Hardcopy of clip information

I am a (very)amateur movie maker and use iMovie to edit my movies. Previously, I worked with iMovie 4 to produce some successful movies. To work with users, I wrote a simple program to create a "clip info hardcopy" for our discussions. The program was easy to write since the project file in iMovie 4 was a text file and I could create a hardcopy which has a line for each clip showing start time, length, and clip title data. iMovie HD has a significantly different way to record this data. I haven't been able to figure out how to decode this data.
Can a similar hardcopy be created for iMovie HD?
iMac Flat Screen Mac OS X (10.4.8)

Can a similar hardcopy be created for iMovie HD?
The iMovie HD project file is text too, but formatted differently. It's a properly list. Each property name (a "<key>") and value can be read in Apple's Property List Editor.app.
Or to read it as plain text, open in TextEdit. (Property List Editor lets you view it as text too.)
Both old and new projects can be parsed as lines of text. Or for iMovie HD, as XML too.
Karl

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Export Clip information for Log Sheet

Has anyone tried to export Clip information into excel? In FCP7 I'd export a Batch List and then import into excel. We have over 2,000 clips logged into CS6 and would like the information in an outside document for our director and assistant editors.
Thanks.

I don't know of any way to get that info out.

Preserving Source Clip Information Upon Export In Premiere

Is there a way to export clips from sequence timeline and preserve source clip metadata?
Example - I have a clip I used warp stabilizer on and I have marked the clip with in/out. Now I would like to export the clip with same clip name and source timecode and hoping there is a setting to do so.
Thanks, Chris

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VoltaicHD AVCHD conversion - best settings + keep clip information

Hi all,
I'm using VoltaicHD to convert some .mts files. I am converting to .mov but when I import the movies to iMovie 09 the date of the clip is [today's date] not the date when it was filmed.
Is there a way for me to convert to a format that KEEPS the clips data (date, format, etc.)?
Thanks.

Do you know the date and time that the clip was created? If so, you can name it as clip=yyyy=mm=dd hh;mm;ss.ext
where yyyy = year
mm = month
dd = day
hh = hour in 24 hour time
mm = minute
ss = second
ext = whatever extension Voltaic assigns, for example, it could be .mov
Other than that you can set the date and time of the clip in iMovie, but by naming as above, you will be able to skim with View/Playhead Info turned on and see the correct date and time.

New to MAC: Clip vs. Sequence format issues causing slow Quad w/FCP?

Hi all,
I'm brand spanking new here and a recent Mac convert from Vegas. I figured that if I was going to upgrade, I would do it right. Don't get me wrong, I love Vegas, it's just that I'm tired of PC hardware conflicts and wanted to hop on the just-plug-it-in mac bandwagon and the ever increasing market share for FCP. Although the learning curve has been steep with FCP, I consider myself pretty savvy with Vegas and now a novice with FCP, I like the interface and there are certainly pros and cons. So far so good, but I have many questions.
This Quad has so much horse power and I'm having to render all the time. I am doing compositing and green screen stuff, but I'm thinking that with SD footage, the computer should be running sleek at satin.
I recently read another post in here that had a lot of off-topic discussion. I'm ignorant on the clip versus sequence settings and how they relate. In Vegas, most of these settings were automatic. In other words, whatever footage I threw at it, it dealt with. My footage was captured using default settings in Vegas and everything is in .avi format. When I was first bringing clips into FCP, the software suggested I use media manager to convert the files but I didn't want to suffer quality loss so I ignored it. Now that I have a rough cut of the entire 16 minute project, I'm starting to apply filters and effects and am noticing a bog down.
Now mind you, things are still faster than my old Pentium 1.4Ghz, but with 10Ghz under the hood (who would have imagined it possible?) I know it should run smoother.
Sorry I'm being so verbose, but my knowledge of formats is weak so I want to cover the bases. We shot on a DVX100A and mostly wide screen setting. In retrospect, this was a mistake as the DVX100A in wide screen simply puts black stripes on my clip versus being able to utilize the whole thing. Anyway, hind site is 20/20.
Here is my clip information.
.avi
29.97 fps
720 x 480
DV/DVCPRO - NTSC
Data rate: 3.6MB/sec
Pixel aspect: NTSC - CCIR 601
Field: Lower(Even)
Alpha: None
Composite: Normal
Audio is 48 and 16
It is possible that I captured the video in the wrong format. I have to use the "anamorphic" setting in FCP to make the footage look as though it's in the right aspect ratio. Correct me if I'm wrong, but anamorphic requires the use of a special lens when shooting yes?
I'm wondering if I should recapture the footage using FCP or will using Media Manager sort things out? If so what is the best way to do this as I don't want to lose anything that I've done. And is it even possible to recapture the clips without screwing up everything that I've already done, about sixty hours of work so far.
Worse comes to worse I'll just work with things moving slowly and stick it out until this project is done and then use FCP's cool logging/capture interface next time around. By the way, I captured this stuff long before I bought the MAC.
Any help on this would be appreciated.
Tyler
G5 Quad Mac OS X (10.4.6) 2.5GB RAM

Hi,
I spoke with the DP and it was definitely not shot anamorphic. Most of the footage was shot in 16:9 format which, on the DVX100 means that there is a black strip on the top and bottom of the clips as you probably know.
I recaptured a clip from scratch into a new project using the easy setup dealio in FCP. It is standard 3:2 and the clip looks fine. In my existing project is where I have a bit of a jumbled mess I'm afraid. I have a clip that looks fine in it's sequence, but when placed into the Main sequence, which has the same settings, it appears in a different aspect ration.
Yikes, I'm going to keep playing around. I'm starting to get a feel for what the format should be. I'll post again tomorrow when I have a better idea of how to answer your question.
Thanks for taking the time to pipe in here Denis.
Tyler
thealmost
Tell us more about your footage. In your original
post you say you shot in "letterbox" mode, i.e. fake
widescreen with the bars top and bottom. Yet you say
your sequence has to be put in anamorphic mode for
this footage to look right.
If that's the case, something is wrong. Footage
that's letterboxed in the camera is 4:3, not
anamorphic, and if you checked the anamorphic box for
this kind of footage it would look squished.
I'm thinking that you could have genuine anamorphic
footage, that you are working with in 4:3, which
would be taxing your system somewhat. It's not clear
(to me anyway) from your original post.
Can you clear this part of your problem up?

Use of CR, how can we ignore the cutting information?

Olympus's ORF file with a clipping information (such as when shooting 16:9), CS5 Camera Raw 6.5 can not ignore this information to obtain the original image (4:3) it?

Hai,
ST05 is used for Performance Trace.
There are diffrent traces avaliable.
- SQL Trace
- Enque Trace
- RFC Trace
- Table buffer Trace
ST05 Is transaction code to get the initial screen of the Performance Trace.
You have to activate the Trace using Activate Trace pushbutton.
Go to SE38 Transaction and Select Your Program Name and Execute it.
Come Back to ST05 Screen and Deactivate The trace using Deactivate Trace button on Intial screen.
For the performance reasons , You should switch off the Traces.
The Result of the trace stored in one or more Trace Files.
you can use Display Trace option to Analyzing the Performance Data.
I hope it will help you.
With Regards,
Bala Murali

Knowing Your Media, organizing that information

Hi all,
I've used Pages to create a table with four columns (Reel, In Point, Out Point, and Description) so that I can keep track of WHAT I have on my tapes.
Pages ***** (I'm having problems making modifications to the tables, copying and pasting chunks of information, etc).
Does anyone have a good and easy system for keeping track of their stuff? What application can you use? Can FCP help me? I know I can store clip descriptions in the Log Note field, but can I print this out and have it next to me for reference when editing? If so, how?
Thanks y'all.

I'm pretty sure everyone has a different work-flow for this. I use a combination of paper logs and the browser window in Final Cut to organize my clips.
The browser window I have up on my second monitor with all the clip information (it's highly customizable). If you wanted to print that window, you could Command-Shift-4, then Spacebar to take a screenshot of it (and then print the picture).
Generally, if I was editing a narrative, I would name my clips as follows:
scene#take#description
This way I can easily sort my clips in order of occurrence, while also having a description to refresh my memory.

How do you find what bin your clips are in??

I was wondering if there is a way to tell where a clip in the timeline came from. Sometimes a project will have footage from other projects and bins. I would like to find out what bin a specific clip is in from the timeline. Thanks alot!

discoboy03 wrote:
I was wondering if there is a way to tell where a clip in the timeline came from. Sometimes a project will have footage from other projects and bins. I would like to find out what bin a specific clip is in from the timeline.
Stringray has got your answer (Reveal Master Clip aka Shift-F) but, just to save you some pain, if the clip in question is from another project, that function will fail.
One of the limitations of FCP is that it does not track that master/affiliate clip information across projects. If you drag a clip from another project - even if it's open in FCP currently - it becomes a master clip in the timeline (and project) you've dragged it to. (Normally, a clip dropped into a timeline is an affiliate clip, with the master clip residing in the Browser.)
This is also a limitation of XML interchange - it typically breaks the master/affiliate relationship.

Clip info on time line

Is there a way to turn off or edit the clip info (clip name) in the timeline? Can't find it in the manual.

Is there a way to turn off or edit the clip info (clip name) in the timeline? Can't find it in the manual.
Indeed there is a way to toggle Video Clip names as well as Audio Clip names on the timeline.
At the bottom left corner, between the track height selector and the timeline zoom control, is a little button with a right-pointing triangle, click that and you'll see the following popup menu:
http://www.grabup.com/uploads/3549e4eb587abf8da51cd65687122e04.png
The 2 items you want to uncheck are "Show Video Clip Names" and "Show Audio Clip Names".
However, there is no way to edit clip information directly on the timeline.

Why are clipping adjustments in the basic panel not being saved, updated or shown in the histogram? I am using LR 5.7 on a MAC OSX 10.8 etc.

Why are clipping adjustments in the basic panel not being saved, updated or shown in the histogram? I am using LR 5.7 on a MAC OSX 10.8 etc.

Here is more information and hopefully a better explanation. My version of
LR-5.7 (OS X 10.8.5) apparently does not save the .NEF (Nikon RAW) edits
done in the basic module. That means that I can correct exposure,
highlights, shadows etc. but once I go to another picture and returned to
the edited one the histogram (on the edited photo) and specifically the
clipping triangles are white or some other color. This is normally suppose
to indicate that some channel or all channels are clipped in the
highlight/shadow areas. If I adjust any slider in the Basic panel even as
little as one +/- value or press the J-key, the histogram will now show the
original edit. Moving on to another photo and then returning to to
previously edited one and again the edits are "not saved" and I have to hit
the J-key or adjust a slider to see the previously edited information
reflected in the histogram.
This is especially frustrating for fours reasons. If I have edited a shoot
and return to it I cannot see from the clipping information whether the
original edit was correct and of course I might re-edit it (to some now
incorrect value). This brings up the second issue synchronization. I can't
rely on it because if I go back to fine tune a specific image in the batch
the triangles are white or some other color for that and every image. I have
to hit the J-key to show/hide clipping or the back slash key to see
before/after previews. This is the third issue which is very time consuming
and inefficient regarding my workflow. The forth issue is that I have
noticed that normally when an image is saved in PS, LR adds a copy of the
saved version to its catalogue. I have noticed that the PS to LR saves are
all wrong in terms of exposure (they are much lighter in tone) than the
original LR edit and the PS edit on my screen. If I check the PS to LR photo
in LR I notice that the Basic panel values have been changed and that I have
to sync the image with the originally edited RAW/NEF LR file to get it to
look the same.
Note 1). I am using an Apple cinema display and a calibrated Eizo ColorEdge
monitor to view my NEF files. I have reverted back to using LR 4 however I
am not sure if I should expect compatibility problems with Camera Raw 7.4 in
LR 4 vs. Camera Raw 8.6 in LR 5.
Note 2.) I am going to do an import converting everything to .dng to see if
this is a work around.
Note 3). I would be interested in knowing if this issue is related to the PS
RAW engine ver. 8.6, the Adobe created NEF calibrations or LR 5.
Note 4). I have duplicated this issue in OS X 10.8.5, OS X 9.xx and OS X
10.10.1
Hopefully someone else has noticed this problem. Any shared information
would be valuable. Thanks for the reply.

Is there a way to create an "edit decision list" (clips, start/end points, timeline order) from a project?

I have completed a project draft and would like to record the clip information so I can carry it forward to another project. I can look up the information manually, but wonder if Premiere Elements 10 has a way to export that information to a printable (or electronic) format.

VDRAVES
Thanks for the reply. I do not see Premiere Elements offering what you seek.
If we eliminate any contributions from the Elements Organizer
a. In Project Media, there is a list view where the imported files are listed. There are columns of data associated with each file.
It used to be that one of those columns was for Comments and a few other fields for user input. That has long since disappeared, and what is still there appears non functional for user input. The user can right click a blank area in Project Media and select Edit Columns, but that is about it. There is no user entry opportunities that I see.
b. The Timeline unnumbered markers offer the opportunity for comments for each of the Timeline clips as described in the following blog post
ATR Premiere Elements Troubleshooting: PE11: Forget Me Not Clip Details and Timeline Unnumbered Markers
c. The project file (project.prel) has an associated Notepad document that could be looked for for project data. Much is in codes. The Elements Organizer details would seem to me to be preferred over trying to draw information from the Notepad document of a saved/closed project.prel.
I am not sure if those with scripts and programming know how could find a way to force Premiere Elements to yield the information that you want in the format that you want?
I will think about this some more. But, right now the above is my impression of your thread question and a possible Premiere Elements project Edit Decision List.
ATR

Save independent clips from main capture

Hello there,
I have just captured all of my video with Final Cut Pro, but now I would like to go through the material and select the "best off". I would like to create independent clips, that I can use later on for my project, which will allow me to get reed of garbage. How can I save independent clips, from my main 2 hour captured file?
Thank you

I am able to export it by setting my cursor at the end and beggining of the clip, selecting the clip, to then export it as a Quick Time Movie, on a folder so I can use it later on.
Bad idea. Doing this you lose all vital clip information, including source timecode and reel name. If you lost your media drives (not uncommon) then re-building the cut would be VERY time consuming...if you could even do it. With reel number and timecode, simply recapturing the footage would rebuild the cut, if you kept the project file.
What you should do is subclip your captured file, make those subclips independent clips, then either use the MM to copy them as separate files, or manage them as separate clips so that you can recapture them properly.
Shane

Lost Log & Transfer information

searched forums but didn't find:
Was logging clips in Log & Transfer from firewire drive. Had dragged many clips to queue to batch with the intention of actually importing them on another machine. I saved my project, and was hitting appleS every 5 clips or so. FCP quit unexpectedly (its never expected) and when I reopened the clips were gone. Tried restoring; no help. Tried two different auto-save projects; no help.
Again, hadn't done anything except log a lot of clips and place them in the queue. Can ANYONE help me recover them, or are they gone in the ether? BTW, have been on hold with Applecare for almost 1/2 an hour.
Should have done it on an Avid...
Thanks in advance.
D

Thanks, David. I was hoping that comment would be taken in the spirit in which it was intended. Obviously, I'm using FCP for the right reasons. Just don't know it very well, yet. Hence my mistake:
I talked to a tech at apple care who told me that when using "Log & Transfer" (NOT Log & Capture) you do not record any of the metadata until you actually transfer the clips. In other words, you can't add a bunch of clips to the queue and come back later and transfer them. If you close FCP without running the transfer you lose all clip information that you've collected.
In this instance I was logging clips from a LaCie external drive loaded with P2 media, attached to the MacBook via firewire.
So the bottom line is that I wasn't using the software correctly, which is 99 times out of 100 the case with problems like these.
Appreciate the help, and pardon the sloppy posting, but I was trying to get my client back up and running. So, for future reference, I'll include it.
Thanks,
D
MacBook Pro
Intel Core 2 Duo
2.4 GHz
2 GB ram
GeForce 8600M GT
Mac OS X 10.4.11
Final Cut Pro 6.0.2
Quicktime 7.3.1

My version of LR-5.7 (OS X 10.8.5) apparently does not save the .NEF (Nikon RAW) edits done in the basic module.

My version of LR-5.7 (OS X 10.8.5) apparently does not save the .NEF (Nikon RAW) edits done in the basic module. That means that I can correct exposure, highlights, shadows etc. but once I go to another picture and returned to the edited one the histogram (on the edited photo) and specifically the clipping triangles are white or some other color. This is normally suppose to indicate that some channel or all channels are clipped in the highlight/shadow areas. If I adjust any slider in the Basic panel even as little as one +/- value or press the J-key, the histogram will now show the original edit. Moving on to another photo and then returning to to previously edited one and again the edits are "not saved" and I have to hit the J-key or adjust a slider to see the previously edited information reflected in the histogram.
This is especially frustrating for fours reasons. If I have edited a shoot and return to it I cannot see from the clipping information whether the original edit was correct and of course I might re-edit it (to some now incorrect value). This brings up the second issue synchronization. I can't rely on it because if I go back to fine tune a specific image in the batch the triangles are white or some other color for that and every image. I have to hit the J-key to show/hide clipping or the back slash key to see before/after previews. This is the third issue which is very time consuming and inefficient regarding my workflow. The forth issue is that I have noticed that normally when an image is saved in PS, LR adds a copy of the saved version to its catalogue. I have noticed that the PS to LR saves are all wrong in terms of exposure (they are much lighter in tone) than the original LR edit and the PS edit on my screen. If I check the PS to LR photo in LR I notice that the Basic panel values have been changed and that I have to sync the image with the originally edited RAW/NEF LR file to get it to look the same.
Note 1). I am using an Apple cinema display and a calibrated Eizo ColorEdge monitor to view my NEF files. I have reverted back to using LR 4 however I am not sure if I should expect compatibility problems with Camera Raw 7.4 in LR 4 vs. Camera Raw 8.6 in LR 5.
Note 2.) I am going to do an import converting everything to .dng to see if this is a work around.
Note 3). I would be interested in knowing if this issue is related to the PS RAW engine ver. 8.6, the Adobe created NEF calibrations or LR 5.
Note 4). I have duplicated this issue in OS X 10.8.5, OS X 9.xx and OS X 10.10.1
Hopefully someone else has noticed this problem. Any shared information would be valuable. Thanks for the reply.

Happy New Year!
The Develop panel Tone settings in your Dec 31 screenshot show both the Highlights and Shadows controls set to negative values (-48 and -19). For most images (such as this model shot) they should be set to opposite values (-Highlights and +Shadows). To try and duplicate your issue I used negative values for both of these controls with a similar high contrast image. I noticed that the Shadows control becomes non-linear when both the Highlights and Shadows controls are set to negative values. As I moved the Shadows control from a positive value the Shadows clipping indicator comes ON as expected. Moving the Shadows control to a value caused the clipping indicator to turn OFF and moving it further negative caused it to turn back ON again.
The following screenshots demonstrate the issue with only Highlights & Shadows controls applied as shown.
The Highlights & Shadows controls set just to the threshold of extinguishing the clipping indicators.
Moving the Shadows control toward negative causes the Shadow clipping indicator to come ON (as expected), but at-13 it goes OFF again!
Moving the Shadows control further negative causes the Shadows clipping indicator to come back ON at -33.
This is probably normal behavior for the PV2012 Image Adaptive Tone controls as they were not designed to be used way (- - or ++ Highlights & Shadows). The PV2012 Tone controls all interact with each other, which is why it is suggested to adjust them from the Top down starting with Exposure. For most images using -Highlights and +Shadows of near equal value produces good results.
I still can't duplicate the change in clipping indicators after selecting another image, so it may be unique to certain camera models and/or lighting conditions.
SUGGESTION
Try one of the image files that exhibits this issue using the following PV2102 Tone control adjustment procedure:
Start with all of the Tone controls at their default 0 settings and adjust them from the top-down in the order shown below.
Set Exposure to correct midtone brightness ignoring the highlight and shadow areas for now. Setting Exposure slightly higher (+.25 to +.50 EV) than what looks correct for the midtones seems to work best with most images.
Leave Contrast at 0 for now. It’s usually better to adjust this after the first pass.
Adjust Highlights so that blown out areas are recovered and “fine tonal detail” is revealed.
Adjust Shadows to reveal fine detail in dark areas. For most normal images simply setting +Shadows = -Highlights (Example +50 and -50) works very well.
The Whites control sets the white clipping point, which you can see by holding down the ALT key as you move the slider. Adjust it to the point where you see clipping appear with the ALT key.
The Blacks control sets the black clipping point, which you can see by holding down the ALT key as you move the slider. Adjust it to the point where you see clipping appear with the ALT key.
Now go back and adjust the Contrast control to establish the best midtone contrast
If necessary “touch-up” the controls using the same top-down workflow.
If the issue persists I suggest Exporting an image to DNG file format with the settings that exhibit the issue and post it to Dropbox or other file download site.

Preserving tape name and media start/end

I shoot lots of tapes of random footage to get short general-purpose clips for use later. Years ago when I started, I would preview in the capture window via device control, carefully set log in/out points, and let batch capture make all my little clips. Then I learned how hard that is on my camera's heads, so I got Scenalizer Live and used a new workflow - I captured my whole tape, and then sliced, trimmed, and renamed the "keeper" clips. But since most of my clips don't need audio and SCLive doesn't know how to make a video-only AVI, most recently I've gone back to using PPro for the slice and rename operation, putting the captured video on the timeline, slicing and dicing, and then "exporting to movie" the good pieces to make new AVIs, with only video and with the filenames I want. (Yes, I know there are purists out there who would be concerned about generational loss of methods 2 and 3, but in DV-AVI I just can't see how any mere mortal could tell the difference.)
But just now I discovered that only my first method preserved the information of where the clip originally came from, i.e. the Tape Name, Media Start, and Media End. All the rest lost that information when I trimmed the clips in either SCLive or PPro. Argh!
These clips are a lost cause, but for the future, is there a better workflow, one that will preserve both the clip information and my tape heads?

I agree - the metadata doesn't need to be repeated for every frame - just once for the clip.
If the clip gets chopped up in PPro (or SCLive or whatever program), it doesn't seem like it should be that hard for the software to just do the math - if I have a two-minute NTSC clip that was originally captured from timecode 12:00:00 to 13:59:29, and I chop it into a 30 sec. clip and a 90 second clip (silly simple example), the resulting two clips should still preserve the Tape Name and other info, and the start/end times should be 12:00:00-12:29:29 and 12:30:00-13:59:29. But instead both PPro and SCLive delete the Tape Name, and the start times of the resaved clips are all zero. Naturally if what is on the timeline when I save is a composite of multiple clips it's a different story, but if the only editing has been to simply put the clip on the timeline and adjust the end points and/or cut with the razor tool, it would be nice if the capture data was preserved.

Hardcopy of clip information

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