others manage this.

I don't have a solution for you (sorry) but I'd like to comment because I'm in a similar boat. However instead of saving PSD files to the desktop, I've been advised to save these to TIFF format in Photoshop by a professioal photographer friend of mine (I think he feels its a more universal file format than PSD for archival purposes). The downside is the files are huge.
I imported high resolution jpegs into iPhoto. I then use Photoshop to edit and save the flattened jpeg version back to iPhoto (thankfully, keywords are preserved this way). I recently realized that I need to save a copy of the edited file in a lossless format like TIFF or PSD. Unfortunately when I save the file to TIFF and import it back into iPhoto, keywords are lost. This is a drag.
What I am trying to figure out is how I can retain my keyword info in the edited archival version. Any tips?
I'm beginning to question whether I should import my photos in to Photoshop (or PS Bridge) first, save the original for archival purposes, do the majority of editing and save a TIFF/PSD file and then import this file into iPhoto for keywording, further editing, downsizing, etc.

VHS - DVD Recorder - PC - Premiere Pro CS6: Workflow Questions

Hello,
I hope I have this posted in the correct place. I am seeking advice and suggestions for VHS tape to digital transfers. Here is my current workflow:
VHS tape is played back on a Panasonic PV-D4744S VCR and is recorded directly (via composite A/V cable) to a Panasonic DMR-ES40V DVD recorder and onto a DVD-R, -RW, or +RW.
The disc is then copied into a Windows 7 folder with all of the contents of its VIDEO_TS folder intact; this folder is saved on several external hard drives for safe keeping.
I then open and import a copy of the .vob files into Premiere Pro CS6, where I minimally scale the video to eliminate the distortions (“VHS tearing”) on the sides and bottom of the VHS source video. The result is a very clear video which fits perfectly in a 4:3 project window on my 16:9 HD computer screen with minimal pillarboxing.
It is at the stage of export where I am stuck.
The final DVDs are going to be viewed on a 16:9 widescreen TV, as well as on an iMac computer. I’ve read all much about interlaced scanning (VHS, Laserdisc, TV) and progressive scanning (computer, LCD TVs), but I’m still not sure if I can make a DVD which will look proper on both TVs and computers. In addition to the scaling, I am using Premiere to add chapter makers and poster frames to the video, which I wish to then export to either Encore CS6 or NeroVision – I love Nero’s animated 2D and 3D menu selections. What export settings should I use in Premiere which are closest to the original, imported .vob files? I’ve exported some test videos in MPEG2-DVD format to folders, but they are huge compared to the original DVDs made on the standalone recorder, i.e., 12.8GB on Premiere export compared to the 4.7GB import.
Are there settings to make the Premiere export as close to the original DVD import of 4.7GB without sacrificing quality? Should I simply import the sequence into Encore as a timeline and let it perform the heavy lifting of automatically compressing the files to fit on a 4.7GB DVD? NeroVision seems to not accept the MPEG2-DVD files; it “sees” only the .m2v video files and not the .wav audio files.
In a nutshell:
I want to take a raw DVD-R (or -RW, +RW) recorded on a standalone and copy to hard drive, add chapter markers and minimal scaling in Premiere Pro CS6, then export and burn a DVD that will look good on both a 16:9 TV and computer screen.
I'm trying to get this project finished for a soon upcoming family get together. Any suggestions, tips, and general advice would be greatly appreciated.
Eric

Hi Eric,
The issue I would have with the workflow is that DVD is heavily compressed for delivery - not meant for re-compressing again. You're re-compressing a file that's already been compressed as small as can be. Most DVD recorders have different quality settings, like 1 hour, 2 hours, 4 hours. Use the 1 hour mode on the DVD recorder to get the "best" quality source if you must re-edit the stuff. The typical workflow would be to have some sort of capture device on the computer that records a larger, less compressed file to begin with.
As for export from Adobe using Media Encoder, choose "MPEG-2 DVD" of course, and select "NTSC DV" for the preset. Under the VIDEO tab, you'll need to adjust the encoding bitrate according to the video length. A good rule of thumb is to use 560/minutes=bitrate, and I will round down a touch for safety margin. This assumes Dolby Digital audio on the DVD (AME exports .wav audio and Encore converts to Dolby). Note that most folks don't go over 7 or 8, for best compatibility (the max limit is a bit higher, but quality of VHS source is not going to get any better anyway at higher rates, GIGO).
Regarding audio for the DVD, could be that Nero expects ONE file with audio and video. In AME, look under MULTIPLEXING and change from NONE to DVD, this will combine them. Then under AUDIO, choose DOLBY or maybe MPEG will work for you. Use a 192k bitrate for audio if going that route.
Note sure what you meant about the 16:9 screen - would recommend against putting the 4:3 source material into a 16:9 sequence in Premiere in you are, this will do more harm than good. Stay with 4:3 throughout, including the DVD creation - the DVD player and TV ought to know what to do with it. You're actually REDUCING the resolution if you use a 16:9 workflow. Note that if you encode a 16:9 DVD using 4:3 material in the 16:9 frame, and then play that DVD on a 4:3 TV, bad news - it gets letterboxed AND pillarboxed and you end up with a small video surround by black on all sides. Not cool.
I'd stick with interlaced - if you deinterlace the footage at any point, you are essentially throwing away HALF the resolution, which is weak to start with for SD. Most software players will have Preferences settings to let you tweak the playback/deinterlacing at that point, and TVs will handle it fine.
PS - if you use Encore, then just export the .m2v and .wav files using Media Encoder, import both to Encore, and Encore then does NOT recompress the video any further (as long as it fits), only the audio gets the Dolby conversion. Do NOT use Multiplexed files in Encore.
Hope this is all helpful
Jeff Pulera
Safe Harbor Computers

Integrating barcode asset management and LR

I have discovered to my delight that you can integrate Lightroom and barcode based print asset management. This is a way to:
automate the printing of labels for images without any rekeying of information, and
automate the process of finding the image from which a print was made
Why do this? You may sell prints or just make them for your own pleasure. It is good practice to provide some labelling of prints so you (or the buyer) knows what they are looking at. It can be helpful to be able to quickly find the source image of a print. Of course you can just include the filename in the label and type it in to find the source image. But the labels produced look a bit messy with a sometimes arbitrary filename stuck in there. An option is to include a neat barcode on the label. You can then use your webcam to read the label and direclty insert the filename in the LR search field. Presto! Up pops the image from which the print was made.
Caveat: Apologies to Mac users, I have only worked this out on a PC. I'm sure there are substitutes for each of the things I've used.
What you need to do this [on a PC]:
Lightroom (LOL)
LR/Transporter (incredibly useful for many things)
Excel (optional but part of my workflow)
A way to print labels with barcodes. I use a cheap Brother label printer which comes with the P-Touch Editor software.
A webcam
Webcam barcode reader software. I use bcWebCam which is free
How I do it:
I'll sketch how I do it with the specific gear I have and then suggest how you may get by with other gear.
Simplest workflow:
Set up LR/Transporter to export a summary file from image exports that includes all the fields you may want on your label (including filename of course). Format for comma delimited a CSV file with a header line to define the exported fields. This is saved and reused as an export preset. Routlinely I can then select the images I am printing and export them to a dummy folder which I use for the purpose of transferring Image information.
I use my label printer software with a template that merges the CSV file data onto a label, with the filename printed as a QR barcode. I generally put one label directly on the print reverse and, if framed, another on the frame rear. With high quality art prints I only do the latter to avoid any possibility of problems of with the adhesive discolouring the paper obverse. Here's an example.
Having previously installed bcWebCam, if I need to find an image that needs a bit of a search (only likely if I've not worked on it recently), I load bcWebCam while LR is running, place my mouse cursor in the search field in the library view (having selected the root of my catalogue), and hold the print label in front of the web cam. Presto! bcWebCam inserts the filename in the search field and up pops the image in LR!
In reality, I use excel as an intermediary to read the LR/Transporter data and reformat some items. One reason is the GPS information exported by LR/Transporter has some weird characters in it and they need to be cleaned out. Characters with accents or umlauts also need some special treatment. Excel also lets me define how many of each label I want printed... The label printer software reads the excel file as a database and allows printing of the required number of labels.
If you are interested in this solution you are likely to have tens or hundreds of thousands of images in which case camera generated filenames will not be unique. I add a month and year in import and conversion to DNG into LR to ensure filenames are unique. There are a range of other work-arounds that may suit your workflow better. But remember, you need something that LR will find in a single search. It may be you create a unique identifier in a EXIF or IPTC field - this will work too... Some smart bunny may point out to me there is some foolproof automatic unique identifier for each image built into LR which can be accessed and exported but I am not aware of it. I guess image creation time (to the second) comes pretty close but I cannot see how to search on this from a search field entry...
Where you may need to find some workarounds:
If you are on a PC, the one thing that is not available on the net is the barcode label printer. In the past I used to print labels on multi-label sheets with a laser printer. It's not obvious to me how to translate the unique image identifier into a barcode for this approach but I'm sure there will be one out there. But I came to the conclusion that a dedicated "on demand" label printer would save a huge amount of messing around. I think the Brother model I use is about US$79 which doesn't exactly break any bank. And the continuous paper roll I use means labels end up about 2.5 cents a pop... What makes this or even the more capable models (with auto-cutters) such a great deal is the P-touch sofware which does do all the linking of database to label and info field to barcode. This is worth the price alone I reckon. There are other free and for-fee webcam barcode readers out there too; the one I've noted works for me...
This may sound pretty complex to set up. But the reality is, once export, database and print templates are in place, it's all automatic.

Hi,
Great use of LR/Transporter
The strange characters result from the fact that LR/Transporter outputs files with a UTF-8 encoding. You need to be able to read that so see them. Most applications can read UTF-8 nowadays.
Tim

CS4 Asset Management

Hi,
I’m having some difficulties implementing asset management in our CS4 InCopy and InDesign plugins.
I seem to have the basics right but I’m lacking some refinements.
I’ve created implementations of IAMSystemProvider, IAMServiceProvider and IAMServices for Initialize, CheckIn, CheckOut and CancelCheckOut.
Our stories and documents are stored in database, so the locked and editable status need to reflect the state of the document in the database.
When the user opens a story from database it is copied to a local store and edited in InCopy from there.
For the most part this works, the story is marked as Editing, and the user can make changes and save it back to the database.
The Links panel shows the correct file path, but there are inconsistencies.
The status is marked as Contained. I’m really not sure what this means; contained in what?
Story Status is marked as “Text Modified”, but if I close the story and check the text model, the dirty flag is not set, as I would expect and the user isn’t prompted to save. So the behaviour is correct, and I’m not really sure where the Links panel is getting this Text Modified status from if not the ITextModel.
The Managed Status is probably the worst, it shows “is available for anyone to edit”, and yet the bar across the top of the story shows Editing and most definitiely not “Available”.
How am I supposed to keep this in sync. Should the IAMService code explicitly update the Link status or does the link control panel query the IManagedStatus in some way?
The latter is what I was expecting and I’ve tried attaching an instance of an IManagedStatus implementation to the IManagableAsset during the call to the Initialize IAMService and it’s doesn’t seem to be called at all.
Is this documented somewhere, the CS3/CS4 Porting guide don't really go into this much detail, and the CS4 Programming guide doesn’t cover asset management, that I've found in any case?
Most serious of these problems is that if I open and close three stories then InCopy crashes with no call stack!
I’m hopefully guessing that the crash is associated with the asset management being out of sync, and in any case I would like to fix that up first.
Best Regards and many thanks for any assistance that you can offer.
Caerwyn

See http://forums.adobe.com/thread/852571?tstart=30 for an idea of sizes available.
Here is an example of getting a thumbnail and saving it on the desktop....
#target bridge
var thumb = app.document.selections[0];
var sourceBitmap = undefined;
app.synchronousMode = true;
sourceBitmap = thumb.core.thumbnail.thumbnail; //smallest
//sourceBitmap = thumb.core.preview.preview; //next size
app.synchronousMode = false;
if( !sourceBitmap || sourceBitmap.width == undefined || sourceBitmap.width == 0 ){
alert("Unable to get bitmap");
}else{
var Name = decodeURI(thumb.spec.name).replace(/\.[^\.]+$/, '');
var exportFile = new File( Folder.desktop + "/" + Name + "-thumb.jpg" );
sourceBitmap.exportTo( exportFile, 100);
There are many examples of extracting metadata and it might be best to look at some of them, also download the sdk where you will find all the documentation and examples.
http://www.adobe.com/devnet/bridge.html
If it looks a bit complex you could use ExifTool http://www.sno.phy.queensu.ca/~phil/exiftool/ as an alternative.

Meta data and data asset management

I am looking for suggestions and or products that can support managing our footage.
Our goal is for an editor to search for a clip using the data entered in the “description” (metadata) field of clips and sub-clips that have been logged in various projects.
Here is the outline.
We record clips of high def footage and we import batches of these clips; sometimes a few dozen, and sometimes thousands. We bring these batches into a Premiere Pro CS5 project by importing the video clips from within a P2 card folder structure, or avchd, or dslr footage or ??/any format we collect...
We log a description of the clips and of sub-clips, and then we edit a film from those elements. After 1 project, or after 50 projects, we have all the detailed description (metadata) we've entered about each clip and sub-clip captured, and this data lives within the CS5 project. We can only search it from within the original project.
If we start a new project and we need to look back at footage from old projects, we can only search for footage by going into that old project . We would like to have the metadata write back to our archive (or a copy of the footage in a new archive.) If the archive and the clips and sub-clips had the metadata from the project we could search and find assets. Among the obstacles is that sub-clips share the name of the clip it comes from so there is no “place” for it’s metadata. We've tried using Project Manager>Collect Files & Copy to New Location but the subclip .mxf files created through this process are copies of the source clip despite being labeded "random.subclip001". When imported, this "random.subclip001" file shows up in Premiere as the original "random" source clip name.
We are looking at a small library – but it’s big for us. About 20 terabytes… A typical client might have 4-6 terabytes of assets we would like to look through for a shot, or an interview… Has anyone made inroads on this?
Many thanks for any thoughts and ideas.
Sincerely,
Rees Candee

Hi Abhilash,
Meta Data-
In BW the meta-data contain data about data.
It is like having information about the information.
You have the business related meta-data for example the description used in your reports or the technical related meta-data for example the rules used in the transformation or the extraction. These are the two types of meta-data you have in the metadata repository that you manage with the metadata manager
http://help.sap.com/saphelp_nw04/helpdata/en/80/1a6197e07211d2acb80000e829fbfe/content.htm
Meta Data Repository
It is the repository which Manages Meta Data, for example like when talking about an ODS in the metadatarepository you can read about which characteristics, key figures, infosource and updaterules are used in it. And creation date, owner etc.
Thanks,
Sudhakar
saying thanks in sdn == assigning points

Digital Asset management

Hi all,
I've been using idImager to keep track of photos and videos. The one problem I have found with this product is setting it up in a collaborative environment.
I was wondering what people are using to keep track of the digital assests and where they are used.
The things I need to keep track of are:
Images
Video (complete and clips)
Audio files
Cubase and Ableton Live projects (and their assets)
Adobe project files
CC Prelude looks like it is only usefult for video clip pull in.
Any ideas?
I wasn't sure what forum to post this in. If there is a more appropriate area let me know
Thanks
Ian

We use WebDAM for collaboration and digital asset management. Its an awesome DAM Software . For all design activities, our entire team uses Adobe Creative Cloud. They both seem to work really well together. Managing your images, video (complete vids and clips), audio files, projects, adobe files, and almost any file is completly supported. WebDAM also allows us to control versions, edit and control metadata, supports EXIF and XMP metadata standards, comment on assets, automatically convert file formats, set expiration dates, get automated alerts when others work on files, easy search, viewing capabilities, control access, and share/secure/collaborate on our files anytime from anyplace. Its super easy to use. Our team also loves the video module which allows you to serve your videos and clips to various websites, control versions, etc. haha, sounds like a sales pitch. I'm pretty sure Intel, New Balance Shoes, Santa Cruz, Symantec, GE, bunch of design agencies, and almost every college uses WebDAM. Being near Adobe's headquarters in Silicon Valley, I think their software engineers interact with Adobe consultants as well.
But I guess the question is, are you looking for something to use for your entire team, company, or just for personal use? That will determine what type of software you should be looking for.

Can't use"Open With" multiple files Bridge to Premiere

I'm running Vista 32 bit CS3 Bridge and Premiere.
According to the Video workshop
http://www.adobe.com/designcenter-archive/video_workshop/
under Premiere > all 19 topics > Managing Media in Adobe Premiere Pro > at 02:46 it shows group selecting a bunch of quicktime files using Edit > Select all, then File > Open With ...the drop down shows Premiere.
Mine only show Premiere if a single file is selected. If I multiple select, it only shows Quicktime Player 7.6.
I've checked the file type association in preferences of Bridge to open these files in Premiere but it still only sees Premiere if a single file is selected.
I've upgraded Bridge to 2.1.1.9 and set to run as Administrator but to no avail.
Any ideas?

The files are .mov quicktime. Rightclicking gives the same error.
I've got the latest update (2.1.1.9)
Not yet tried to reset Preferences but will do that tomorrow. (will let you know)
However.....
I have now changed the file association in Vista, re-started Premiere and Bridge and then after having started just Premiere chose File > Browse and the selected all the .mov files and selected Open With. Hurrah! Premiere is now listed!
However, If I continue the focus changes to Premiere but a warning appears "This file path does not exist on disk at this location".
Nothing is imported. Unlike the video workshop mentioned above.
If however, I chose Open and not Open with then the files are imported.
Seems to be a bug with Open with with more than one file chosen. If a single file is chosen and Open With is applied then the focus changes to Premiere but no file is imported.
I have seen the exact same problem in another discusion "Re: Bridge CS3: Not importing clips into Premiere CS3" (see the More Like This panel on the rightside of this window)

Digital Asset Management (DAM)

I'm looking at purchasing software that can act as digital asset management, does Aperture have this ability. Basically I need to store digital images off my of hard drive onto DVD/external drives for archiving and then need to be able to find them again quickly.
I already use Canto Cumulus 6 for this but I have moved on to Intel Mac Pro and need to upgrade, might be time for a change.Any advise is appreciated.
Thanks for the help.
Bill

Bill-
At this point in time Aperture IMO is the best app on the planet for volume DSLR capture management and DAM for folks with adequate Mac hardware (your basic setup qualifies, but if you do buy Aperture you will want one of the better graphics cards available after Expo). After Mac Expo SF is over on January 18th I will have refined my opinion after spending extensive time at the relevant booths on the show floor.
IMO cursory evaluation of Aperture is a waste of time. Without really good competent guidance one usually either totally does not get it and/or simply develops bad habits.
I recommend that folks with adequate hardware (MacIntel, minimum 2 GB RAM, 4+ GB is better) invest time and $33 in Apple Pro Training Series: Aperture 1.5 (Apple Pro Training) by Orlando Luna and Ben Long (Paperback - Oct 2006). It is a training Tutorial, not just a manual; its value is as a tutorial, not as a manual. As you work through the tutorial the various Aperture workflow choices become evident and then you can choose your preferred configuration.
Even if you ultimately choose another app the workflow choices learned working the tutorial are invaluable. Aperture has a free 30 day trial, but have the tutorial CD in hand and RAM installed before downloading the trial so you do not waste time of the trial.
Aperture is hardware-intense and there are routines to learn to optimize speed. A good forum exists at <http://discussions.apple.com/forum.jspa?forumID=1092>.
Note that Aperture allows a dual laptop/desktop installation and will run on your G4 Powerbook, but marginally. I recommend that you thoroughly learn Aperture and its workflow alternatives on your Mac Pro before trying to implement any workflow that involves the PB. Making dual-computer setups work is tricky, and scaling volumes of images for laptop access is a challenge.
-Allen Wicks

Bridge/Prelude/Premiere/Encore, Arrrgh! Workflow/Asset Managment overload! Help.

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