Exporting Recap

So I've been using FCE successfully for a little while and while Tom answered all my questions in the beginning, I wanted to check in again to make sure I was importing and exporting in the best possible ways.
My footage is either shot on my Canon T1I in HD at H.264 720P 16:9 30fps or on my iPHONE, which is 720p too, with an unknown frame rate to me. I currently use MPEG streamclip to convert the files to AIC files at 29.97fps (I think I was told FCE requires this fps).
When I export the completed video in FCE there is the "export Quicktime file" and the export using Quicktime conversion. I'll admit sometimes I choose the ladder, thinking I can keep the quality high, by maxing out the quality settings.
One thing which is not clear to me is if I should leave the fps at 29.97 or export at 30 fps, which was the original fps of the canon footage.
I've noticed some excess shaking or pulsing when I play back the video in Quicktime on my Macbook Pro, so I'm not sure if this has to do with the wrong fps being selected.
I generally leave all the settings set to high in case I decide to burn some of the footage to DVD.
Thanks for any assistance.

Tom-
I know I've been down this path with you before, but as I'm learning more, I'm hoping to use this current disscussion as the final decision to my work flow.
I just got off the phone with my friend who uses FCP, professionally and although his Sony camera shoots at 29.97fps, he cannot understand why I would change the fps of the original footage which is 30fps. He believed that if it was shot at 30fps, I should edit and export at 30fps as the footage is for family use and TV.
I don't mean to sound desrespecful, I'm only trying to understand and do it right the first time so I don't ruin years of footage from my kids.
He thought that maybe I was outputing to high and that quicktime could not handle the large files, causing the shaking/pulsating during playback.

Similar Messages

Adobe Premiere Elements 7.0 hangs while exporting and during peak file generation.

I have Adobe Premiere Elements 7.0 (PRE7). I have a project which is using a single clip from a Mini-DV that was captured with Nero 8. Nero 8 was used because it was captured prior to installing PRE7. The file is 12GB and is on a USB disk drive because I don't have the space on my main hard drive (I have about 11GB free). My project doesn't do too much that's fancy. It merely uses about 20 minutes of the 60 minute Mini-DV captured AVI, and it uses simple transitions between each scene. I also have very simple titles at start and end. No themes or anything else.
I've seen two problems. 1) While editing the project, seemingly (but I'm not positive it's related) while the peek file was being generated, PRE7 would get into a state of using about 40% to 50% CPU, and it would not let me do anything else. The other problem, 2) While using "Share" to export the video to WMA for playback on PC (about 180MB estimated file size according to Adobe), the file is exported to about the last remaining 5 seconds, but then PRE7 goes into that mode of hanging with 40% to 50% CPU usage.
One time when it had this 50% CPU issue, I let it sit overnight, and the export was finished in the morning. The export that time was to a 90MB FLV for posting to the "web" according to the Share wizard. But when I was doing the above (issue #2), it went into the 50% CPU usage but didn't finish after waiting around 2 hours. Even if I were to let it sit that time, and it were to finish, it seems like something's wrong and that this is unacceptable.
When this happens, and PRE7 goes into 50% CPU utilization, there is no pacifier or percentage bar advancing. It usually happens near 100% finished. Only one time did it complete successfully after leaving it unattended at 90% complete for an extraordinary amount of time.
To recap:
C:\ hard drive ---> PRE7, my project.
E:\ USB drive ---> 12GB source AVI file and destination for export.
I saw elsewhere on this forum that someone imported a mini-dv captured AVI into Window Movie Maker and then exported it to Mini-DV from that app. This solved that person's problem with hanging during peak file creation. I had the 50% hang issue during peak file generation but I'm not sure it was related to peak file generation. A peak file was generated in a project which, when exported with share as mentioned above, still did the hang 50% CPU issue. Regardless, I will try the import/export/movemaker thing and report back but I've been trying enough things that I wanted to take a second to ask for assistance.
Does anyone have this issue, and is there a patch or fix?
I might be able to provide a user mode dump of the 50% CPU adobe process. There is some call stack information and I'm wondering if developers would want this info if they don't already have a solution/fix to this bug.
Thanks for any help.

I have some more info on the hang which I've been experiencing during export/share of a project which uses an AVI as its one main clip. Adobe Premiere Elements 7 (PRE7) appears to be hanging because it's looping endlessly in ImporterAVI.prm. I'm wondering if this info can be passed onto Adobe developers and/or if I can submit this information elsewhere for such processing. I also have a process dump file which might be helpful, not to mention the original project files.
I used Process Monitor to help analyze this situation, and prior to PRE7 getting into the endless loop, it appears to be reading from the AVI file little by little, and WMEncodingHelper.exe is writing out little by little to the destination file, both of which I would expect. When PRE7 gets to the end of the import/export, Process Monitor appears to show all the aforementioned disk activity ceasing. I see neither process reading or writing. This would be normal if the share/export procedure had completed. But PRE7 is not complete. It is hung and is operating at 50% CPU utilization.
Far below in this post are technical details which may be helpful to an Adobe developer determine why the importer could get into this endless loop. In those details, there is a jump instruction, "jb ImporterAVI!xImportEntry+0xf32", which will always jump if a particular compare always turns out a certain way. But in my review of the counters being compared, it never will get to a point of exiting. When I modify a flag (the carry flag) to be 0, the loop exits. When I did this, my export/share of my project completed successfully. So it was done, but for some reason, PRE7 was looping and looping in its AVI importor instead of completing the export (aka "Share").
I cannot say that this certainly indicates a bug with PRE7, but it seems to me that there's enough data for Adobe to be at least investigating this particular issue. I'm not the only person who has seen this as there was at least one other message describing the same problem which the user resolved by effectively re-creating the AVI file via a no-op import/export into and out of MovieMaker. My AVI also goes through MovieMaker, import/export, without a hitch.
In a sense, I view PRE7's "share" as essentially an import, processing of imported information (i.e., effects and transitions), and an export. It's an import of all clips into the project at the right times, a processing of all effects, and finally an export to a destination. I realize this is simplistic, but the point I'm making is I have a simple project with a single AVI, and it appears that the "import" portion of PRE7's Share option is choking on the only clip used by this project. I also don't have much but simple transitions and a beginning/ending title on the project, so I'm not thinking this use of PRE7 is much more than what I'm doing with MovieMaker when importing/exporting this AVI.
I fully agree that optimum hardware can be either required or critical for certain types of video editing, but PRE7 is a consumer program and I'm not using anything extensive about it and the symptoms are that PRE7 is looping on its import of a file other programs don't have a problem with. I already tried purchasing a 1TB external, which I'm glad I did, but I really think Adobe developers should look at this issue. There may be a problem with handling certain AVI clips used in a project when those clips come from certain sources. If there is an issue, perhaps it could warrant a fix that would make PRE7 more compatible with these other clips.
Does Adobe have a procedure for people to upload (or mail) projects and files to it so that they can troubleshoot why the importer gets into this state? I also mentioned earlier that I have a full user-mode dump of the process which may be of value to a dev. Can I submit this information anywhere?
Here are textual technical details:
Plug-in which loops: C:\Program Files\Adobe\Adobe Premiere Elements 7.0\Plug-ins\en_US\ImporterAVI.prm
The following are the instructions at the "bottom" of the loop which never ends. Below, I put "***" at the jump instruction I mentioned earler. If I force the carry flag to be 0 at that point, and the jump is skipped, the export completed successfully. Additionally, notice that [esp-0x1c] is 0x2000, and that both eax and edi are 0. When I see it loop, eax stays at 0 and never reaches 0x2000. I wonder if something about the AVI is causing values used by this importer to be such that it causes this endless loop, and if that's the case, and if such values are valid/good, I'm wondering if the importer can be fixed by being able to detect such values so as to not choke (if in fact it's an importer issue).
1239dda2 50 push eax
1239dda3 ffd1 call ecx
1239dda5 8b442424 mov eax,dword ptr [esp+24h]
1239dda9 015c2428 add dword ptr [esp+28h],ebx
1239ddad 03c7 add eax,edi
1239ddaf 83c410 add esp,10h
1239ddb2 3b44241c cmp eax,dword ptr [esp+1Ch]
1239ddb6 89442414 mov dword ptr [esp+14h],eax
; *** This is where it loops around and around.
1239ddba 0f82f2feffff jb ImporterAVI!xImportEntry+0xf32 (1239dcb2)
ImporterAVI!xImportEntry+0x1040:
1239ddc0 8b542420 mov edx,dword ptr [esp+20h]
1239ddc4 52 push edx
1239ddc5 e810d40000 call ImporterAVI!xImportEntry+0xe45a (123ab1da)
1239ddca 83c404 add esp,4
ImporterAVI!xImportEntry+0x104d:
1239ddcd 5f pop edi
1239ddce 5e pop esi
1239ddcf 5d pop ebp
1239ddd0 33c0 xor eax,eax
1239ddd2 5b pop ebx
1239ddd3 83c428 add esp,28h
1239ddd6 c3 ret
ChildEBP RetAddr Args to Child
WARNING: Stack unwind information not available. Following frames may be wrong.
3195d9b8 12387545 10590f9c 27c53e00 06b35ff6 ImporterAVI!xImportEntry+0x103a
3195d9ec 1239ea10 06b35ff6 00000000 27ad8a60 ImporterAVI+0x7545
3195da1c 1238aa31 06b3554b 00000000 7fdf0000 ImporterAVI!xImportEntry+0x1c90
00000000 00000000 00000000 00000000 00000000 ImporterAVI+0xaa31
[esp-1Ch]: 3195d9a0 00002000
eax=00000000 ebx=00000000 ecx=3195dbcc edx=00000000 esi=27ad8a60 edi=00000000
eip=1239ddba esp=3195d984 ebp=3c7ba50b iopl=0 nv up ei ng nz na pe cy
cs=001b ss=0023 ds=0023 es=0023 fs=003b gs=0000 efl=00000287
ImporterAVI!xImportEntry+0x103a:
1239ddba 0f82f2feffff jb ImporterAVI!xImportEntry+0xf32 (1239dcb2) [br=1]

Can I ask InDesign to resample as it exports to PDF?

When I export an InDesign CS document to PDF I'd like to know what InDesign does to the images that it exports. InDesign Help, in this case, was no help.
I'll give a preamble so you know what I'm on about. Originally when I first started this project 2 years ago, I thought I would layout the images within InDesign, and just before printing I would go through every one of the 800 or so images in the book (it's a big book), and crop and resample them to 300 dpi at exactly the final printed size. Big job.
After a few months of using InDesign I thought: no, I won't do that. When I export to PDF I'll assume InDesign will give me options to 'crop to frame size' and set the ppi to 300 dpi as well as converting images to grayscale if I so choose. It'll be automatic.
I'll make it clear with an example. Let's assume an original image was scanned to give an image that is 4000 pixels wide and 2000 high, and that the final image is 20" x 10". It is to be printed on a Xerox iGen which requires 300 dpi for no loss of quality. So how does InDesign get that particular image into the PDF?
Q1: Does it resample and export at 300 dpi? i.e. in the example above, will it export an image of 6000 x 3000 pixels to the PDF?
Q2. Or does it export the original image and does nothing to the image except cropping if I ask it to? If it needs resampling that will be done at print stage by the iGen.
Q3: I didn't see any options for converting to grayscale. Can you export a PDF as grayscale?
Why I am concerned about this is because if the original image is exported, that may cause me file-size problems. I scanned most of my images at 20MB-60MB, yet a lot of them when printed will be of the order of 20 square inches and only require about 6 MB for adequate printing. I may end up with a PDF file that is 5 to 10 times larger than necessary.
The real problem I have is: I trust PS and InDesign to resample my images, but I don't have that kind of faith in the iGen. If I can't ask InDesign to resample images when it exports, I may have a problem.
When I did my original series of test prints in July 2006 on the iGen, I cropped and resampled the images ready for printing before I imported them into InDesign. So I haven't tested the iGen's resampling capabilities. I be blunt I don't trust it. The iGen ( a machine costing in the millions) failed a simple test of converting colour documents to grayscale. Here are my notes written at the time:
b Converting to Grayscale using the iGen
Do not use the iGen RIP to convert colour images to grayscale because it converts all gray densities above 90% to 100%. ie dark shadows end up as 100% solid black shadows with the accompanying sheen. I measured this figure from the K-only gradient at the bottom of the page. It appeared solid black for the first 9mm of a 96 mm black-to-white gradient. All densities between 100% and 91% ended up as 100%. The effect is very obvious in Mums hair which became a solid mass.
My full notes on the iGen are here: http://jucreek.googlepages.com/temporary if anyone wants to have a look.
Anyway, that's why I have concerns about images. Maybe I should just knuckle down for a week and go through 800 images, cropping and resampling every one in Photoshop. Talk me out of it, please.
And that brings me to my final question:
Q4: Can I ask InDesign to do that job for me: to crop, to resample at a certain dpi, and to overwrite the original image so that it all matches up?

Guy,
Let me try to recap all your statments with my comments:
> Let's assume an original image was scanned to give an image that is 4000 pixels wide and 2000 high, and that the final image is 20" x 10". It is to be printed on a Xerox iGen which requires 300 dpi for no loss of quality.
From the very start you're in trouble.
The image size you describe, set at 300 dpi, will only be 13 1/3" by 6 2/3". If the image is scaled up to be 20" by 10", it will only be 200
>dpi.
So, we're starting with insufficient data according to your requirements.
Nothing that InDesign or Acrobat does can make that image the correct resolution.
> Q1: Does it resample and export at 300 dpi? i.e. in the example above, will it export an image of 6000 x 3000 pixels to the PDF?
No, InDesign and Acrobat's print device will only resample
b down.
Neither will resample up.
> Q2. Or does it export the original image and does nothing to the image except cropping if I ask it to?
The image created in the PDF will be cropped. It doesn't touch the original file.
> If it needs resampling that will be done at print stage by the iGen.
I believe the iGen will only resample
b down
the same as InDesign and Acrobat's creation of the PDF.
> Q3: I didn't see any options for converting to grayscale. Can you export a PDF as grayscale?
As mentioned, that won't happen in the PDF Export but will happen with the PDF Print driver. However, that will also convert colors in the ID file, not just images, to grayscale.
> Why I am concerned about this is because if the original image is exported, that may cause me file-size problems. I scanned most of my images at 20MB-60MB, yet a lot of them when printed will be of the order of 20 square inches and only require about 6 MB for adequate printing. I may end up with a PDF file that is 5 to 10 times larger than necessary.
Perhaps I did my math incorrectly, but in your original example, 4000 x 2000 pixels cannot be set at 20 inches by 10 inches at 300 dpi.
It requires 6000 by 3000 inches to be 300 dpi at 20 inches by 10 inches.
> The real problem I have is: I trust PS and InDesign to resample my images, but I don't have that kind of faith in the iGen.
I don't think you need to worry about the iGen if you set your images correctly. But as I said above, you haven't sampled them enough. So the iGen isn't going to do anything.
> If I can't ask InDesign to resample images when it exports, I may have a problem.
You set ID and Acrobat to
b downsample
not
b upsample.
> When I did my original series of test prints in July 2006 on the iGen, I cropped and resampled the images ready for printing before I imported them into InDesign.
Cropping and resampling in Photoshop is always preferred as you have the options for how the resampling occurs that neither ID nor Acrobat have.
> So I haven't tested the iGen's resampling capabilities. I be blunt I don't trust it. The iGen ( a machine costing in the millions) failed a simple test of converting colour documents to grayscale.
No, I wouldn't have expected the iGen to convert to grayscale at all! Converting to grayscale can be done in the Acrobat print driver, but I would prefer to do it in Photoshop if I demanded very refined conversions.
> My full notes on the iGen are here: http://jucreek.googlepages.com/temporary if anyone wants to have a look.
See my comments above.
> Anyway, that's why I have concerns about images. Maybe I should just knuckle down for a week and go through 800 images, cropping and resampling every one in Photoshop. Talk me out of it, please.
You can resample using Photoshop's batch processing, but depending on the type of cropping that might need to be done manually in Photoshop. But if the cropping is always of a certain size and position that could be done in batch processing.
> Q4: Can I ask InDesign to do that job for me: to crop, to resample at a certain dpi, and to overwrite the original image so that it all matches up?
No, InDesign doesn't overwrite your original image, but it will change the image in the final PDF.

FCPX Export issue. Item cannot be shared while it is still referencing media on the camera

I am having issues with exporting a project I just shot and I missed my delivery day and am now late. Need help ASAP. I'll try to keep this as brief as possible and stick to the pertinent information.
The Shoot: -2 Panasonic HVX-200's shooting on P2 Media shooting a live event -Dumped footage onto external hard drive via Macbook Pro on set into separate folders for organization using a Panasonic P2 Reader. -All dumps were confirmed completed and all footage accounted for.
The System: -Using Final Cut Pro X 10.1.2 -Mac Pro Tower 2009 quad core running OSX Mavericks 16gb Ram -Blackmagic Intensity Pro Card
The Edit: -2 Camera multicam edit -Imported footage using import media function -Imported from external drive -(important note: a camera has never been connected to the computer for this project) -Edit is finished, about a 2hr 20 min finished sequence (live event 2 cameras switched in post, all graphics and everything is done)
The Problem: -When I go to export via the "Share" function i get an error that says "This Item cannot be shared while it is still referencing media on the camera" -Imported footage has the camera logo in the corner meaning that it is referencing camera media; yet no camera has ever been connected.
Solutions I have tried: -Re-importing media with re-import function --Says that the camera is not connected yet I never had one connected in the first place. -Deleting preferences -Biting the bullet and starting from scratch to do a re-edit -- footage will not import without referencing "camera media" -Tried importing via dragging and dropping. Says it cannot importing the following files, lists all of the XML and MXF files -Started a new event, with a new project, with a fresh import; same results -Googled this to death, no solution seems to work, but I'll try whatever I have to; client needs this ASAP.
Questions: -The external drive is not showing up as a camera, so why is it importing as camera media? -Is there a way to salvage my edit and get it exported? I have a lot of hours into this and quite frankly, no time to redo the whole thing.
Please help!

I have had this issue too, and figured a work around. FYI, I rebooted, tried everything imaginable, and still no luck. I opened up iPhoto, and imported all the video clips into iPhoto. I then took the missing video from iPhoto, copied it to my desktop. Then I re-imported the video (same name) into Final Cut. I had to do some slight editing of the video, but everything worked fine, and allowed me to upload the video to YouTube.
Not certain it will work for others, but to recap, try to import the video into another program, then copy the missing video file to your desktop, and re-import to Final Cut.
Hope this helps.

WD java -- Bapi - Export structure is blank

Gurus,
We are calling R3 to save/change/create data. We do call BAPI_TRANSACTION_COMMIT after this and also they both are imported in the same model.
The following code executes successfully and bapi gets executed but data in the import structure does not get transfered:
projectNumber = wdContext.nodeZ_Gp_Save_008_Input().nodeGp_Detl_008().currentGp_Detl_008Element().getProj_Num();
wdContext.nodeZ_Gp_Save_008_Input().currentZ_Gp_Save_008_InputElement().modelObject().execute();
wdContext.nodeOutput_save().invalidate();
msgMgr.reportSuccess(projectNumber);
The data is in the child node [currentGp_Detl_008Element] equals to export structure in bapi is blank,
Just to recap bapi is been called successfully we are able to see a new record in R3 table but it is empty. It only has a timestamp and an identity they are both added by a bapi. but the data sent with the inner node [currentGp_Detl_008Element] through export does not make it to R3.
Help is very much appreciated,
Thanks
Shahid

Hi,
Did u write Two function modules or one?
If you are using the one function module Then that function module contains import and export params.
Here the input of the FNmodule is Import params and outof the Fn module u need to give any message after saving ur data in R/3 side for that sake u need to provide one value attribute from R/3 to WD side.
Do mapping and binding well and see the input will go correct or not.
Then it should work.
Or otherwise send me ur context structure and explain ur BAPI functionality such that we will see where is the problem.
Thanks,
Lohi.

Aperture 3 Display Bug and Export to Flickr Bug

Has anyone else experienced this issue, and if so what systems do you have and what graphics card are you using?
The issue is the way images are displayed in Aperture. There seems to have been a change in the anti-aliasing between 2 and 3 so than now images with strong highlights display nasty aliasing artefacts and black ringing around highlight edges. It's as if Images are being over-sharpened. Also, when you first move to an Image it displays perfectly fine while it’s loading then when it’s finished it pops into the over sharp aliased version.
I'm having this issue on my iMac 24" running a ATI RadeonHD2600. It seems to only show when the onscreen display is zoomed out to 25% or less. If you go to fullscreen the artefacts disappear on landscape oriented images but remain on portrait. If you zoom in, once you pass a certain zoom factor they disappear.
I have posted some samples of the artefacts here - as well as what they should look like.
http://www.thomas-fitzgerald.net/2010/04/28/aperture-3-is-really-ticking-me-off/
and here
http://theapertureblog.com/2010/03/29/aperture-display-bug/
The bigger issue is that when exporting using the built in fickr tool it uses the same antialiasing and so over sharpens and degrades images the same way.
The problem is not always apparent and it really only shows with images containing high contrast areas, particularly if they clip to white. I would really like to know if this is limited to certain graphics cards as I've talked to someone who has this issue when using the faster gfx card on their macbook pro but not when they turn on the slower one.
If I need to upgrade my mac to make this issue go away then so be it but I'd really like to hear form others who may have seen it?

I have had issues with Aperture's anti-aliasing performance in the Viewer since version 1.5.
To summarize, Aperture's Viewer produces quite jagged edges from Canon RAW files compared to Preview's and Lightroom's renderings of the exact same files. There doesn't seem to be any radical improvements with the 3.x upgrades, and aliasing performance didn't seem to be affected by the updates to Apple's Canon RAW converter (I reprocessed). Images that I had a problem with are still problematic.
I thought that [this thread|http://discussions.apple.com/thread.jspa?threadID=669881&tstart=0] referring to Aperture 1.5 laid out the issues pretty clearly and I was surprised at how little other users were affected by it (or so I infer from the number of responses.)
Until your post I had not looked specifically at Aperture 3.x. I haven't been able to exactly reproduce the issues I had (so many versions ago...) in Aperture 1.5 and it seems the situation has improved a bit.
Aperture still produces a much sharper rendering than Preview, though the aliased edges are not as prominent. To recap from Aperture 1.5:
!http://homepage.mac.com/steve_hoge/.Pictures/AliasedApertureRender.tiff!
And here's what I see in Aperture 3 on the same image:
!http://homepage.mac.com/steve_hoge/.Pictures/aliasedA3.tiff!
Which looks about the same to me on near-horizontal lines, but much better on the high-contrast vertical lines (check upper left corner of the frame).
And today's Preview 5.0.2 rendering of the RAW image is even softer and less contrast-y than back in the day:
!http://homepage.mac.com/steve_hoge/.Pictures/antialiasedPrev.tiff!
-Steve
http://web.mac.com/steve_hoge
http://www.flickr.com/steve_hoge

Automator export preset error

We've created an automator workflow to resize images in aperture, rename and upload to FTP. To recap this saved 4 image sizes from originals and uploaded them via ftp after adding filename suffixes.This runs on the latest version of OS X Lion 10.7.2, Aperture 3.2.2 and Automator.
It has 4 x export presets defined in Aperture. These are Full, Banner, Grid and Thumbnail images at different sizes.
These presets work fine from Aperture. The workflow works OK when it is limited to one image. When we add more, the export presets all default to the same size. I've set it to 'show the action when the workflow runs' – this shows an incorrect preset being applied at each stage…
Any ideas why the presets are not being correctly remembered by the workflow?

Hi Frank
Here's some more information and a copy of the workflow. The aperture presets will not stay when I save a copy of the workflow – I've included screengrabs.
I also get the following applescript error when opening a saved or duplicated version;
Can’t get «class view» id 902 of «class view» id 896 of «class scrV» id 895 of «class splV» id 894 of «class view» id 893 of «class splV» id 892 of window id 891. (-1728
http://funnyword.co.uk/auto/aperture_export_upload-full copy.workflow.zip
http://funnyword.co.uk/auto/limited.workflow.zip

Multitrack session import/export

So I've been using audition since it was CoolEdit back in the 90s, and nowadays I work in film. I was excited about the release of CS5 and downloaded a trial as soon as possible, but I'm quite disappointed. why? It's still impossible to move multitrack sessions around.
Quick recap of multitrack audio capabilities in Adobe products...
Audition loads/saves .ses and XML files, with the latter recommended for future compatibility. It doesn't import other XML files.
Soundbooth only saves stereo files, but can load/export the ASND format (new in CS3/4?) to embed multitrack info (which can then be reopened and edited in SB).
Premiere exports OMF and its successor AAF (popular multitrack project exchange formats) and imports the ASND format. It imports and export final Cut XML files, but not Audition XML files.
Premiere also lets you select any clip and open it for editing in Soundbooth or Audition. That's clip, singular. Select two audio clips and the option is greyed out.
Neither Bridge nor Dynamic link allow multitrack audio sharing.
Do you see the problem here? If you have a pile of multitrack audio clips in Premiere (like you would after editing a film) there is no way to get your audio timeline information, with many tracks and many clips, from Premiere into Audition or its little brother, Soundbooth
This is, frankly, a disaster.
Think about it: audition has by far the best forensic, analysis and editing tools of any DAW. But anyone using Premiere who needs to do fine-grained audio editing - because although Premiere is audio-friendly, it has its limits - is forced to export to something like OMF or AAF and then bring into Pro Tools (spit). You can create audio in Premiere and export it as audio tracks (with blank space) to Soundbooth, from where you can throw it back and forth between SB and Premiere to your heart's content.
But if you're editing a film (not a music video) then there is no way you would want to put the audio together in Audition or Soundbooth first, because 90% of the time it will be following the picture. You can get individual clips out of Premiere and into the others...but only one at a time, which defeats the entire purpose of post sound editing, where you are trying to blend together multiple clips from different takes. And even though Premiere offers multiple options for exporting all the clip information and even volume/pan and plugin data to standard platform independent multitrack formats, Adobe's audio tools can't read any of those files.
When is Adobe going to fix this? I'm sorry to say that I'm becoming embarrassed to tell people I prefer Audition, because everyone in the business knows it's hopeless for multitrack portability.
And I'm not saying this to be selfish - this problem is really, really hurting Adobe's sales of both Audition and Premiere. Avid owns Digidesign, maker of Pro Tools. I hate both, but from a logistic standpoint they're a great combination, it's pretty easy to get stuff out of Avid into PT, and of course both of them have 'tradition' on their side. Apple has Final Cut, and Soundtrack Pro (rather like Soundbooth) or Logic, for those who want more. I don't care for this platform either, but it's a viable solution. And here's Adobe, with a decent lightweight audio editor in Soundbooth and the best analytical/forensic audio tool - which is exactly what's needed for film post - in Audition.
And yet there is no way to get your audio timeline out of Premiere and into either of these tools, nor do either of them load any industry-standard multitrack file formats, nor are they even compatible with each other. I was looking at an Adobe TV episode earlier today where they take a music project from Audition to Soundbooth...by exporting the tracks as individual audio files, which are then added to a brand new Soundbooth project. This is just ridiculous. I mean, if I'm consulting for someone about audio post for a film project or to outfit a studio, how can I possibly recommend Adobe's products? Individually they're great, but in workflow terms, forget it. Anyone who needs to get things done will probably go for Pro Tools, and since Avid and FCP are both more widely used than Premiere they'll probably go for one of those too.
I really can't understand why the audio tools aren't integrated to the same degree as, say, After Effects. Premiere + AE is a winning combo, and yet audio is arguably even more important than color correction or VFX, as almost every film has a soundtrack and audiences are far more intolerant of poor sound than they are of visual shortcomings. Please, please fix this. I live in San Francisco, so I'm not far from Adobe's offices: I will happily donate a day or two of my time, and even supply a waiver of any claim in intellectual property, to answer any and all questions about audio workflow. I think I've learned a few things worth sharing over the course of 10 features and about 50 shorts. It's not a big deal for Adobe to fix.
Message was edited by: Anig Browl to add the following: there is a LOT of stuff I do like about CS5 - Premiere has not gained a ton of new features, but it has had a massive performance overhaul, and the new features that do exist are very useful. The same is true of several other packages - I wouldn't want this to be seen as a 'nothing's ever any good' rant. The sad thing is that it won't reach its full audience because of the inexplicable barrier that remains in place between the NLE and the multitrack audio environment.

I'm glad of these reports, and have been checking out AAT, which has potential. I do have some reservations about it, but this is not the place to critique helpful solutions; I'll limit myself to saying I'm a bit troubled by the obvious dependence on an old UI library and the conversion speeds, which seem slow for a task that is basically text-based (ie metadata manipulation). Look out for a follow up email, Michael, and thanks for your previous reply.
All the same, at bottom this is an Adobe problem - third party conversion utilities shouldn't be needed to move projects between Adobe's own software. It's a shortcoming of the CS4 & 5 suites, in that file-conversion approaches like that of AAT are necessarily destructive and thus preclude dynamic file exchange. I mean, would you buy a new car if the salesman said the fenders fall off above walking speed, but that you could fix the problem with $100 of duct tape?
Suppose, for example, one is polishing audio for a film, but audience tests or the director's opinion mandates a scene be cut, or (worse) lengthened. Making a change in the NLE would require export from Audition to a Premiere-compatible format (probably via AAT to AAF or FCP-XML, but see below), import to Premiere, consistency and compatibility checks, adjustment of the edit timeline as required, and subsequent re-export for conversion by AAT, import to Audition, followed by further compatibility and consistency checking - plus a separate render and media export of the video, since Audition can only handle a single video track.
While both hardware and sanity dictate that it's probably best to manage the project as a batch of single scenes or reels rather than moving an entire feature or TV episode at once, this process is likely to take at least an hour before audio editing can resume. In theory it should only require a few minutes for export, conversion, import, adjustment, re-export, conversion and re-import, but that process offers 6 stages for things to go wrong. Even if everything is usually fine, time-consuming sanity checks are still required, unless you like all-night emergency rescue sessions. In practice, a single small timeline change in the NLE may well be easier to accommodate by manually moving the audio in Audtion, and cross-checking the timecode in both applications.
When I started doing audio for film - back when it was film, and the audio was recorded on DAT or even analog tape - this was the norm and those skills still work. But it undermines the whole point of using metadata and products like Adobe Bridge for version management. This is not the fault of AAT in any way; it's just a fact that when your workflow involves export/import via third-party tools, you have to treat every such iteration as a separate project file and adhere to strict versioning and administration/backup practices even though these would be better performed by the computer. In a perfect world, we'd stick to a scheme whereby the editor locks the movie once and forever, the audio engineer and colorist work their magic on the soundtrack and the picture respectively, and then their efforts are united for the final master. But we don't live in such a world, and clients don't appreciate being told that changes which were easy and swift at an early stage are now either impossible or hugely time-consuming.
This is what I mean when I refer to being embarrassed to say Audition is my favorite editing tool. Most people want Pro Tools, because although it's expensive it's standard and the workflow is predictable. So that's what I end up using on a great many jobs; it's capable for most tasks, I'm good at it, and to be frank I can get paid a bit more for my ability to use it. The sad thing is that I can work better and faster in Audition, where things like the spectral editing, noise fingerprinting, and advanced filtering offer really amazing possibilities...but getting projects in and out of it are a terrible struggle. Soundbooth makes things marginally easier, but only marginally. I can see a possibility of rebuilding an audio timeline from Premiere using Adobe's Javascript Extensions, and then generating an audition-compatible XML file from there...but I can't say it looks like fun
As for exporting to AAF, Premiere CS5 has other problems. Many things can not be exported, like per-clip gain levels (because the Advanced Authoring Format doesn't properly support them, according to Premiere, although the protocol specification appears like it should). In any case, Premiere CS5 has trouble importing AAF; after exporting a short scene using all possible settings (normal, legacy, or normal with audio embedded), attempting to reload the exported file into a blank project causes an instant crash due to a kernel error (the import filter appears to launch a 32-bit process).
In any case, although AAF is still being developed it seems to be moving towards a BWF-style XML format, and most of AMWA's development seems concentrated in that direction. Final Cut XML appears to be the best solution, but this is (obviously) rather sad, and furthermore Premiere does not strip invalid data (eg >6.02dB gain, which Premiere clamps at +6 on import) from FCP-originated projects, but re-exports it - not an altogether bad thing for working with FCP partners, but not exactly optimal either.

Filmic-look, Sequences, and Exporting

I shot various clips at 1920x1080 24fps and 1280x720 60fps (for slow motion scenes) using my Canon t3i. I'm using Premiere CS6 to turn this footage into a short filmic-looking video recapping my trip.
My questions lie in sequence settings and export settings. I want the video to have a cinemascope aspect ratio (2.35:1). Should I use two different sequences-- one for the 24fps video and one for the 60fps? And when I go to render the video to finish it, do I render it at 1920x818 (2.35:1) or 1280x545? I want it to be maximum HD quality, but I'm sure that with my 1280x720 footage I won't be able to have a 1080p video.
I apologize for my lack of understanding of sequences and resolution settings. I'm slowly learning!
Thank you,
Josh

Thanks for the response, Jim. So when I want to slow down my 60fps clips, do I just drag those clips into the timeline of the normal 720 24fps sequence, and then just reduce the speed to 50%?

White circle of light in center of exported iMovie projects?

I made a few iMovie projects today. I've never had any problems with it.
First project made was entered as video data from a sony camcorder (Hi8.) It exported fine.
But because the quality was so bad (coming from old tape) I bought a new HD Digital Camcorder (JVC GZE-306BUS.)
After entering the new data from it into iMovie, it edited fine and there were no visible problems.
However...After exporting the new file, it contained a circle of white light in the center of the entire .mov file.
I deleted it and re-entered the info.
Made a new project and again, no problems within imovie. But when exported, same white dots in the center of the files.
I deleted and re-started the Mac again.
This time I exported a small file made some time back containing no new footage and this time, it did the very same thing.
White dot in the middle.
I suppose it COULD be an iMovie issue but it seems odd that before connecting the new camera, it worked fine (exporting files this morning). Thenafter the afternoon addition, white dots in the middle of all exported files.
Has anyone ever experienced this issue? Any advice?
Will attach a screen cap of a solid black iMovie generated Title page in the file (for clarity's sake). Each and every frame contains the same. It almost looks like an out of focus moon or street light in the sky, but it obviously isn't.
Thanks for any advice/suggestions you can give. Have a project due by 9am (PST) on Weds. 11/20.

I took it to the GB today and they upgraded my iMovie to 11.
I deleted Quicktime and installed a new QT player.
I called JVC and they said no program uploads from the camera into a Mac.
After building a new test project to see if the problem was fixed...
Here's what we got...
Screen cap (above) from the file shared to itunes.
Screen cap above from the file shared to Quicktime.
The Genius (and no one in the Mac store) had ever seen/heard of the issue and there seem to be no other mentions of this anywhere.
Recap:
1. Exporting to .mov (iMovie 08 on a MacBook '08) has worked fine, even hours before the camera hooked up.
2. Hooked up a JVC HD Everio (Model: GZ-E306) and uploaded some new footage.
3. Once that was done, files exporting from iMovie to QT have a white dot appearing in the middle while files exporting to any other format appear clear. (The footage within iMovie is clean and clear.)
4. Upgraded iMovie 08 to iMovie 11.
5. Deleted Quicktime and uploaded it again.
6. Same exact issue occuring.
Any insight from anyone?

Adobe Bridge CS6 for mac: export modules, facebook export module gives an error every time i try to sign in

in the export module for facebook every time i click "sign in to facebook" it gives the following error: "An error occurred while request facebook connection"

"An error occurred while request facebook connection"
The export module has been discontinued in Bridge CC and as long as it has been there the option for social media has worked only for FB in a few countries. Due to rights management (as we where told) there where restrictions for most other countries. But if it did work for you in the past you should try click on FB in export module or use the tiny menu icon in the export panel for preferences and try to set up a new connection.

DEVOLUÇÃO DE EXPORTAÇÃO - CFOP 3201 - GRC VALIDA DADOS DI.

Boa tarde a todos!
Estamos em um projeto de NFE XML 2.00 e nos deparamos com o seguinte erro:
Ao emitirmos um NF-e de devolução da mercadoria que se encontrava no Porto (devolução de exportação - CFOP 3201), a validação do monitor GRC informa que é necessário constar os dados de importação, apesar deste processo não se tratar de importação. Os seguintes logs de validação são gerados:
Erro de validação: campo Código do fabricante estrangeiro no sistema. Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_ADI-CFABRICANTE, ID campo I028)
Erro de validação: campo Nº da adição. Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_ADI-NADICAO, ID campo I026)
Erro de validação: campo Nº sequencial do artigo na adição. Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_ADI-NSEQADIC, ID campo I027)
Erro de validação: campo . Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_IMP-CEXPORTADOR, ID campo I024)
Erro de validação: campo . Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_IMP-DDESEMB, ID campo I023)
Erro de validação: campo . Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_IMP-DDI, ID campo I020)
Erro de validação: campo . Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_IMP-NDI, ID campo I019)
Erro de validação: campo . Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_IMP-UFDESEMB, ID campo I022)
Erro de validação: campo . Campo é obrigatório e não pode ficar em branco. (campo IT_NFE_IMP-XLOCDESEMB, ID campo I021)
Estamos no SAPK-10015INSLLNFE e as seguintes notas relacionadas a validação estão aplicadas:
1493980     Validation for field xJust in cancel and skipping messages
1499921     Problem with validation after implementing SP15
1500046     Upgrade validation rule for field ID for version 2.00
1500742     Adjust validation for field NADICAO and NSEQADIC layout 2.00
1502217     Extend validation rules for , layout 2
1504379     Adjust validation for field X_CLISTSERV
1511291     Update allowed values for field E1_CPAIS for validation
1511577     Update validation rules for field VUNCOM_V20
1520861     Update validation rules for OIL_CPRODANP and OIL_UFCONS
Não encontrei nenhuma nota SAP recente para o componente SLL-NFE que seja relacionada a este problema.
Desde já agradeço pela ajuda.
Sds / Renato Penido.

Boa tarde, Fernando,
Obrigado pela pronta resposta.
Debugamos a BADI e descobrimos que os dados de importação estão sendo gravado "em branco", gerando o erro de validação no GRC, tal qual dito por você.
Aprimoramos a lógica da BADI para que a tag de importação não seja preenchida indevidamente para as notas de devolução do porto e as notas foram aprovadas.
Muito obrigado,
Renato Penido.

LR 4 exports to wrong folder, anybody else?

HI, my rig includes Windows 7, Asus P8Z68 Deluxe Gen 3 with i7 2600K, 16GB DDR3 mem, SSD drives, fast Radeon video card.
I'm using Lightroom 4, just upgraded, have this problem: when I export to Folder1> Subfolder 1, it puts the export images in the next up hierarchical folder, i.e. Folder1. I select the folder I want in the Export dialog, and I don't have any subfolders selected or created, but it always sticks the shots in the next folder up the tree, it's happened every time I've exported.
any clues?
thanks
Jim

The subfolder is the folder I selected in the dialogue. c.frans w is right. In 2.7 I never had to check and create a subfolder, which is what that box is for, unless I wanted to. Usually I just select the folder I want, but in 4, when I do that, it jumps to the next higher folder.

Auto-generated links exported from InDesign do not work in tablet apps

Hyperlinks automatically detected and exported from InDesign CS6 8.0.1 as a PDF work fine on the desktop version of Acrobat Reader. However, on the iPad version of Adobe Reader as well as iBooks and GoodReader, these links are completely ignored, meaning they are just text.
On the other hand, if I was to manually set the hyperlink in InDesign or Acrobat, the link works fine.
It would be extremely tedious and time consuming to manually reset hundreds of hyperlinks in my documents since InDesign use to handle this correctly.
Is this a bug? If so, it's pretty serious and should be Adobe's priority to fix since millions of people read documents on tablet devices.

No, it's a Feature of Acrobat and reader that they attempt to create links from anything that "looks like" a URL. Other readers lack the feature.
It's not good practice to depend on this in any case as it's hardly foolproof even in Acrobat. Links that break across lines, for example, will not be properly recognized.

Export to Text Options needs

I've writen a program that exports a crystal report into a text file ready for it to be uploaded to an ftp site.
Problem is i'm having trouble getting the text file to look right.
I narrowed it down to the "Lines per page" setting in Crystal XI R2 as when i set it to 0 in crystal when testing the report the text file looks fine.
My question is how to i set this in my application in VB code? Here is the code i have so far:-
Private Sub btnGenFile_Click(ByVal sender As System.Object, ByVal e As System.EventArgs) Handles btnGenFile.Click
        Dim Exportpath As String
        Exportpath = "n:\Regatta Order Files\"
        CrDiskfileDestinationoption = New DiskFileDestinationOptions
        CrExportOption = CrReport.ExportOptions
        CrDiskfileDestinationoption.DiskFileName = Exportpath + ("CHAN1" & sDate & ".txt")
        With CrExportOption
            .DestinationOptions = CrDiskfileDestinationoption
            .ExportDestinationType = ExportDestinationType.DiskFile
            .ExportFormatType = ExportFormatType.Text
        End With
        Try
            CrReport.Export()
            'MessageBox.Show("Exported to " & CrReport.ExportOptions.DestinationOptions.DiskFileName)
            txtStatus.Text = "Text File has been created, you can now tranfer to Regatta"
        Catch ex As Exception
            MessageBox.Show(Me, ex.Message, "Error", MessageBoxButtons.OK, MessageBoxIcon.Error)
        End Try
    End Sub

<p>Take a look at the TextFormatOptions class in the CrystalDecisions.Shared namespace. It provides properties that you can set, including LinesPerPage. If you need more information, look up this class in the <a href="http://devlibrary.businessobjects.com/BusinessObjectsXIR2SP2/en/en/CrystalReports_dotNET_SDK/crsdk_net_doc/doc/crsdk_net_doc/html/crconcrystalreportsintroduction.htm" target="_blank">DevLibrary</a>.</p><p>-MJ</p>

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