File Formats - Digitizing LPs

Hi
I've been digitizing my LP collection using the AIFF file format. Most songs are in the 30-40MB range and my 320 GB HD is filling up fast.
My plan is to get Apple TV, play them over my home theater speakers and get rid of the LPs when I'm done. I want good quality, but do the files need to be this big? Should I convert them to some other format? If so, how can I do this in batch?

I digitized a number of my LPs, many of which were by obscure groups and never re-released on CD. I even went to the extent of using software to individually isolate cracks and pops and interpolate, so I spent a lot of time doing that. Although AAC is high-quality it is still lossy and you won't be able to regain the original without going to all the work again. With all the effort I put in I chose to use FLAC compression to archive the original on archival grade DVDs and hard drives, then used a lossy compression (I used MP3 for wider compatibility but AAC is better quality) to have a copy for everyday listening. FLAC will compress to about 60% off the size of the original AIFF and can be expanded again to an identical original. Apple Lossless does something similar but I chose FLAC because ALE is proprietary and you have to use iTunes whereas FLAC is open source and available for any platform and in multiple programs.
FLAC is not part of iTunes and iTunes does not play FLAC (a big omission in my opinion). I use X ACT 1.6 Audio Compression to do conversions.

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I am running Premiere Elements 10 on a PC, Windows 7 Professional 64 bit, two internal 1 TB Hard Drives, 16 gigs of RAM, with Blu Ray Burner drive. I have done a fair amount of video editing using PE 10 on this rig with standard def material, but now I hope to do some high def work. I plan to have some old family 16mm home movies transferred to hi-def media and do some minor editing (color / contrast correction and maybe some simple transition effects) and then burn the edited files to Blu ray disc.
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ATR -
Thanks for your very informative reply. I'm afraid the transfer house doesn't offer samples.
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What is the next step after editing or triming a video ? What type of file format to save and what to do after that ?

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miniDV
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I was able to find the following link on the NI website. I think it addresses the issue you are describing using the Excel ActiveX interface.
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Regards,
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Please add support for JPEG Exchangeable Image File Format (EXIF)

It seems that now Adobe® Illustrator® can export only to the JPEG File Interchange Format (JFIF). We should have an option to produce the JPEG Exchangeable image file format (EXIF) as well (just like Photoshop does!). Why this is so important to me? I generally work under Illustrator and I often post my work on Behence. I work with 'sRGB IEC61966-2.1' color profile. When publishing I use *.jpg with embedded ICC Color Profile. But it looks like Behence doesn’t fully support the JPEG JFIF – for example it cannot read its icc data correctly. The effect is that my work looses its quality! The only option to produce the JPEG EXIF I have now is to: Export *.ai file to JPEG (under Adobe Illustrator) > go to Photoshop > Create new project > Paste the *.jpg > and Sava As JPEG with icc embedded. This guarantees my files are being processed correctly.
(JPEG) Formally, the EXIF and JFIF standards are incompatible. This is because both specify that their particular application segment (APP0 for JFIF, APP1 for Exif) must be the first in the image file. In practice, many programs and digital cameras produce files with both application segments included. This will not affect the image decoding for most decoders, but poorly designed JFIF or Exif parsers may not recognize the file properly. ( http://en.wikipedia.org/wiki/JPEG_File_Interchange_Format#Exif_comparison )
I’ve analyzed my files using JPEGsnoop 1.6.1 (an app by Calvin Hass, http://www.impulseadventure.com/photo/) and here is the result:
A) an *.jpg file produced with Adobe Illustrator > File > Export > JPEG > ICC profile embedded:
*** Marker: SOI (xFFD8) ***
OFFSET: 0x00000000
*** Marker: APP0 (xFFE0) ***
OFFSET: 0x00000002
length     = 16
identifier = [JFIF]
version    = [1.2]
density    = 72 x 72 DPI (dots per inch)
thumbnail = 0 x 0
B) an *.jpg file produced with Adobe Illustrator > File > Save For Web > JPEG > ICC profile embedded:
*** Marker: SOI (xFFD8) ***
OFFSET: 0x00000000
*** Marker: APP0 (xFFE0) ***
OFFSET: 0x00000002
length     = 16
identifier = [JFIF]
version    = [1.2]
density    = 100 x 100 (aspect ratio)
thumbnail = 0 x 0
C) an *.jpg file produced with Adobe Photoshop > File > Save As > JPEG > ICC Profile embedded
*** Marker: SOI (xFFD8) ***
OFFSET: 0x00000000
*** Marker: APP1 (xFFE1) ***
OFFSET: 0x00000002
length          = 1320
Identifier      = [Exif]
Identifier TIFF = 0x[4D4D002A 00000008]
Endian          = Motorola (big)
TAG Mark x002A = 0x002A
EXIF IFD0 @ Absolute 0x00000014
Dir Length = 0x0007
[Orientation ] = Row 0: top, Col 0: left
[XResolution ] = 720000/10000
[YResolution ] = 720000/10000
[ResolutionUnit ] = Inch
[Software ] = "Adobe Photoshop CC 2014 (Windows)"
[DateTime ] = "2014:08:02 17:21:15"
[ExifOffset ] = @ 0x00A8
Offset to Next IFD = 0x000000D4
EXIF IFD1 @ Absolute 0x000000E0
Dir Length = 0x0006
[Compression ] = JPEG
[XResolution ] = 72/1
[YResolution ] = 72/1
[ResolutionUnit ] = Inch
[JpegIFOffset ] = @ +0x0132 = @ 0x013E
[JpegIFByteCount ] = 1006
Offset to Next IFD = 0x00000000
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[ExifImageWidth ] = 200
[ExifImageHeight ] = 200
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Pawel Kuc

This is a user-to-user forum and is not monitored by Apple for feedback purposes. You can give feedback to Apple here: Apple - Mac OS X - Feedback

DD 5.1 Surround Workflow to create TS file for Digital Cinema

I need a little help.
My objective is to create a test file for digital cinema. The client requires at the end a TS DD 5.1 mpeg HD file....
I have tried creating the project in Premiere CS4, which is straight forward. The issue I have is in the export. I have been using the surcode plugin. The first question I have is in the routing of the channels. I can only seem to create a Premiere project with the layout of L,R,Ls,Rs,C,LSE where as the surcode only gives you the layout option of L,R,C,LSE,Ls,Rs, which I believe is the industry standard...so I have no idea if the plugin will read the channel allocation correctly.
However, my bigger issue is that I'm not able to export a TS file from Premiere. There is an option to do so, but when I try that with the surcode plugin, the media encoder just crahses...
I have been able to create a single 5.1 surround mpeg file from Premiere with the surcode plugin, but its of no use to the client..and I can't think of a way that would turn it into a TS file that would keep the 5.1 DD.
I have many questions, and there are many things I don't understand...so if anybody is able help at all that would be wonderful.
Many thanks

What will be the playback medium of this file? How will you deliver the file? Will the client be playing the file on a computer, or on a Home Theater system? Does the client want, or need, a visual signal, as well, or it just the Audio signal that is important?
The best delivery system that I can think of is to create your material in PrPro in a 5.1 SS Project. Unless the client is looking for just the Audio with no Video, handle the two as separate, in that once your mixing is done, you will Export the Audio as an MPEG file, in the AC3 format, with the DD 5.1 SS encoding from the Minnetonka Audio SurCode DD 5.1 SS plug-in. Export the visual material (Video) as a DV-AVI Type II elemental stream. Go to Encore, and Import the DV-AVI as a Timeline, then the AC3 as an Asset. From the Project Panel, drag the AC3 to the respective Timeline, and author a DVD. You can have menus for navigation, if needed, or just make the single Timeline your First Play, with no Menus. If you want it to Loop, set its End Action back to itself and it'll loop until the user hits Stop. Once the layout is as you wish, you have two choices:
Burn to a DVD disc for delivery, or Burn to Folder. The former will get your 5.1 Audio (and Video) onto a common DVD for play on the computer or in a Home Theater system. The latter will yield the VIDEO_TS folder with the necessary files contained within this folder. The Audio & Video will be in a .VOB format, but will be in MPEG-2 form. Note: this will be a DVD-Video disc, and playable in any DVD player. Whether one hears the Audio in stereo, or in SS, will depend on the capabilities of their playback system. Because it IS a DVD-Video it MUST contain Video. Now, this could be anything you choose, from Titles with instruction, to Black Video (I'd create this for real, rather than rely of purely the systhetic Black Video from Premiere - more on this, if you need it), to abstract patterns of your design, or choosing.
Now, if one needed just the pure MPEG-2 file, outside of the VIDEO-TS structure for playback on a computer only, you could take the .VOB and rename its extension .MPEG, instead of .VOB. Still, the playback channels would be solely dependent on the equipment the file was played on. The software player might figure into this, as well, because it must have the capability to process DD 5.1 SS signals. Check out any software player that your client will be using. If you deliver the DVD-Video disc, mentioned above, a DVD software player will be required. Most computers today come with one, and most of these are DD capable, but again, it depends on the hardware on the computer, and how it's configured, that will determine if one hears the Audio in stereo, or in DD 5.1 SS.
Before I launched off doing anything, other than editing and mixing, I would ask some very specific questions. As Harm points out, there is no TS "file," but a TS "folder." This would be a red flag for me, indicating that the client might be confused, or know just a little and not quite get the full picture. This would dictate to me, that I need to ask some other questions and phrase them in a way that yielded useful info and instructions to me.
1.) Exactly what equipment will you wish to play this material (don't start talking files yet)?
2.) Is this equipment capable of playing Dolby Digital 5.1 Surround Sound?
From the answers to those two questions, you can then start filling in the blanks.
If the client wants something to drop into a DVD player, hooked up to a DD 5.1 SS capable system, then you’re home free. If they want something that will play on a computer, Ask these questions:
1.) What computer software will you use to play this material (still no mention of file)?
2.) Is the computer equipped for DD 5.1 SS decoding and playback?
These answers will direct you even more. If you get proper answers of, say CyberLink PowerDVD of #1 and "yes," for #2, go on to the next set of questions:
1.) Can I deliver this material on a DVD-Video (the format and medium of commercial DVD’s)? Note: this will be a DVD that will play on a computer with proper software, or a Home Theater system, and will contain both Video and Audio. The client can turn the TV, or .computer’s monitor off, if they do not wish to view any Video signal, or you can create Black Video so there is nothing to see. With this delivery format, there has to be a Video stream, but it can be black.
2.) Can I deliver this material on a Data DVD? Point out that a Data DVD will only play on a computer and not on a set-top player through the TV and a Home Theater’s Audio system. Some people do not know the difference, and you cannot trust your client to, unless you specifically ask them.
If the answer to #1 is "no," and the answer to #2 is "yes," go on to the next question:
If I deliver this material to you on a Datat DVD, will an MPEG-2 file with DD 5.1 SS be acceptable? If so, I'd still do the Burn to folder to get the .VOB and rename it to .MPEG. Test this file on your system. A .VOB can contain a lot of things, but yours was created with no Menu or other material, so it should be just the pure .MPEG-2 file. Still, test, before you deliver.
Now, on the off chance that your client needs something like an SACD, or DVD-Audio, you will be shopping for software. Before you do, I’d post to the Adobe Encore forum and ask Neil Wilkes for his suggestions for the creation of DVD-Audio discs. Believe every word he types and follow his recommendations to the letter.
Good luck, and if you need more detail, or other suggestions after you query your client, please ask,
Hunt
[Edit] I see that you also mention "HD." This will mean either a BD (Blu-ray Disc) for delivery, or a BD folder, Burned to a DVD-Video. If you will have HD Video material, your best going the full BD route. If you only will have Audio, the "HD" will not come into play. What exactly do you mean with the term "HD?" This can make a world of difference.
[Edit 2] Sorry about the formatting in the second paragraph. I cannot seem to get it to display properly, though it looks perfect in the editing screen.

File format for professional printing

(In case it's relevant I'm using CS2, but I think it probably doesn't matter.)
I have some logos that I'm publishing for people to use for a variety of purposes. I want to keep the number of file formats to as few as reasonably possible in order not to confuse everyone. My question is, what vector-based format should I use for professional printers?
I originally assumed that .ai would be too narrowly supported (for instance, I'm advised that Quark can't read .ai files) so I opted for .eps, thinking that this would be recognised by virtually every graphics program. However, I've since discovered that eps doesn't handle a critical graphical element as I'd thought it would:
For the sake of simplicity (rather than getting too involved in the actual logo design), imagine a white circle with a standard drop shadow outside it fading smoothly away the further you get from the circle's edge. This is supposed to sit on any coloured background, with the parts of the shadow gradient that aren't grey (if that makes sense) being transparent. The trouble is that, apparently, in Quark (and maybe other programs for all I know), this shaded area comes out with a white background. I've mocked up an approximate comparison - attached - of how it ought to look and how it actually comes out.
The upshot of all that is that, as far as I can tell, eps is not the right format. So I come back to my request: can anyone recommend a file format which Illustrator can produce that is:
- vector-based
- compatible with all common graphics programs
- able to handle faded drop shadows correctly?
Thanks,
Giles.

Aarmed wrote:
CMYK is always preferred, as there's no such thing as a printer that uses RGB inks. Switching color spaces can end badly.
Agreed for printing CMYK is preferred but, i gather that there are some digital printers that prefer RGB files... hence my caveat.
however rips with color precise elements that can hit things like PMS colors require vector art with embedded swatches.
Whatever the method, if you have a tiff file, you're safe. But, it's not flexible except for downscaling.
A pdf is generally preferred, as even if the sender forgets to convert the fonts, you can always open the file in Photoshop and have the file be read accurately.
Forget to convert fonts? In a tiff? What are you talking about?

Rendering file formats problem (non-issue in premier)

hello all,
so i'm new to final cut and baffled at the unusual render issues i've encountered from the get go.
i recorded some video using the canon fs-10 / fs-20, a lowend digital camcorder.
the camera outputs the format to .mod which i then converted to .mpeg4.
without any editing in FC, a single clip needs to render just to view it in the canvas but plays ok in the viewer. does this make any sense?
i've even tried to convert to .mov and .avi.
when i used a different camera that automatically records in .mov, final cut plays back in the canvas just fine without rendering.
so,
1. what exactly determines when FC renders if not the file format?
2. why does it need to render at all if i'm just playing back? it plays back in the viewer but not the canvas. baffling.
would be a real shame if FC couldn't handle simple editing with these basic files.
thanks!

Just grabbing software, and throwing video files at it, without taking the time to read or learn HOW this said application works, isn't wise. FCP isn't Premiere...FCP doesn't just take in any old QT file and then work with it. No. It needs to be converted to a format that FCP works with. What you see in the EASY SETUP list is what FCP works with.
If you don't bother to learn the basics of the application, then things won't go smoothly. If you just want to grab QT files and throw them into an application to start editing, then use Premiere.
1. what exactly determines when FC renders if not the file format?
If it isn't in the Easy Setup list...FCP will want to render it. If you mix two or more codecs in a sequence, then FCP will render the footage that differs from the main footage you are editing with.
2. why does it need to render at all if i'm just playing back?
Because It is viewable in the Viewer...that's just a window to the QT file. But the canvas is where things are put together. And that is where settings are determined.
would be a real shame if FC couldn't handle simple editing with these basic files.
Basic files that aren't in editable codecs. At least ones that FCP (and Avid) work with. If you want an app that just works with stuff you throw at it, Premiere and Vegas are for you.
Shane

How does Airplay transfer audio file format to an Airport Express?

Hi, everyone
How does Airplay transfer audio file format to an Airport Express?
Many from the Internet claim that iTunes encodes an AIFF file format into an Apple Lossless Audio Codec (ALAC) file format before sending signal to an Airport Express.
Is that true?
If so, would it still make sense for me to have AIFF files on my music server
or should I have ALAC files instead?
Please advise.
Thank you.
BR,
George Lien

Many from the Internet claim that iTunes encodes an AIFF file format into an Apple Lossless Audio Codec (ALAC) file format before sending signal to an Airport Express.
Is that true?
Yes. The AirPort Express Base Station (AX) works only with iTunes v4.6+ and is limited to music files that iTunes can read; ie, 16-bit data only. These data, though, can be in any file format that iTunes recognizes, from lossy MP3s at the low-quality end of the spectrum to Apple Lossless and lossless AIFF or WAV files at the high end. It is also important to note that the AX functions only at a 44.1kHz sample rate. When you play 32kHz or 48kHz data, iTunes sample-rate-converts the data in real time before sending it to the AX.
iTunes uses a QuickTime CODEC to convert audio files to Apple Lossless, and then, uses AirPlay to send them to the AX. In turn, the AX uses built-in software that converts the Apple Lossless to an Encoded Digital Audio format. From there, digital audio is sent to a optical transceiver to convert the electrical signal to an optical one before sending it to the innermost part of the audio port. For analog, the AX has a built-in DAC to convert the Encoded Digital Audio to Analog which is sent to the same audio port.
If so, would it still make sense for me to have AIFF files on my music server
or should I have ALAC files instead?
If you have audio files in both formats, I would elect just to keep the ALAC (.m4a) files on the music server.

Plz tell me which sound file format uses minimum memory of a director file

plz tell me which sound file format uses minimum memory of a director file. bcoz on adding sound the projector file becomes a large memory file .
so i am confused that which file format should be used.

saramultimedia,
Are you certain that you're asking your question in the right place? This forum is about the Adobe Media Encoder application. Most of the people who answer questions here are familiar with the digital video and audio applications such as After Effects and Premiere Pro.
If you have a question about Director, it's probably best to ask on the Director forum. But I see that you already know that, since you already have a thread on that forum to ask this question, and it got an answer:
http://forums.adobe.com/thread/769569

Does Aperture support RAW 3F (*.fff) file format?

I am scanning all of my film with a Hasselblad FlexTight F1 scanner. I saved the files in their RAW format called 3F (*.fff). I am completely schocked that Aperture doesn't recognize the file format. After all, isn't Apple selling Aperture as "Professional Applications"? Hmm, what is more professional than scanning film with a $15,000 FlextTight scanner?
What are they thinking, or what am I missing? I just don't get it.

Well, if you look closely at the technical specifications (http://www.apple.com/aperture/specs/raw.html), you'll see that Aperture is meant for digital images taken with a digital camera and not for scans, sorry.
Wide Support for RAW Formats from Leading Cameras
Aperture 3 supports the RAW formats from more than 150 digital cameras and camera backs. Aperture also lets you work with most DNG files.1 Shoot JPEG? Using Aperture, you can import JPEG images from virtually all digital cameras.
As a work-around, try another lossless format for your scans. Are your scans very large? Then you may possibly run into another problem because of the file size. I am having frequently problems with Aperture being unresponsive, if the image file size of my scans is close to 1 GB.

Choosing proper image file format

I was wondering if anyone else had ever experienced this connundrum: In my business documents (in Word) if I insert my logo in tif format, it looks great when the document is printed, but horrible in digital format; conversely, if I use .png the image looks fine on screen but slightly ragged when printed. Is there a universal format that looks good both ways, or would converting all my documents to Indesign be the best way to go? I date to go to all the trouble, but...

> Yes, but .tif looks utterly mangled (in Word) onscreen...
My point was that the "proper image file format" depends on the destination.
Bob suggested wmf, which made me wonder why you're rasterizing your logo
at all. Logos usually start life as vectors.
Kenneth Benson
Pegasus Type, Inc.
www.pegtype.com

File Formats - Digitizing LPs

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