Major Workflow for Sports Team- H.264 and ProRes

I need some help hammering through my media management and workflow...
I'm trying to create an effiecient workflow to work with a sports team.
Currently I'm recording my games with a BlackMagic H.264 Pro Recorder, 720p 60fps, creating a 8-14 gb .mp4 file.  (I will keep these files on a seperate hard drive as an archive of the entire season's games.)
Next, I need to take these .mp4 files into Final Cut Pro X, to cut clips of the "highlights" of the game and "individual highlights" of eacher player.  Imagine each game containing 4-5 highlights for each player, creating a huge reel by the end of the season.
My plan is then to create a new event, importing the h.264 media file, creating ins and outs of the highlights, and drop them into to each players individual highlight sequence/project.
Example - I just imported 5 highlight clips for a total 00:02:45:00 (2minutes45seconds)
Now, these files are going to imported, rendered and transcoded for Apple ProRes 422.  Are these files now ProRes, or are they Proxy ProRes, referencing the original H.264 media?
My concern is that I'm going to quadrupling my media when the H.264 to ProRes takes place in Final Cut Pro X.
My final output/export will likely be back to 720p 60fps H.264 .mp4 for iPad and other digital formats.
Am I making sense?  Does anyone have any suggestions for improvement?
My Computer:
Mac Pro 5,1
2.8 GHz Quad-Core Intel Xeon
6 GB Memory
OS Snow Leopard
Final Cut Studio 3
Final Cut Pro X

creating ins and outs of the highlights, and drop them into to each players individual highlight sequence/project.
Rather, keyword each player, then you'll have a keyword collection for each player in the browser. You can have separate keyword collections for each player and for each game and for each type of action and group the each type of keyword collection into a folder.

Similar Messages

  • How/Where can I request InCopy training for a team via webinars and in-house?

    How/Where can I request InCopy training for a team via webinars and in-house?
    My team desperately needs to incorporate InCopy into our operation. There are a number of people who need to be trained. I am unsure of how this is done...also, pricing/procedure? After calling the customer service line and being on hold for an hour, I decided to place my question here.
    Your assistance is greatly appreciated.

    Or, contact me at Seneca Design & Training:
    InCopy / InDesign Training & Workflow :: Seneca Design & Training :: Anne-Marie Concepción
    Bob is good, too. And there are others of our ilk here ... :-D  and on InCopySecrets.com too
    AM

  • Best "Capture" workflow for projects mixing HDV tape and XDCAM footage

    I'm trying to determine the best workflow for projects that combine XDCAM and HDV footage.
    I'd obviously do the editing in a project designed for XDCAM, as that's the higher quality footage,
    and render the HDV clips in the XDCAM timeline...ending up with an XDCAM end product.
    I'd use SONY'S XDCAM TRANSFER to get the clips into FCP.
    My question concerns capturing the HDV footage in this scenario. I've never been able to get
    the Log and Capture feature for HDV footage to work, unless I've created an HDV project and am capturing into that HDV project.
    So, generally, I create an HDV project, open the log and capture utility which is now set to capture HDV, and then capture the footage. I then close that project and create a new project, designed for XDCAM footage. I use XDCAM Transfer to get the XDCAM footage into the project, and I import
    the previously captured HDV footage into that browser and start editing, rendering the HDV in the XDCAM timeline.
    My question...do I really have to open, what is essentially a "fake" HDV project just to capture that HDV footage? You don't seem to have the option of capturing HDV footage (out of a camera or HDV tape deck) directly into an XDCAM project. If I try to change the capture or audio video settings of the XDCAM project to HDV, you get messages saying you can't do it.
    Is there something I'm missing or a more streamlined way of doing this?
    Thanks in advance for any input.

    No need to jump through these hoops. Just set yourself up with a universal Easy Setup that will handle both. Choose your regular XDCAM HD Easy Setup then open the Audio / Video Settings window and change the Capture Preset to "HDV" and the Device Control Preset to "HDV Firewire" ... then click the "Create Easy Setup" button and save it for recall whenever needed.
    Regarding the overall workflow, I'd seriously question the idea of creating XDCAM HD masters. No real benefit to that unless you need to export to XDCAM HD. Much better would be export your final master as Apple ProRes 422.
    Best
    Andy

  • Workflow for exporting xml from Excel and importing into table in InDesign

    Hello,
    I have worked out how to get data from a .xlsx into a table in InDesign. However, the workflow is still a little clunky and I am looking for way to automate the process further. My current workflow is as follows (files can be download here: http://visual360.co.uk/xml.zip)
    xml is exported from .xlsx by mapping the schema (see what_I_get.xml)
    assign tags to table and individual cells in InDesign
    This is the clunky bit: edit the what_I_get.xml to:
    remove the indentation (this seems necessary as otherwise when I get to stage 4, all the imported text is also indented)
    add tag for table in InDesign (p10_table)
    add tags for individual cells (p10_c11 etc.)
    import the produced what_I_want.xml in the structure panel of InDesign.
    Can anyone point me in the direction of how to automate step 3 above?
    Thanks in advance,
    Nick

    Hi Mike,
    Thanks very much for the reply. I am not at all familiar with XSL/XSLT. I have given it a quick google and it seems like it could be quite a steep learning curve to master. Maybe if I explain the whole context here, it may allow you to point me in the direction of a tutorial that provides a step by step approach to achieve my final goal. Alternatively, you may be able to suggest a whole new workflow.
    I am in the process of updating this document: http://www.ncl.ac.uk/students/insessional/assets/documents/IS_Brochure_2014-15.pdf
    The tables on pages 10-21 contain lots and lots of repeated information. We want the layout to in this format so that each group of students has all the information relevant to them on a single double spread. However, the challenge of using this approach is that it is very high maintenance to ensure the duplicated information is kept in sync - even using a copy / paste approach.
    I was hoping to overcome this by using a single source of data (eg. a spreadsheet) which would then feed into the InDesign. This workflow seems to be overcomplicated by the apparent need to use xml as the "middle-man".
    Ideally, I would like to press the export button in Excel and get this information into the the correct cells in the tables on pages 10-21 without a significant amount of manual labour - after all, my reasons for investigating an automated approach in the first place was to avoid the manual entering of data ie. the scope for error...
    An alternative approach maybe to skip Excel altogether and just use .xml. However, I am not sure that this is possible as Indesign only seems to allow you to import each element once. Maybe you could correct me here...
    I am happy to invest a certain amount of time in developing this approach as once it is in place, it will save a huge of proof-reading time year after year, especially as inconsistencies still persist despite our best efforts to weed them out.
    If you could let me know your thoughts on this and maybe identify a tutorial that would help me, I would be extremely grateful.
    Thanks again!
    Nick

  • PR workflow for item level release (stock and non-stock)

    Hello gurus,
    I am not getting the agents.!!
    I am creating a workflow for pr( item level release)..and using standard wf WS00000038 for this, as the standard wf contains the simple release procedure  only but i have to add some custom steps to it, so i have copied this wf as custom wf .
    In this wf i have to fetch the agents based on the "stock" and "non-stock items".
    so i have maintained strategies and release code like:
    i have maintained two strategies W1(non-stock) and W2(stock)..and release code for W1 are P1 and P2..here P1 i have given for my first level of approval and P2 for second level of approval.
    The release code for W2 are P3 and P2..first level is P3 and second is P2.
    so what i have did in a workflow , started with a condition step where i have given "releasecode = p1".. if yes than than it will go for getting approval from p1 , in this activity i am using  standard rule 157.
    The main thing is  1). i am not getting how to fetch agents using standard rule. 2)and how and where to define next level of approval for both stock and non-stock.
    means by using condition step in the starting i am dividing workflow in two parts stock and non stock but how to proceed next.
    i am really confused. should i use rules or write my own methods. please if anybody has gone through the same scenario than please suggest some points. i will really appreciate the help.
    Kind Regards.
    Himanshu

    Hello HIM Joshi !
                       Include the task TS00007986 and all its branches and  in a loop and loop around it for two times.When the loop goes for the first time, it should pick the first agent and during its second iteration, it should pick the second agent.
                       To accomplish so, In the same loop, but before the above task , include a background task which should populate the agent ids depending on stock and non-stock details and pass it to the the task  TS00007986
                       That's all.
    Regards,
    S.Suresh

  • LSO Workflow for Participants from Course Admin and Instructor

    Hi All,
    As par standard SAP we found that there is no approval process/Workflow for participants if they are booked by course administrator/Instructors.
    Please suggest if we have to make some enhancements or if I am missing some standard configuration here.
    Regards,
    Umesh

    Hi Connie,
    Thanks for your reply,
    Yes at the moment I am concentrating on the Classroom training part only.
    As you correctly pointed out that the few of the Associates will not have the access to the computers/training system they do request by telephone/email to training department directly and I think this is the process in most of the organizations.
    Now if the admin is booking the courses on behalf on the employee, it should go to the Manager for approval and subsequently the employee should be also informed.
    So I am looking for similar process.
    Kindly let me know if this can be achieved in some way, e.g (some sap customization or some simple enhancements).
    Regards,
    Umesh

  • H.264 and prores proxy question

    I've read through a ton of posts about proxy and h.264 workflows but didn't find any that answers my specific question.
    My raw video from my camera is mp4 (h.264). I understand that h.264 is not good to edit with, so I have a few options. I use a macbook pro for editing so I have been toying around with prores proxy for editing and it makes a difference on RT playback and rendering while editing, so that's good. When I get ready to output my movie after editing, I relink my project back to the original h.264 source files and that seems to work fine.
    I'm wondering if that's not the right workflow though. Should I transcode the h.264 into prores HQ or LT and then ALSO to proxy, edit with proxy and then relink my project back to the HQ or LT files to output? Or is linking back to my source h.264 files and outputing the right way to go?
    Since the original files must be in the best possible quality that I'm going to get (since they're my original clips), I assume that relinking to them right before output is the way to go but I really don't know much about codecs to know if I'm missing something.
    Thanks in advance for the advice.

    Thanks for your response. I'm shooting with a Sanyo FH1, mostly in 1080p, but I've scaled back to 720 since 1080 was overkill for what I'm doing to save some space.
    The thing I don't quite understand yet is the issue with pointing my project back to the source files after all the editing is finished with prores proxy and just before output. That way, FCP would only have to uncompress the source files to render for final output only one time (besides the initial transcoding), albeit, probably longer than it would be for prores. I'm sold on proxy because it was so much faster to edit with than h.264 and I didn't have to keep any video files after I was finished except my source files....trying to budget hard drive space. I transcoded one file a while back to prores but the file size was more than I wanted to deal with since I only edit on my macbook pro so I didn't try to edit with it. Like you said, maybe just converting to prores and dealing with the space juggling would be the best way to go, or try prores LT to see how the quality is.
    Does converting from h.264 to prores buy me any quality or a better final result, or just a cleaner workflow? Don't misread my questions, I'm not arguing, just trying to understand from you guys that know a lot more about this than I do. Making my living as a developer, it's just ingrained in me to understand this one
    Message was edited by: kenmoberg (updated macos version)

  • Can you make a new sport emoji tab for sports like lacrosse, basketball, and football?

    Can the people of Apple please make an emoji tab of just sports? I know lacrosse, football, and bastball people would mostly like this.

    I'd still prefer to keep separate user accounts. I never had any issues like this before. The only time I started having a problem was when I was just trying to force empty the trash a few months ago. I came on here looking for a solution and someone posted a way to empty the trash using the terminal. Before then, I hadn't used the terminal for anything--it was just another app in my utilities folder.  (None of this has anything to do with having separate user accounts. Plenty of people with kids make second and third user accounts on their laptops so that multiple people can use one laptop, having more than one user on a laptop is not very difficult.) But thank you, I'll try that out and see if it works!

  • Workflow for editing HD PAL .m2ts and .mpeg4 on Final Cut

    I have PAL HD files in two formats (.m2ts and .mpeg4) from 2 cameras of the same event. These files need to be converted to a mutually compatible format to edit in Final Cut (Studio 2). I would appreciate knowledgeable recommendations on a work flow, including the best converter(s) to use.

    I could not load either file format into MPEG-Streamclip. Do you think there is any better media converter than the VoltaicHD? I am trying it out and it is the best I have seen. Clean and the controls for the Quicktime .mov file out. Although, when I play output clips set to digitize at 25 frames, they are all reported as 29.97 -- is this a bug?

  • What is the right workflow for Lighting Effect in Premiere and Grain Removal in After Effects?

    Hi,
    I am working with a footage that was recorded in a dark room. In Premiere Pro CC 2014 I have applied a Omni Lighting Effect, which brought some light into the scene. But, as you can imagine, now the picture is very grainy. In Premiere Pro there is no Grain Removal so, I replace the clip with an After Effects Composition, but in After Effects my Lighting Effect is not showing up, even after rendering the effect in Premiere Pro it is not transferred. Probably because that effect is not in the repertoire of After Effects.
    So, how do I go about it to get my desired correction? Is there a way in the Adobe CC?

    I think you're going about this the wrong way.  You're best option is to reshoot with proper lighting.  If that's just not possible, then you will probably get better results taking the clip over to SpeedGrade for correction.  If it's still too noisy, I recommend the following, which is the best plug-in of it's kind I've ever seen.
    DeNoise - Simulate Film Stock - Dark Energy for After Effects

  • Best workflow for DSLRs and Speedgrade / Premiere?

    Can anyone suggest a workflow for DSLR footage using Premiere and Speedgrade? I would like to be able to roundtrip and do a light grade on clips and sequences before completed the offline edit. Is this possible? I know in the video tuts it seems to work for Red footage, but I couldn't get it to work for me with my 5d mark iii footage. It's all new to me having recently switched to Adobe from FCP and also to DSLR from camcorders. Thanks

    Speedgrade isn't designed to go pre-edit, so right now there's no dynamic link with the other CS6 apps. It's intended to sit post-edit in a classical film studio workflow, with Sg ingesting only the final edited frames and exporting your production masters.
    If you "send" a Premiere Pro sequence to Sg you will render out a single DPX image sequence (including effects and transitions, and without any references to edit markers or original filenames) and so importing that back into Pr would flatten your entire timeline to a single clip. Any changes to the Pr timeline and you'd have to do it all over again.
    You can export an EDL from Pr and use that in Sg to read the native footage (provided it's compatible*), but  grading is not stored into the original files so it won't re-appear in your Pr timeline unless you manually re-import.
    If you want to use Sg pre-edit, the options are:
    Grade all your footage before ever touching Pr, export everything to lossless video or image sequences and work with those, forgetting about the original files completely (you'll need a bunch of disk space and hopefully a MOS shooting pattern, as your audio will be split out).
    Grade a sample of every clip you're using, then save a Look for each one. Export the Looks as 3D LUT files (.cube) and use a plugin to apply them to your clips. Right now there's no official plugin for Premiere (Magic Bullet LUT Buddy isn't certified past CS5) but After Effects can apply both the .cube and the .look files via the "Apply Color LUT" effect. Note that some changes in Sg are not included in the Look, such as the choice of color space and tone curve, so what you see in Sg may not be what you get back in Pr.
    I'm not downplaying the abilities of Sg, but it's a colorist's tool and doesn't sit very well in the CS6 unified concept of "one person can make a movie". It helps to think of it in terms of the union system in Hollywood - an editor never grades and a colorist never edits, so their tools look completely different, work completely different, and the electronic conversation only goes in one direction.
    *Sg was designed with digital cinema in mind so it doesn't work with interlaced footage, plus it generally assumes you're feeding it log so be careful when picking defaults. It's one occasion where something like the Cinestyle fake-log profile for Canon DSLRs comes in handy.

  • ABAP & Workflow for CRM

    Hello  Buddies,
            I have seen so mail threads somewhat near to my doubt but could you please tell me some good link for learning ABAP & Workflow for CRM. Also please advise me, being ABAP-Workflow Consultant which section of CRM is best suitable for me.
    Thanks in advance. Your guidance is appreciated.
    Warm Regards,
    N. Singh

    Hi,
    ABAP    and Workflow for CRM is nothing different and specific to CRM. They are same and at least all the basic concepts are present. There might be some implementation and conceptual differences but they are more of functionality driven.
    You start learning SAP CRM Fucntionality which will help you to understand SAP CRM much better. And then you can have a feel of the CRM feature and where and how it's been used to drive the ABAP and Workflow functionality.
    Hope this helps. You can scan the forum for good links and resources.
    Best Regards,
    Samantak

  • I wish to create a fixture book for a sports team and print it using Duplex. It will consist of 19 pages

    I wish to create a fixture book for a sports team and print it using Duplex. It will consist of 19 pages

    Can't see what you are looking at.
    You will need to describe what exactly you are talking about.
    Meanwhile see Imposing Booklets or Duplex printing:
    http://www.freeforum101.com/iworktipsntrick/viewtopic.php?t=181&highlight=imposi tion&mforum=iworktipsntrick
    Imposed Booklets have pages in multiples of 4, Duplex documents of course in multiples of 2.
    Peter

  • Specs and workflow for creating opening/closing titles for video

    I'm trying to create specs/workflow for videos that I will be adding opening and closing titles to (black background with colored text), using QuickTime Player 7 (Pro).
    The videos are .mov, AVC coding, 1280x720, millions, 30fps, a sample video had a data rate of 7,463 kbits/second.
    I created 1280x720 300dpi (perhaps I should have used 72dpi?), saved as a .jpg (highest quality), then copied the .jpg contents into a QuickTime Player 7 (Pro) blank document multiple times until I had enough frames for my need. The resultant video was very large; 339,743 kbps/second. I then exported to H.264, which brings the data rate down to only 214 kbits/second (and looks fine) and then copied that into the head of my AVC coding video.
    Questions:
    1) When I exported to H.264, the x pixels increased by 6, to 1286. After pasting that video into the AVC coding (1280x720) video, the resultant movie is 1280x720. Did my graphic get compressed by 6 pixels horizontally?
    2) Does my method of converting the huge graphic movie to H.264, and then pasting it into the AVC coding make sense? The combined video has AVC coding, according to Movie Inspector; does the H.264 of the graphic get converted automatically? Any better way to approach creating my titles?
    Note: these AVC coding videos may get converted to H.264 for some use, but for now, I'm keeping the highest quality (source) video I have to work with.
    Thanks,
    Bob

    "First, tell use why you're not using FCP's titling and keying capabilities."
    I don't own FCP.
    "Then, explain why you're doing it this way."
    I'm able to create graphics with plenty of control in a graphics program (PhotoShop in this case).
    "There is no dpi in video, there are only pixels."
    Sorry, I posted my thread then realized I left out a bit of info, but couldn't edit the post. I should have written that I created my graphics file in PhotoShop, hence the dpi reference.
    "A black background for text is not the same as using an alpha channel."
    OK. The portion of my video with titling stands by itself; that is, I'm not overlaying titles on existing video. Is there a use for alpha channel if I'm working up standalone title video frames? Uses less data rate?
    It seems from your inference I would be best served by purchasing FCP, so I'll probably take that advice and buy it.
    From a general video production point of view, I'd still like to learn more about creating titles in a graphics app and bringing them into QT Player; what format to bring them in as (e.g., H.264 into an AVC coding video, as I've done, or ?), and what happens when my graphics video gets converted from 1280x720 to 1286x780 (AVC export to H.264), and then brought into an AVC codec movie, and the movie remains at 1280x720-- does the graphic get horizontally widened, or the vertical compressed? Thanks.
    Bob

  • IMovie - How do I change the sports team editor labels such as players age, height and weight?

    Cannot find a simple (or any) solution to this problem.
    Does anyone know how to change the player label headings on iMovie Sports Team Editor? I don't want to display the players weight, height and age and have no idea how to change the labe headings.
    Cheers,
    Flying_Prop

    Instead of posting HTML here, which the board is not really designed to handle, could you edit your post to clear that out and provide the URL to the page that has the problem?
    When I look at the home page at http://www.falmouthgoatrace.org/ I don't see a problem.
    When you have a problem with one particular site, a good "first thing to try" is clearing your Firefox cache and deleting your saved cookies for the site.
    (1) Bypass Firefox's Cache
    Use Ctrl+Shift+r to reload the page fresh from the server.
    Alternately, you also can clear Firefox's cache completely using:
    orange Firefox button (or Tools menu) > Options > Advanced
    On the Network mini-tab > Cached Web Content : "Clear Now"
    If you have a large hard drive, this might take a few minutes.
    (2) Remove the site's cookies. Save any pending work first.
    While viewing a page on the site, you can call the dialog to remove the cookie using either:
    * right-click and choose View Page Info > Security > "View Cookies"
    * Alt+t (open the classic Tools menu) > Page Info > Security > "View Cookies"
    Then try reloading the page. Does that help?

Maybe you are looking for