Correct workflow for 16 x 9 to 4 x 3 with letterbox?

I want to make sure I'm setting this up correctly. The image looks fine but I don't have a lot of experience with 16 x 9 files. This is my work flow. Receive a Pro Res file 16 x 9 - import into FC 7. Put it into sequence "not" copying the setting of the 16 x 9 file (so video is now letterbox). Export as H264 mov. Thoughts? Thanks.

That's not what I said, but then maybe I misunderstood what you want to do.
Do you actually need to edit this material or are you just trying to make it letterboxed? If you need to edit the material you edit in the correct HD format sequence. You then place the edited sequence in a 4:3 sequence. No exporting is involved here.

Similar Messages

Correct workflow for HDV to anamorphic SD DVD?

My current workflow amounts to building HD videos in Final Cut Express 4 (FCE), exporting HD MOV files for use in Encore CS3 to create standard DVDs.
To be clear (correct my verbiage if I'm wrong) when I say HD this is what I'm working with:
1920 x 1080
Interlaced
29.97 fps
Originally, before I got an HDTV, I would simply drop the finished HD timeline into an SD timeline in FCE, and create the DVD using these movie files. On a typical CRT 4:3 television, this actually works okay. But once I got my HDTV and watched how the 4:3 picture was simply placed in the middle of the screen, I realized I was doing this the wrong way.
Ultimately, I want to create the DVD so the video adjusts to the width of the screen, where the black bars you see aren't actually embedded in the video itself. Is this called an "anamorphic" DVD?
I've done my best to do this on my own, but any movement in the final videos on the DVDs contain horrible jaggedness, as if you were watching interlaced video on a computer monitor, even if I'm watching it on a CRT 4:3 television.
Here is what I'm doing:
Export 1920x1080 MOV
Import MOV into Encore CS3 project
Transcode Settings:
Format: MPEG2-DVD
Pixel Aspect Ratio: Widescreen 16:9 (1.200)
When I'm in the transcode settings panel, in the output preview window, I can see the jaggedness and can't get rid of it by changing any settings. If I change the PAR selection to "Standard 4.3 (0.900)" it gets better, but again I don't think this is what I want to do.
Can anyone see the problem in my workflow? Should I be exporting something different from FCE?
Thanks in advance.

Ann -- Thank you for the response. After digging a bit deeper into this forum, I found the HDV --> SD DVD Workflow? thread and it gave me this idea as well.
I created a project using "DV - NTSC > Widescreen 48 kHz" as the timeline preset. I was able to drag the final HD 1920x1080 MOV that I created in Final Cut Express onto that timeline. Then, I used the Adobe Media Encoder to export MPEG-2 files, which gave me many more options that the same step in Encore.
A while back, Apple removed the ability for Quicktime to export MPEG-2 files, for some reason, and I was never happy with that. I'm excited to see that Premiere Pro is able to do this, so I might start migrating over to Premiere Pro now. I just needed the right kick in the butt to get around to it, I guess.
I'd still like to hear any other suggestions, though. Thanks.

What's the correct workflow for high FPS footage motion blur?

Situation is the following:
I have a few 600fps recordings I want to put together with heavy editing.
Things I want to do (not in order):
Change the velocity heavily up and down, from 300% to 10% and back withing seconds.
Basic VFX, heightmap, masking, light flashes and so on.
3D tracking and effects, particles and text in 3D space
Color Correction
Good motion blur
Overlays
Now, my question is at which point I apply the motion blur. I'd like to start in Sony Vegas for the velocity and then move to After Effects.
But Sony Vegas is capable to export at max 120fps. Will the motion blur result be worse/different with minro FPS footage?
In Sony Vegas for example, the resample feature is pretty useless/bad unless you go over 120fps.
But obviously I can't start by importing my footage into AE and firstly add motion blur. By my understanding I have to do all FX and color correction before adding motion blur, and until then the footage has to stay 600fps. Is this correct?
Thanks in advance.

and until then the footage has to stay 600fps. Is this correct?
No. Motion blur is calculated from frame to frame at the actual playback speed. Anything else would look fake, anyway, though of course you may already ned to/ want to add some motion blur to some elements halfway through just to from the precision of higher framerates. Smoother curves and all that. So ultimately in which order you do it is till a matter of what gives you the best result, not so much a fixed "correct" order.
Mylenium

What is the best workflow for using Adobe Muse to build sites with teams ?

I want to be able to work with my sites on my computer and my designed to be able to work on the same sites on his.. Has anyone done this successfully ?

Hi
Please check the following threads
How can multiple users from different locations access my Muse website files to update them?
How to work off of one Muse file with multiple users?
Do let me know if you have any question.

Best workflow for editing Logic Pro 8 regions/tracks in Soundtrack Pro?

I've searched for a solution for the below question in several forums and to no avail. Thanks in advance for any help!
What is the easiest workflow for editing Logic Pro 8 audio files with Soundtrack Pro 2? And I'm thinking of a process very similar to the Final Cut Pro timeline audio-to- Soundtrack Pro Audio File project workflow.
I'd imagine that a good amount of the time, I'd be editing regions rather than full audio files -- as in, once in a while, while mixing sessions that another engineer has tracked, I'll hear clicks and pops from pre-amps clipping; or I'll hear an air conditioner blower running or something.
Basically, I occasionally hear noise in the arrange window while mixing that I'd like to edit out with Soundtrack Pro, and I need to know the easiest way to send that audio clip to Soundtrack Pro and then back to Final Cut Pro.

Connecting your FS Mobile to powered speakers will not increase latency. Latency is simply the fixed amount of time it takes for your computer to process sounds. Once the sound is processed and available at the outputs of the FS Mobile, it can go anywhere; to a PA mixer, a separate monitor mixer, headphones, etc. One thing you will want to consider when playing live is to have a personal monitor very close to you and pretty loud. The reason being is that the physical distance between you and the main PA speakers will itself induce a type of latency since sound travels at about 1126 ft/sec or 1000 msec of delay for every 1126 feet. Adding this delay to your latency could make holding a groove or pitch for that matter nearly impossible. The delays add up pretty quickly. For example, if your speakers are say 50 feet away from you, you would likely have around 20 msec of delay right there. Add this to your system latency of 20 msec and your up to 40 msec which is like trying to play a rubber guitar underwater. Even if your PA speakers are closer, the delays add up quickly. So having that nice loud monitor right up next to you will insure that you only have to get the feel of your system latency.

MM Workflow for Approval of Contract- Steps

Hi All,
Can you please help me with process or steps for Customizing Workflow for Contract Approval?? I need with some example.
Any links for references also will be helpful.
Thanks in Advance.

[workflow material;[http://help.sap.com/saphelp_srm50/helpdata/en/26/0f8b41ed891609e10000000a155106/content.htm]

Activate standard workflows for ECM Approval

Hello,
I have to activate these standard workflows for ECM. Can anyone help me with the steps I need to follow?
WS04000022 ECM_SUBMIT
WS04000023 ECM_APPROVE
WS04000024 ECM_REJECT
WS04000025 ECM_CREATE
Regards,
MAK.

Hello,
Have you tried to activate the workflows in the Workflow Builder:
SWDD -> enter workflow -> Activate
Cheers,
Adalbert

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

Advice for logical workflow for color correcting and color grading

I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage. Can you advise me as to the most logical workflow for doing this in coordination with PPRO CS5? Are there some tutorials that you recommend? I subscribe to Lynda.com and I think that they have some great tutorials, I am unsure as to where to begin looking and what to search for.
Thanks so much,
Lisa

lisaellensegal wrote:
I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage.
You can do it that way, sure. But you don't have to. You can accomplish quite a lot without leaving PPro. This has two major advantages. First, if you aren't using AE for anything else, it gets you out of using AE at all, so gets you out of climbing another set of learning curves.
Second, even if you are using AE for other things (I use AE to make motion lower thirds, for example), doing the work in PPro can improve exporting speeds. This is because AE gets restricted to a single processor core in some workflows as discussed in this thread and others (search around if you're interested). This can make exporting take 3x as long or longer, depending on how much footage has to be processed by AE.
So, how to do color correction without leaving PPro? Use either a luma corrector or luma curve effect to set black and white points, and contrast (use a waveform monitor to help). Then use a three way color corrector effect to get rid of any residual color casts (use the vectorscope to help, and the RGB parade, etc.).
If you find you have specific colors that need to be fixed, you can apply another three way color correction effect and use it to make that secondary color correction (for example I find the blue dyes used in many labels tend to fluoresce under fluorescent lighting, and has to be desaturated with a secondary color correction or it "blooms" on an HDTV -- IOW, it has to be made "broadcast safe").
If you want tutorials for using these tools, the ones on Creative Cow by Andrew Devis are quite good, and free. The ones on color correction with PPro cs6 start at tutorial number 47. There's a bunch of them. All good.
Finally, get a copy of Van Hurkman's Color Correction Handbook. May be the best technical book I've ever read, and it'll certainly point you in the right direction for doing color correction work regardless of which tools you use to do it.

Regd Workflow for a new custom page

HI ,
We have created 2 pages for some functionality where in user can login n serach for a person and update certain attributes like his source/company, assignment category etc.
First page he can searach the person and after search results come in, he can click on a link and go to the next page where he can edit the attributes n submit.
Now after updating and submitting the page, we have a reqt to send notifications to the initiator in case the user has approved the txn or rejected or sent for correction. But we dont know how to achive it with the 2 pages n no workflow.
How to launch a workflow for this ?
or is there a way we can send notification from backend without using workflow n it shud still come in the worklist of a person.
Regards,
Preeti

Hi Preeti
DECLARE
l_itemtype VARCHAR2(30) := 'XX_TEST';
l_itemkey VARCHAR2(300) := 'TEST';
BEGIN
Begin
wf_engine.createprocess(l_itemtype, l_itemkey, 'XX_MAIN_TEST');
Exception
when others then
dbms_output.put_line('Error in create process:' sqlerrm);
End;
BEGIN
wf_engine.setitemuserkey(itemtype => l_itemtype
,itemkey => l_itemkey
,userkey => 'USERKEY: ' l_itemkey);
EXCEPTION
when others then
dbms_output.put_line('Error in set userkey process:' sqlerrm);
END;
BEGIN
wf_engine.setitemowner(itemtype => l_itemtype
,itemkey => l_itemkey
,owner => 'SYSADMIN');
EXCEPTION
when others then
dbms_output.put_line('Error in set owner process:' sqlerrm);
END;
BEGIN
wf_engine.startprocess(l_itemtype, l_itemkey);
dbms_output.put_line('Process started');
commit;
EXCEPTION
when others then
dbms_output.put_line('Error in set owner process:' sqlerrm);
END;
END;These are the details of the functions used
1> wf_engine.createprocess
This API creates a new runtime instance of the workflow process, Pass the item type and item key for the workflow.
2> wf_engine.setitemuserkey
Use this API to mark the new runtime instance of the workflow process with an
end–user key
3> wf_engine.SetItemAttrText
Use this API to set values for the item type attributes defined for workflow process .E.g.: Email ID, Description defined in the workflow.
4> wf_engine.setitemowner
Use this API to set the value of owner (Of Workflow)
5> wf_core.context
In case of exception, it will help in locating source of an error.
6> wf_engine.startprocess
Use this API to invoke the workflow for the item type and item key specified.
Ajay

Price variance workflow for blocked invoices in MM purchasing

Hi Gurus,
We are implementing price variance workflow for blocked invoices. We built a custom workflow to
take care of the routing requirement of the customer.
We also did necessary customization defining the tolerance limits for price variance. Before testing the workflow wanted to check events in SWEL and its is found that system doesn't raise any event for price/ quantity block and hence the workflow is not triggered at all.
Event trace active flag is set in SWELS. I am not able to figure out what we are missing.The invoice gets created correctly with the price/quantity blocks and blocked invoices are available when we see in Tcode 'MRBR'.
Any suggestion will be highly appreciated.
Edited by: srinivas bejjanki on Jan 29, 2009 10:34 PM

Hello,
So you are absolutely sure the event trace is on. If you try SWUE with some other event, you see the entry in SWEL, dated a few minutes ago, correct?
When you try SWUE with BUS2081.BlockedPrice does it give any message?
Does SWUE work with any other BUS2081 event?
regards
Rick Bakker
Hanabi Technology

TEXT-DRIVEN WORKFLOW FOR NEWSPAPER

We're a small community newspaper thinking about switching to InCopy (currently using NewsEdit)
All reporters, photographers, designers work in the same office. Most stories are written before the pages are layed out based on the amount of advertising so we would be using a text-driven workflow. I've downloaded a trial version of InCopy CS4 and I'm trying to get a feel for how everything will work between InCopy and InDesign.
Currently the reporters type their stories in templates that show the copy flowing in columns. When these files are brought into InDesign the columns stay and the headers (which are attached) are in a separate text box. The reporters can also attached cutlines to their photos. The designer then just has to import the story and photo into InDesign and resize the two boxes (header and story) and the photo and cutline to fit the space available.
The only way I can find to have 2 text boxes in InCopy is to make an InDesign document and anchor 2 text boxes (one of which is divided into columns) to the Master Text Frame. I then export this as an .incx file, load my stylesheets and save it as a template file.
The reporter then opens the template and inputs the story and header in the appropriate boxes and saves it as an .incx file.
I (the designer) then opens the page layout and places the story. In order to resize anything the story has to be checked out. Then because the boxes are anchored, I have to go to Anchored Object menu, change the Options and then Release. I have to do the same with the photos and cutline.
If I haven't put you to sleep yet, here's my question.
Am I totally out in left field or am I on the right track as to how this should work? Is there a better way to make this work.
Any editorial changes are made on the page by the designer and there's only ever one reporter working on a story, so I think the checking in and out of stories might not pertain to us a lot except for when resizing them when they're on the page.
Also when I draw a text box for a pull quote on top of a story the only way I can change the runaround is to go to Anchored Object menu and release the story text.
Any help or suggestions would be GREATLY appreciated.
Barb

Barbara, I'm sorry but no, you can't have 2 text frames in a native InCopy document. And in the one frame you have to work with, there is no way to divvy it up into columns.
It sounds like you might need one of the CMS's built on top of InDesign and InCopy, like Smart Connection Pro/Enterprise or K4. These systems *do* all you to create multiple-framed "article" templates for the InCopy users, along with other features that the stock IC/ID workflow doesn't. But the learning curve is fairly steep (especially in the beginning) and the cost starts at $20K and goes up from there, not including the cost of ID and IC themselves. Quite a difference compared to the $249 per editorial seat cost of a stock IC/ID workflow.
In that stock workflow -- which most of my clients use, including community newspapers -- editors write everything in the single frame, and yes, the designers then cut and paste as necessary.
A somewhat awkward but doable workaround is that the editors could write the headline on page 1 of the INCX file and then enter a Frame Break from the Type > Insert Break Character menu. InCopy would automatically generate a second page (to create a threaded frame) and put their cursor there. The editors would write the body copy in that frame, or however you want to work it.
Then the designers would have a page set up in ID with a small frame for the headline that's threaded to a multicolumned frame for the body. They'd place the INCX file into the first frame, and it would automatically flow into the 2 frames correctly (assuming the headline fits inside the headline frame, if not, they edit it/format it to fit).
One of the main benefits of the IC/ID workflow is that the editors can see and edit their text within the context of the design, the layout, instead of marking up paper proofs for the designers to enter. Or, it allows the designers to create pages in ID (with empty text frames for heads, body, sidebars, cutlines etc.) for the editors to fill in with their text from the start.
It sounds like you're not looking for this. You're mainly interested in giving the editors a head start in formatting and fitting text without the layout at all. This is a lesser feature of the stock IC/ID workflow. It is most valuable when it's replacing Word as the start of the process. But it sounds like it's no match for what you're able to do with NewsEdit. ;-(
I've had other clients ask me how to create multi-framed templates for the editors to use. I wrote a long article about in my InCopyFlow e-zine, which you can read as a post on my InCopySecrets.com blog here:
http://incopysecrets.com/working-with-layout-templates.php
Maybe that'll help show you what's possible?
AM

Correct workflow when inserting images into text, InDesign CS4

Hi,
I am new to InDesign and I have a problem regarding a really basic thing and I would be very grateful for help.
I am writing an article which is about 10 pages long. It consists mostly of text. I have finished writing and now I want to add some illustrations with descriptions. I've already figured out it's best to insert images into the text frame so they behave as "anchored objects" and they move together with text when I add or delete something on previous pages. Now I would like to place TWO OR MORE images, one next to each other, in a line. This is a bit tricky but I created an object style with Position: Custom in "Anchored object options" and it works more or less fine. This works great but now it would be hard to add descriptions to these images that would still be anchored.
So I created something different. I made an empty rectangle frame, a small text frame under it and grouped them. Then I placed it in my master text frame and basically did the same thing as for previously described images. Now I place the newly loaded image in the empty rectangular frame and add text in the empty text frame. BUT now I have problems with frame size for different-size images.
What if I have a REALLY LONG article and want to add LOTS of images with decriptions that would be anchored in the text so I can edit previous pages? I can do this my way, but it's extremely uncomfortable and takes ages. Is there any comfortable, non-destructive workflow for doing such things?
Sorry for my English.

Hi,
I would recommend following steps:
Place one or more images
Don't anchor them yet.
Arange them (the images) relatively to each other, add a text frame and arrange them correct relatively to the images.
Group images and text
Copy (or cut) them into the clippboard
Set the curser into the text where it should flow
Paste it
Adjust the anchored object (the group)
You need to group several objects to anchor them together as one anchor.
Further recommendation:
For the images I would specify an object style for fitting, stroke, corner optione.
For text frames I would specify an object style for text object options, like text offset, and used paragraph style, no boarder, etc.
For the group I would spcify an object style which leaves above mentioned settings undefined (option field is grea or has a dash). But the anchored position of the whole group and text wrapping should be specified.
Willi Adelberger

Workflow for Document Approval

Hi all,
I'm a newbie to SolMan and is trying to figure out how to implement a workflow for document approval. A similar question has probably been posted in the past, but I can't find a definite solution, only some hints.
Basically, what we're trying to achieve is the following:
When a document is uploaded using SOLAR02, and the creator of the document changes the status to ready for sign-off, we would like to trigger a workflow which will send an email to a couple of persons who are responsible to approve the document. We already implement the digital signature, we just want to add an automatic email notification to be sent to the approvers.
Based on my research, it seems that this is not supported by SolMan and hence we have to do a custom development.
There's an object key called SOLMANDOC and we should raise an event (something like SIGNATURE_PROCESS_START) to send an email notification to the approvers. Can somebody confirm whether my understanding is right ? Does anybody know the name of the BADI that we can modify to achieve our goal ?
FYI, we're using SolMan Rel 7.01 SP 19.
Thanks in advance
Lara

Hi Phil,
I'm facing with problems with creating a simple 2 steps release strategy.
the problem is I cant approve the last step of the release.
This is what I did:
In spro Digital Signature->Signature strategy:
in "Define Authorization groups" I create this entries:
1. EING
2. VERIF
in "Define Individual Signatures" I create this entries:
1. S1   EING
2. S2   VERIF
in "Define Individual Strategies: I create this entries:
SigStrat: ZSIGSTR
Signature Method: R
Display comment: X Required
Display Remark: X
Display document: X
Verification: not checked
in "Assign individual signatures"
CtrIn Indiv.SIG.      AGrpDIG
1          S1               EING
2          S2               VERIF
Display Predecessor for Ctrln is 2 is 1
for "Display release statuses" an entry with one line with the value 1
and in "Display individual signatures there 2 entries 1 and 2.
in spro "Define Document status schemes"
stat scheme "ZSIGSTR"
4 status:
Status                 init status      Sequence    Low     High       lock         Signature schma End status         Cancel status
COPY_EDITING       X                  10           10       20          -
REVIEW                                     20           10        40        X                    ZSIGSTR         RELEASED    DECLINED
RELEASED                                30           10        40        X
DECLINED                                  40           10        20
I created two roles with object c_sign_bpr one with the value "EING"   and the other with the value "VERIF"
I assign this status scheme to a document type in my project.
I tried to release a document the first step was the author of the document move the status to "REVIEW" and I got a window that i need to enter my password and it worked ok.
The problem is in the second step that I need to release the document (now is in a REVIEW status) When I press on the icon in order to release I didn't get the option to release only to cancel there is no "V" option in the small window.
Can you please tell me if I did a correct customization? also can you tell me if my problem is maybe missing authorization? Can you direct me to reading material or to an example?
Best regards
Lior Grinberg
Edited by: Lior Grinberg on Nov 28, 2011 6:22 PM

Using UC Correction as a NC correction workflow

I am trying to set up CHARM and I have found the the Normal Correction workflow is too cumbersome and actually may cause problems in our environment. I would like to use the UC Correction workflow as our maintenance cycle which occurs ever 2 weeks. Corrections that need to be imported into production could be imported as needed and the others could be imported on the 2 week schedule. Can anyone give me an argument as to why this is not a good idea.
Thanks,
Tania

The first time you install ChaRM I think there is a tendency to want everything to be ur.gent for flexibility. I would personally fight the urge to do this and also push back on the others that will try to coerce you into doing so.
Brilliant Point, something I came back to post in this thread, almost everything has to move quickly to prod as per most requirements, but moving into ChaRM's direction is not about just getting a new tool to handle your transports, but rather changing your approach to transports altogether. You need to convince your business stake holders to adapt to the mentality of moving to the release based approach of handling SAP ie become proactive and not reactive in terms of change management.
The normal correction brings structure to your changes and allows for proper testing. If you're throwing things in daily for non break/fix issues, I doubt you're testing everything properly before promoting it to production. It's not a best practice for sure, and *I would question why you're using ChaRM at all.*
You can establish multiple transaction types based on what needs to be delivered, but you must at all times adhere to the concept of having 2 primary types of changes, a normal one which works on the release concept, and an urgent one.
If everything moves urgent, eventually an auditor or someone like me will take issue with it.
Just my thoughts
Cheers!

Correct workflow for 16 x 9 to 4 x 3 with letterbox?

Similar Messages

Maybe you are looking for