I need advise on export for PrPro 5.0 files shoot on Canon 550D

Hi every one.
I have made a short film shoot onthe Canon 550D. Frames 1920 x 1088 file type .MOV frame rate 23.976.
I have edited the short film. I want to export it so i can give it to a friend to grade it. Then when he has graded it i need to add the track of edited sound and music before its done.
I have a PC and a PrPro 5.0. I want to export it so i that i dont loose any quality.
Question: What is the best format to choose, Preset, Video Codec, and anyother thing i have to tick to prevent me from losing quality?
Also the person i am sending this file to grade has Premiere Pro 5 on his Apple.
I really appriciate any help.

Question: What is the best format to choose, Preset, Video Codec, and anyother thing i have to tick to prevent me from losing quality?
There's no need to transcode your files at all. Since you're both using Premiere Pro, you can simply copy the Canon MOV files from one system to the other, and then he'll be able to open up your project file and relink to the media. It doesn't matter that he's on a Mac and you're on PC--the project files are cross-platform, and Premiere Pro on both OSes can open the same media.
After he's done grading the edit, he can simply send the project file back to you and you'll in turn relink to the original media--of course, that will require that you have any third-party plugins he may be using to do the grade. If he's only using built-in color correction effects, no problem--you'll see exactly what he sees. From there, just add the rest of your elements and you'll be ready to export.

Similar Messages

Is XMP import/export for MOV/MTS/MP4 files not supported?

I have been evalutating LR4 and am stuck on how to import my files from another DAM into LR4.
I am able to write XMP into JPG files, and provide sidecar XMP files for RAW (CR2) and MOV/MP4/MTS files, writing my hierarchical keyword information into the xmp-dc:Subject and xmp-lr:HierarchicalSubject fields.
LR4 seems to read the XMP keywords from the JPG and RAW files just fine and re-creates my keyword hierarchy.
LR4 seems to ignore on import the XMP for the non-image files such as the MOV/MP4/MTS files for which I have provided sidecar files.
LR4 also does not write out XMP files for the non-image files, when I use save Medatada.
Does LR4 just ignore import/writing XMP for these non-image files?
Thanks,

MTS files can't really accept metadata embedding -your best bet is to use ClipWrap to "re-wrap" AVCHD/MTS files into MOV files.
This still does not fix the problem of LR not writing XMP data to video files. Unfortunately, if you want to have metadata that stays with your MOV files, you'll want to use something aside form LR4 -I wouldn't bother doing much video cataloging in LR4.

Do "Developed" jpgs need to be exported for the changes to be recognized by other viewers/software?

I have the box checked in Catalog Preferences to include Develop settings inside jpgs.
Do I have to export jpgs from Lightroom in order for other programs and photo viewers to "see" the changes I made to the jpgs in LR 5.3?
Yes, I normally Develop Raw files but am wondering how jpgs, that I import into LR, are handled when I make changes to them in LR?

99jon wrote:
You must also write the metadata to the files.
Go to:
Windows - Edit >> Catalog Settings
Mac - Lightroom >> Catalog Settings
Select the metadata tab and make sure these two boxes are checked.
Include develop settings in metadata
Automatically write changes into XMP
This useful video gives further information:
I do have those boxes checked. I will check out the video. Thanks.

Export for the Web and File Naming : Batch problem in Photoshop CC

Is it possible to use "File Naming" when you are using in a batch "Save for the Web" export ?
What I want to do:
I have images that I need to resize, crop and rename (change "filename.jpg" to "filename_850x490.jpg" and make an optimisation for the web
I want to create an action that I can use in a batch
What is working :
I can use my action (resize, crop, save) and use file renaming option if I use "save as" options
I can use my action (resize, crop, save for the web ...) but the file renaming option are not use at the export,
So I have to create two actions (one for resize, crop and rename and an other to compress images with "save for the web"
==> What's wrong with "File rename" and "save for the web"?
Thank You for support !
My Environement :
Photoshop CC : last update
OS : Windows 8 Entreprise - 64 bits
Proc : Intel Xeon CPU E5 3.00 GHz - Ram : 8 GB - GPU : AMD FirePro V5900 (FireGL V)

Probably a lot easier if you use the Image Processor Pro script
(part of Dr. Brown’s Services 2.3.1)
http://www.russellbrown.com/scripts.html

Need command line tool for batch converting rtf files to XSL-FO files

Hi,
We are executing a projects with more than 200 RTF templates.
I am looking for a tool which can convert all my RTF's to XSL-FO files in one GO.
Regards
Satish

Hmm... I guess I never thought about doing it in Terminal. Honestly, I'm not sure if textutil can read the content of the textClipping files, as I've read elsewhere that they are strange in that they store the data in resource forks, which makes it tricky to programmatically manipulate them. But I'll look into it to see what I can find out from the manual. Thanks for your reply. I appreciate it.
Some of them are in folders, but they are all over the hard drive, not necessarily all congregated in a single folder. I was thinking spotlight could, at the very least, display them all for me in the "All Files" option of Finder, so I could drag them all into an app capable of converting them in a batch. But maybe this command-line textutil could accomplish the same thing. I use Terminal for a lot of things, but this is not a command I have tried before. I'll have to read up on it.

CS3 XDCam export for FCP

Currently running CS3 PP on PC. Shooting xdcam that creates .mp4 files. We have Matrox boards so editng in PP with 720p 60fps natively is no problem, no rendering with project settings set up properly. Editing 2 to 3 and half minute features that need to be exported for use with FCP for broadcast in a production truck. MOV files as quicktime makes the most sense, but what codec and how to create the best looking 720p HD feature while not giving the producer a huge file. I've been told by him that a minute of HD video should be around 1 gig. Do I need a third party (Sorenson, etc.) to create properly or use Adobe Media Encoder. Or should I export as a movie.
Really looking forward to getting some opinions and help on this. Thanks!
Tom

You could ask the guys using FCP what codec(s) they like...thats your best bet.
My producer for this project is not the "easiest" to deal with if you get my drift so to speak, won't give simple answers or take the time to figure it out and move on, so I'm left to figure it out for him. He's never wrong
you could try tests of small segments of your timeline ...using QT ( mov ) using jpeg 2000, animation ( RLE ? ) and UT YUL2 422 ( what renderer are you using for the project in premiere ? ).. these would make large files, probably have to deliver via external HD.
Trying to keep files size small, playing out of his mac book and outputing in the production truck
Basically fcp likes pro res 422 type stuff..I would ask those guys using FCP what would work best for them.
pro ress 422 is not a codec that cs3 pp has as an option. I did watch the producer use streamclip third party converter to get it to play out and it looked great during last night's broadcast here in Florida. I think he said export as apple dv/dvcpro - ntsc, 1280x720 (HDTV 720p) and that worked for him. When I bring that file into my project storyboard it is 16x9 but not scaled to my project specs.
Thanks for your input, great to get my first reply in the forum! Just recently joined after owning our system since Jan. 2009.

HELP! QT file deteriorates around halfway when exporting for web

I have an iMovie project that I have regularly exported to DVDs or other quicktime files: only when I export "for the web" this file (a 1G file that gets compressed to about 18MB for the web) deteriorates, starts to blur as if losing sync with the codec. When I work in iMovie the file is perfect, when I tried to export it into one (or two) small .mov it deteriorates. I tried everything, including re-exporting to a new original and re-importing, splitting the file in shorter segments etc. At a specific point in the movie, it just falls apart.
I was wondering if any of you had some suggestion.

You could try duplicating the iMovie project, replacing the video clip which plays at the point that the movie deteriorates with -anything else- and then export again to see if the problem is related specifically to that one video clip.
If not, then perhaps trying the export from another user account or on another computer would help determine if settings or software versions are an issue.
If it is the one particular clip, try converting that clip to some other format prior to importing to iMovie and then exporting again ?

Question about file size when using "Export for Web"

Hi!
I created a .mov file and worked to get a great balance between file size and quality so that I could deliver it via the web and make it easier for end users to see the video on a slower connection.
My question: When I use "Export for Web," my .mov file is converted into a very large .m4v file--more than double the size of the original file. I know that this export option is to optimize the file for a wide variety of users/internet speeds. Am I correct in guessing that the end size is not an issue? I would post the .mov file instead, but I really like the option of embedding into a html page along with the "click to play" option.
Bottom line--is it better to post the smaller .mov file that i originally started with or to go ahead and link to the bigger .m4v file that was created with the "Export for Web" option?

"Export for Web" is a feature of QuickTime Pro and it makes 4 files and the html page code for easy copy/paste Web page editing.
The very first file is called a "reference movie" and it links to the other 3 files (56kbps, 900kbps and 1.5Mbps). It, and the page code, "read" the connection speed of the viewing hardware and "serve up" the correct file based on that connection speed.
In nearly all cases the "Desktop" version would still be smaller in file size than the original source. The times the file would "increase" in file size would be when an already compressed was used as the source file. You can find out more about your source file by opening it in QuickTime Player and viewing the Movie Inspector window information.
There are dozens of other html "tricks" that could be used if your source file is already compressed but you want a different display size:
Page code to show "aspect" or scale="tofit". This code allows values "outside" of those found in the actual QuickTime file be used for the Web page display. A 320X240 QuickTime .mov file looks pretty good at double size (640X480) but the file size would still be that of the source file.
"Poster Movie" is another html trick that loads the Web based file directly in the QuickTime Player application (bypassing Web page layout restrictions). These files are also known as "Presentation Movies".
Another method is the QuickTime Media Link file (.qtl). These are simple text based files that are used as a "direct link". These use simple XML (Extensible Markup Language) and are easily created in any text editing application. The simple syntax has amazing control over a simple QuickTime .mov file. You can launch (and quit) the QuickTime Player, display at other dimensions and even embed "links" inside the display.
Some of my files as examples:
http://homepage.mac.com/kkirkster/Lemon_Trees/ a "Poster Movie" style.
http://homepage.mac.com/kkirkster/.Public/RedneckTexasChristmas.qtl
A QuickTime Media Link file. A tiny file should download to the viewing machine, launch QuickTime Player, present the movie and it even includes a "link" to my Web page.
Edit: It appears you must now double click the .qtl download to launch QuickTime.

Need advise for processing DAQmx waveform array

Hello All,
I am using following code to continuously acquire data from 2 channels, then export to a text file for analysis with Execel or Origin. The data file should contain four columns:
t1 Y1 t2 Y2
I know it is convenient to use Write Measurement File express VI, but since this express VI open and close file in each loop execution, I prefer to use low-level File I/O functions to save computer resources (I need to reserve resources for image acquisition and analyses).
The following attached VI just show the overall frame of the code, but is not executable now. I hope to get some suggestions from this forum to finish it.
Here, I have two main questions, thank you in advance if you can provide hints to any of them.
(1) How to get correct t0 and dt values for the waveform data
I am using 25Hz pulse signal to externally trigger DAQmx through PFI0. I set 100Hz for the rate input of the DAQmx timing VI since LabVIEW help says "If you use an external source for the Sample Clock, set this input to the
maximum expected rate of that clock. " .
When I use Write Measurement File express VI, I found in the resulting text file, the dt is 0.01 instead of 0.04, i.e., the value of dt in the waveform data is not determined by external PFI0 signal, but by the rate input for the DAQmx timing VI. Also, I found t0 does not always start from zero. However, from the display of data plot, I am sure the acquisition is at 25Hz.
Some people in this forum ever told me to use Get Waveform Component and Build waveform functions to manually rebuild the waveform data in order to get correct t0 and dt. I tried and no luck to succeed. Anyone can give me more detailed hints?
(2) How to write data of 'NChan NSample' at one time in a loop
I have two channel DAQmx, and for each channel there are several data points. I plan to use following method to export data:
Suppose in one loop DAQmx Read VI read 10 samples from each channel, so I assume I will get four arrays of 10 elements:
t_channel_1, Y_channel_1, t_channel_2, Y_channel_2.
Then I use a loop structure of N=10 to concatenate t1, tab,Y1,tab, t2,tab, Y2,return in 'element by element' mode, i.e., do 10 times of string concatenate and write to text file.
I don't know whether above method is effective. Anyone can advise a better one?
(3) Convert from timestamp to elapsed time in milisecond
In the final text file, the time column should be the values of elapsed time in milisecond since the start of acquisition. So, I think I need to get the timestamp of the first data point so that for later data points I can use Elapsed Time express VI to extract elapsed time in milisecond. However, I don't know how to get the timestamp at the starting of acquisition. Please advise if you know it.
Sincerely,
Dejun
Message Edited by Dejun on 08-30-2007 10:34 AM
Attachments:
code.jpg ‏86 KB
code.vi ‏49 KB

tbob wrote:
Ravens Fan:
Read his post again:
"I am using 25Hz pulse signal to externally trigger DAQmx through PFI0. I set 100Hz for the rate input of the DAQmx timing VI since LabVIEW help says "If you use an external source for the Sample Clock, set this input to the maximum expected rate of that clock. " .
When I use Write Measurement File express VI, I found in the resulting text file, the dt is 0.01 instead of 0.04, i.e., the value of dt in the waveform data is not determined by external PFI0 signal, but by the rate input for the DAQmx timing VI. Also, I found t0 does not always start from zero. However, from the display of data plot, I am sure the acquisition is at 25Hz."
He says in the 1st paragraph that he sets theDAQmx timing to 100Hz because that is his maximum expected clock rate. In the 2nd paragraph he says that in his measurement file dt is 0.01 instead of 0.04. This indicates that the dt value is determined by the DAQmx timing rate, not the PFI0 clock rate. I am thinking that he should set the DAQmx timing to match the PFI0 timing, 25Hz.
Maybe this would work.
You're right, I did misread what he said. But, I still have questions about what he said. " I set 100Hz for the rate input of the DAQmx timing VI ". The code shows a rate input of 25 to the timing VI. And nowhere else do I see a setting of 100Hz. I ran his code (used a simulated device) and put an indicator on the to dt's in the clusters. The came up as .04 which is what i would expect. It is hard to comment what is going on in the file since there is nothing being send to the write text file VI.
Message Edited by Ravens Fan on 08-31-2007 12:18 PM

I need advise and help with this problem . First , I have been with Mac for many years ( 14 to be exact ) I do have some knowledge and understanding of Apple product . At the present time I'm having lots of problems with the router so I was looking in to

I need advise and help with this problem .
First , I have been with Mac for many years ( 14 to be exact ) I do have some knowledge and understanding of Apple product .
At the present time I'm having lots of problems with the router so I was looking in to some info , and come across one web site regarding : port forwarding , IP addresses .
In my frustration , amongst lots of open web pages tutorials and other useless information , I come across innocent looking link and software to installed called Genieo , which suppose to help with any router .
Software ask for permission to install , and about 30 % in , my instinct was telling me , there is something not right . I stop installation . Delete everything , look for any
trace in Spotlight , Library . Nothing could be find .
Now , every time I open Safari , Firefox or Chrome , it will open in my home page , but when I start looking for something in steed of Google page , there is
''search.genieo.com'' page acting like a Google . I try again to get raid of this but I can not find solution .
With more research , again using genieo.com search eng. there is lots of articles and warnings . From that I learn do not use uninstall software , because doing this will install more things where it come from.
I do have AppleCare support but its to late to phone them , so maybe there some people with knowledge , how to get this of my computer
Any help is welcome , English is my learned language , you may notice this , so I'm not that quick with the respond

Genieo definitely doesn't help with your router. It's just adware, and has no benefit to you at all. They scammed you so that they could display their ads on your computer.
To remove it, see:
http://www.thesafemac.com/arg-genieo/
Do not use the Genieo uninstaller!

I need help with exporting project for the web

Probably something i am doing wron g but here are the problems. When I use Quicktime Converter, if I try to convert to a Quicktime movie or an MPEG-4 nothing happens and i get a 'File error;File Unknown message' when i try to convert to an AVI File, it works, but even though I have already rendered the project, it shows up with little flashes of blue that say 'unrendered'. and finally, when I try to make it a w
Windows Media File, it stops after 29 seconds. Any ideas?
I have an iMac with dual core processor, and FCE HD 3.5.1. I have my video files on an external drive.
iMac Mac OS X (10.4.10)

perform a search using the term export for web and it should throw up some ideas.
here's one for starters:
http://discussions.apple.com/thread.jspa?messageID=2309121&#2309121
If you're using flip4mac to convert to wmv, the trial stops at 30 seconds - you need at least wmvstudio to export to wmv:
http://www.flip4mac.com/wmv.htm

I need help with exporting 720p video for youtube.

Hi everyone, I have been using Adobe premeir for almost a year now and I love it, as its very professional and powerful. I used to edit Standard with no problem, then export the full unconverted file (wmv) and run it though Windows Movie Maker to compress it (haha yeah I know its crazy.) Now that I got a camera capable of shooting HDV I want to use it. Im just wondering the following:
1.What format should I export with in Adobe Media Encoder? (Original Raw footage files from Camera are MOV formatted)
2.What should I set the Bitrate to?
3.How do I export to flash without it being to large of a file (Under 200mb's for a 5 minute video) and have it not choppy or pixelated?
4.How do I speed up exporting, how many passes should I do?
5.What overall is the best setup for youtube?
I also noticed a small glitch, and its when I export normally (full size, no compression) and run it though a compressor it cuts out all of the titles, and just flashes them for a milisecond. Its really odd. It only happens when I export in a certain format in which I cannot quite remember. Anyways.. thanks in advance for helping me. Its very appreciated.
NineLivesProductions

perform a search using the term export for web and it should throw up some ideas.
here's one for starters:
http://discussions.apple.com/thread.jspa?messageID=2309121&#2309121
If you're using flip4mac to convert to wmv, the trial stops at 30 seconds - you need at least wmvstudio to export to wmv:
http://www.flip4mac.com/wmv.htm

SD Process Design for Plantation industry - need advise

Hi all experts,
I am implementing for a crude palm oil plantation company, in which the general flow of the sales process from Estate to the Milling Plant is as below:
Sales Order --> Delivery Order* --> PGI --> Billing*
Sales Order: The fresh fruit bunches (FFB) is harvested and then the amount required by the Buyer is fulfilled via creation of a sales order.
Delivery Order: At this stage, it will interface with the Weighbridge system to carry out the recording of delivery quantity. Truck without the FFB is weighed once at entrance of the estate, and truck with FFB is weighed at exit at estate.
PGI: Goods Issue is carried out with the recording of the actual quantity from the weighbridge interface back to SAP.
Billing: The billing doc is created based on PGI quantity done.
This looks pretty straightforward, but there are few concerns from the above process as highlighted in the asterisk (*) section:
Issues:
1. During the Delivery portion, data of the Driver, name, person loading and weight loaded need to be recorded at the same time to carry out the incentive payment to the drivers (both internal and external drivers) with incentives calculated on per tonnage basis.
2. Secondly, during Billing process, the amount payable would be calculated based on the grading of the FFB + the which year the FFB is planted (i.e. different year would have different pricing per ton).
Need advise on how to make the above two issues work smoothly along with the process above.
Opinion, comments and feedbacks is much appreciated.
Thanks.

The loader and driver data is integrated to PP and the HR master module is leveraged to maintain driver/loader data master and payment is made to driver via customized program with customised calculation of salary.
The FFB is handled using PP module for Production and material posted via MIGO in MM and increases stock take manually.
SD to handle sales of finished goods instead..

Need advise on best settings for FCP 7!

I am looking for some advice on the best settings for FCP 7 when I am syncing sound using pluraleyes, exporting into quicktime as one file and then importing that new file into FCP 7 for editing. I have noticed that sometimes my Quicktime files are very large (20 gb) and sometimes they are much smaller (130 MB), but I never changed the settings.
I am working on FCP 7 and shot using my Panasonic GH3 at 24 fps (which comes to 23.98). My frame size is 1920x1080. Compressor is H.264. Data rate: 8.6 MB/sec. Audio rate: 48.0 KHz. I have heard that FCP 7 does not properly deal with H.264. So, I am wondering, what should my settings be? Should I set to "Apple ProRes 422 (HQ) 1920x1080 24p 48 kHz"? Is there anything I need to know when I export to Quicktime 7 Pro in order to not reduce the quality of the video? Should I be changing my video files first before I even start to work on them?
I haven't edited in almost ten years so I am desperate need of some guidance!
Final Cut Pro 7, Mac OS X (10.6.8)

Hi Shane Ross,
Thanks for your help. So, I already synced all of my interviews in FCP 7 (using pluraleyes) before I changed the video to ProRess 422. Can I just go into FCP (in the same project) and compress the video footage, import the new video files and throw it into the timeline? Or will this cause issues? I tried this as a test and it seems to be okay but I just want to check that there aren't any issues that I am not considering.
Also, when I do compress, it seems to take forever (sometimes two hours). Is there any way to make this move along faster?
Thanks so much!

Need advise on preparing .ai files for print house for labels design

Greetings!
I just got a freelance job to do label design for commercial products (cleaning, food products, etc).
Its a huge task as the company have lots of products in the market and they decided to drop the design
company that were doing the labels for them and hire me to be the main designer.
Since my main work with Illustrator and Photoshop is been for Web Design and screen graphics,
I am not sure how to use Illustrator CS5 the best way for preparing the final files to send to a print house
according to European or US norms, I would like to have some help from other users that maybe are experience with this kind of job.
My main concerns for now are:
1. Should I send .ai or .eps?
2. Pantones or CMYK ? And how to create the artboards that show the measures of the labels and the pantone colors palette
    (I have seen examples on some prints that have show me ), but have no idea if Illlustrator already have a template/tools for that.
3. About the size of the labels, if its a straight shape, like a square, you make the artboard on that size and just put some bleed,
    but since most products labels come in many shapes, how do you work around it?
   Since the artboard can´t have the same shape as the labels , will the white background being print?
4. When using effects like highlights, reflections, especially in Titles, how do you create the pantones for that ?
Hoping to have some help from the community here, you can send me some links, tuts,
everything that can help me to understand all this kind of process, I will be much appreciate.
Thanks!

Some of the following (but not all) repeats, but elaborates on or clarifies what others have said.
First, though: While I certainly don't mean to discourage you, you will be far better off getting started if you realize this:
Designing for commercial-quality print is a hugely different world from designing for the web. You are now dealing with characteristics and limitations of real-world, physical machines, inks, substrates, and many-step workflows. The most tragic (and potentially disasterous) error web-only designers (and their clients) make is naively thinking that moving from web design to print design is a simple lateral move involving nothing more than a few quick answers to a bullet list of questions (CMYK vs. spot, etc., etc.) If you fall into that camp, you are asking for serious and costly trouble.
A user forum like this is a very poor place to educate yourself. Forums like this are populated by more beginners than experts, many of whom are far too eager to post answers. More often than otherwise, answers are--if not downright wrong--not best-practice.
You need to gain a working knowledge of the printing processes with which you wll be dealing. Take a class at the local tech school. Visit the printing houses (and don't carry a designer's chip on your shoulder). Look for any opportunity to get your fingers dirty; offer to do some grunt-work in a press room to gain exposure. Read authoritative books on the subject.
function(){return A.apply(null,[this].concat($A(arguments)))}
f1. Should I send .ai or .eps?
Nowadays, PDF is the preferred delivery format for whole documents. If the printing house is placing the artwork in a program that cannot place PDF as a spot graphic, it is conceivable that they may need EPS. Depends on the printing house's workflow. In print work, you need to communicate with the printing house--and you need to learn to speak their language.
function(){return A.apply(null,[this].concat($A(arguments)))}
2. Pantones or CMYK ?
Don't say "Pantones." Pantone is a company. Say "spot color." Pantone makes both process and spot inks. Pantone is not the only source for spot color. Your question is "spot color or CMYK process." The answer depends on the specific project.
Labels may involve CMYK process, spot colors, or a combination of the two. You can't just add colors to your design willy-nilly. You have to plan and design for it. It depends on the printing budget, the printing capabilitites of the printing house, the printing method, and even the design (which may affect the substrate, which may not be suitable for process).
When designing for print, don't think in terms of colors. Always think in terms of inks, because that's what you're really dealing with. Each time you add an ink, you add a workflow process, and therefore cost. As soon as you add a number of inks in the design that exceeds the number of inkwells on the press on which it will be run, you have just necessitated another press pass.
Labels also commonly involve clear or translucent inks (varnishes), liquid lamination (flood or spot), metallic inks, and/or foils. Each of those count as an additional ink or even a different work process. Sometimes certain inks require drying time after previously-laid inks, which also affects costs.
function(){return A.apply(null,[this].concat($A(arguments)))}
And how to create the artboards that show the measures of the labels and the pantone colors palette
Again, best practice depends on the printing house and its workflow. For example, it can be a no-brainer labor (i.e.; money) savings to gang multiple instances of a label design onto a design page (Artboard) set up to the size of the press sheet.
It can be advantageous to draw die cuts on a separate Layer, also ganged to match the artwork layout. Same may apply to foils, varnishes, and embosses. It's often advantageous to draw trim and fold marks in the bleed area of the page layout. It's often advantageous to add registration marks in a press-sheet layout.
Again, best-practice depends on the project--but the economical and turn-around advantages can be significant.
function(){return A.apply(null,[this].concat($A(arguments)))}
(I have seen examples on some prints that have show me ), but have no idea if Illlustrator already have a template/tools for that.
Whenever you catch yourself thinking "I have no idea if Illustrator..."--read the instructions.
Most graphics programs (including Illustrator) provide options for including basic "printer marks" (trim and registration marks, separation labels) outboard of the page size. That doesn't mean it isn't often advantageous to add your own. For example, the auto printer marks setting will only add one set of trim marks for the whole page. That's pretty useless in a multi-up layout, which is quite common in label design.
function(){return A.apply(null,[this].concat($A(arguments)))}
...but since most products labels come in many shapes, how do you work around it?
Pages (Artboards in Illustrator) are rectangular. One typically provides die cuts (and/or varnishes, foils, embosses, etc., etc.) as elements drawn accurately on a Layer dedicated to the purpose.
function(){return A.apply(null,[this].concat($A(arguments)))}
Since the artboard can´t have the are same shape as the labels , will the white background being print?
There is no "background." This is an object-based program. Where there is no object, there is nothing. By default, even white fills don't mean "white ink"; they mean "no ink." (Remember, think inks, not colors.)
function(){return A.apply(null,[this].concat($A(arguments)))}
4. When using effects like highlights, reflections, especially in Titles, how do you create the pantones for that ?
Illustrator is primarily a vector based drawing program. Vector graphics are by nature and even by definition sharp edged. When vector programs try to provide "soft & fuzzy" features, they do it in either of two ways: either by programmatically creating additional vector paths and parameters (blends, grads, mesh grads), or by resorting to creation of non-vector "effects" (raster images). Whether such features correctly handle spot colors depends on the feature, and even on the version of the program.
So whenever working with spot color--in any program--you have to stay consciously aware of what you are actually doing (what kind of objects you are creating) when you apply such features. That's why it does no good in a user forum to speak of nebuous designerly terms like "highlights" when you ask technical questions. In order to get a correct answer, you ultimately have to state the kind of objects you are dealing with (and feature, and version, etc.).
function(){return A.apply(null,[this].concat($A(arguments)))}
1. PDF?? I only use .pdf to show the client the designs before approval but never as final file...also I have heard from some many places that if the print house needs to open the file on a different design program the best is to send them .eps
PDF is a delivery format. As such, it is very versatile. Design comps is only one of its many uses. But PDF is not meant to be an editable format. When you deliver a PDF that was created by Illustrator and which is fully editable on the receiving end, you are really embedding in the file a full second version of the file as native AI content. Whether this AI-native content is included is controlled by you when you export the PDF.
Editing PDFs that do not have the AI-native content embedded can be very cumbersome and problematic. Again: PDF is a delivery format, not an editing format. Ideally, the printing house should not have to edit your press-ready files. It is supposed to be up to you to build them correctly. That should be your goal.
I expressly forbid printing houses from editing my delivery files. If an edit is needed, it comes back to me, and I make the edits. If a printing house chooses to edit one of my files without permission--and a problem result--they eat it; not me.
Yes, yes, if print-side minor editing (like the afore-mentioned ingredients boilerplate scenario) is part of the established workflow, that's fine; its assumedly been agreed upon as the cost-efficient workflow. But generally speaking, the kind of designer who routinely relies upon the printing house as a "safety measure" to fix his files is...well...exactly the kind of designer I would not hire.
By the way: Hearing something "from many places" (especially in online user forums) in this business is no indication of correctness or best-practice. Quite often, the most-cited advice is the bad advice. Case-in-point: The ever-cited myth that everything for print should be rasterized to 300 ppi. 300 ppi is usually needless oversampling. This is especially true in reference to mere raster effects like those controlled by Illustrator's Document Raster Effects Resolution setting. 300 ppi is almost never needed for the most common uses of such effects: blurry drop shadows, glows, etc., etc. "Fuzzy" is the very purpose of those effects. All you have to concern yourself about is the potential for visible pixelation, which is directly tied to halftone ruling.
function(){return A.apply(null,[this].concat($A(arguments)))}
...what I was mention is to be able create like a table where you list the pantones use, same time to put measures guides on the artboard itself, is this possible to do in illustrator?
Again, separation names are included in the Printer Marks option of the Print Dialog. See the documentation. Depending upon your delivery format and workflow, the printing house may not even use Illustrator's printer marks; they may use those in one of their prepress programs.
But you should always check the seps before sending a press-ready file. You can do this in AI's print dialog, or in Acrobat Pro. Regardless, it's your job to make sure the project color-separates correctly. It is very common to "finish" a job thinking you have been very careful and everything is right. It is just as common to preview the seps and find an object on the wrong separation plate, or knocking out something it shouldn't, or overprinting something it should knock out.
(There's also the whole matter of trapping, which this thread has yet to mention.)
function(){return A.apply(null,[this].concat($A(arguments)))}
...imagine I have a label that is a star with 200x200 px, and the artboard is white background with 300x300px,
I will add (with as much force as I can muster) my admonition to that which has already been given: when talking about actual, physical measure, forget about the web. Forget about Photoshop's rulers. Forget about pixels. A pixel is not a unit of measure. If you think it is, tell me: How big, in inches, is a pixel? I might as well ask you "how high is up?"
If you tell a printing house that the trim size of your document is 600 by 1200 pixels, he will (and should) laugh at you.
function(){return A.apply(null,[this].concat($A(arguments)))}
if I print the artboard on my laser printer I get the label with the background also, so how does the print house manage to
not have the background of the artboard when they print?
If you print the artboard on your laser printer, you do not "get the background." Think about it: Do you have any white toner in your laser printer? (Think inks, not colors.)
All the above is offered in a spirit of helpfulness (and some tongue-in-cheek jest). Take it as such. Bottom line, though--and this is not meant to be the least bit insulting--unless the company you have just contracted with is a small mom & pop shop and/or has very basic labeling projects, it really sounds as if you are already in well over your head. I am certainly not saying any of this is rocket science. It isn't. A dedicated person can learn its ins-and-outs in relatively short time if that time is well spent. But an online user forum is a very error-prone, incomplete, inefficient, and therefore poor way to learn it. It doesn't sound like you have that much time to waste.
JET

I need advise on export for PrPro 5.0 files shoot on Canon 550D

Similar Messages

Maybe you are looking for