Newbie ?: Archive Footage and Effects

I am using Premiere Pro CS3
I have a long sequence that I built a generic end tag for and some generic effects to go under title slides. How do I save just those elements for future use in other projects without keeping the entire sequence?
I would like to keep them in their original layout. i. e. End tag has 3 video tracks and 2 audio tracks. I would like to save this section such that when I import it into my next project I will still all 3 video tracks and 2 audio tracks.
Is this possible?
Ila

Make a copy of this project. Open the copy and delete everything that you
don't want to save. Now you can import this project file into future projects with the tracks the way you want.
You will also find links to many
free tutorials in the PremiereProPedia that will quickly show you how things are done in Premiere Pro.
Cheers
Eddie
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IMovie won't export "missing media" and now won't import archived footage either?

Hello,
I made a movie in iMovie 10.0.3, and tried to export it to "file". It came up fine in the Theatre, but when I exported it to "file" a message about "missing media" came up, and when I tried to play it (tried to burn it to DVD), a further message about "quicktime not recognising the format" came up. It was saved as an mp4 file. I thought I would try and delete all the original footage and reimport it from the external HDD (where it was saved as archived footage), however when I plug the HDD in, the previously imported clips don't come up. I've emptied the trash to try and help (clutching at straws!), and was wondering if anyone could offer advice on how to a. export the movie successfully or b. reimport the clips so I can make the movie again (long and tedious, but possibly the only way?).
Thanks in advance.
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Naming R3d Files in Premier + Timeline Settings for 4K plus archival HD and SD footage

We recently made the switch over to Premier and are beginning post on our first 4k 16x9 project. Very exciting to be editing with the raw r3d files, our one concern is that naming the files (it is a feature doc with a lot of footage) in premier will break the link to the orginal file once we export via xml to resolve for the online as well as to go back to color correct in Red CineX. Is this correct or comepletely misguided. My gut says that naming the files in premier is just adding to the metadata associated with the clip and the export should be fine. Can you please set me straight?
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I'm afraid there probably isn't a good way to scale SD to 4K...
unless it originated on film and you can go back to transfer.
Magic Bullet Instant HD works pretty well upscaling SD to HD.
when you say renamiong can "sometimes make tracing the original media file on disk more difficult"
I am referring to file management on disk as it relates to the Project.
For example if you load all of your media and change the file names,
then discover that there is something quirky with a particular file... it will
make it more difficult to trace on disk for evaluation.
It will not affect the media reference in .xml export at all.

Bringing the footage and the Comp from Photoshop into After Effects.

hay guys I am running After Effects CC on Maverick OS and I have a Compositon in Photoshop that has video in it and it works perfectly but when i try to bring in the Comp to after effects, it only give me a still frame of the video footage and not the whole Comp. Then after it imports it gives me an error that my Quicktime is not up to date however it is the latest one is there a work around? thanks Best wishes, Ivey
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Software OS X 10.9.3 (13D65)

AE does no longer support PS video. This feature has been removed due to technical issues. You have to render the video from PS to a clip or image sequence and import that into AE.
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Uncompressed vs Pro Res 422 (LT) as archival codec and as editing codec

Hi -
I'm working on a project where we will be capturing 600 hours of footage from Hi8 tapes. The tapes are in somewhat iffy condition so we're only going to get one pass with them and that's it.
We've agreed with the owner of the tapes to digitize all of them for archival purposes, after which we will make a backup copy for us to edit with. We want to use Pro Res 422 (LT) as our editing codec, but there's some question about what codec we should use for archival purposes -- Pro Res 422 (LT) or uncompressed 10-bit 4:2:2.
Basically, the debate is, given that the Hi8 format retains a relatively small amount of data, is there a benefit in terms of quality if we archive the tapes in uncompressed, or will the quality be just as good if we deliver in Pro Res LT to the archive?
Thanks!

Because while we would prefer Pro Res as our editing codec, the people to whom we will deliver an archival set of the material may insist on uncompressed.
Please -- no more questions about why I'm asking this question.
What I am hoping for here is a brief, to-the-point comparison of the pros and cons in terms of video quality of the two codecs (but something a little more informative than 'filet mignon' and 'hamburger').
I'm aware of the white papers, but I'd like to get the opinion of people with experience and knowledge who don't work for Apple who could boil it down --
Is Pro Res a good codec for archiving material, and how much if anything would be lost if we delivered to the archival house on Pro Res rather than uncompressed?
What argument, if any, can we make to an archival house that is leaning toward uncompressed that Pro Res will work as well for them? At the risk of answering my own question, would we be correct in saying that the image quality would be effectively as good with either codec (given that we're digitizing from Hi-8 tapes) and that delivering in Pro Res would save them a great deal of storage space?
As a reminder, we're talking about 600 hours of Hi-8 footage here. Thanks.

Storing/Managing all the raw footage and all the completed videos

The iMovie '06 instructional video on the Apple pages mentioned that after we edit out our video and it is complete and ready to be viewed, we can upload it back into the camcorder so that from there the video may be viewed on a TV etc.
This reminds me of something that I thought about a while back and which has to do with keeping copies of our work. My thinking is to put the iMovies into my website but I CAN see my wanting to play it on my 50" TV.
Questions, then:
1. If you upload your finished video from the Mac back into your camcorder, then in fact you have a copy right there. So then, DO YOU STILL KEEP THE ORIGINAL CASSETTE OF RAW FOOTAGE AS BACKUP, JUST IN CASE?
2. In what order would I save to cassette etc if I would like to upload the video to my website AND keep the finished copy in a cassette in my closet as well as in my external hard drive? I ask because I recall earlier that at a certain point, one cannot do certain things with the video. I wish I could recall what I had read.
3. Here is what I would like to end up with:
a. The video on my website
b. The complete video in a cassette so that I could play it on TV if I decide to.
c. The complete video in my external hard drive.
d. And actually, WOULD you retain a cassette with all of the raw footage? Or in your external hard drive?
And the final question is:
HOW DO YOU ARRANGE ALL OF THESE BACKUPS AND COPIES IN YOUR EXTERNAL HARD DRIVE? I am foreseeing options that I can't answer.
For example, do I keep all raw footage in one category, and then all completed video in another category?
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Thank you for your thoughts.
Lorna in Southern California

Ohh and another thing!
to archive give the dvd_img or video -ts folder a
title, that way its easy to find it if you use as
videodisc with front row Elgato eye tv or equinox
catagorice as fiction drama cartoon explsit andson
andson...
Dear Kjolner.....
I'm afraid I am lost with your replies because the terminology in the answers are beyond my understanding. When you say that you save something to tape, do you mean, "back to that same small cassette"? I do not know what an .img file is. I am not clear on saving "small segments" on QT. I would not know how to do that, anyhow. I do not understand what a video -ts folder would be. <gulp> <<double gulp>>
I DO have Tiger and will buy the next one up when it seems safe to do so.
I recently bought a LaCie 500 gigabyte external hard drive to store everything and lighten up my iMac internal hard drive and make it faster. I had to buy that external HD because while attempting to upload my footage from my Sony digital video camera recorder DCR-TRV 11, my iMac sent up messages that I had insufficient space for the activity.. something to that effect.
Lorna in Southern California

Red Footage and Final Cut Server

Aloha gang-
I am still testing FCS in our studio and enjoy many of the features in this product. I love being able to search for footage and pull it into my FCP project with no waiting (using edit-in-place). But I am looking for some advice and knowledge regarding Red Footage.
My scenerio is this:
We render all our red footage to offline files that we will use in the post production process. I want to tag all those files with appropriate metadata so our edit team can search and retrieve files as they need it. But with red there are 7 files (in our workflow) that correspond to the same thing. Basically there is the original R3D file which can not be used in FCP, there are the 4 quicktime proxies that the camera generates and live in the same folder as the R3D, and these are the files I want to get back to after the production is through and archived. There is the offline quicktime we generate to edit with which we need to tag. There is a log and transfer quicktime we can log and transfer all this data to FCS (but it doubles the data size so I am not looking to use this one and edit performance is okay at best), and finally there is the folder that the 4 proxies and original red file live in.
All of these files should be search able by the same metadata. Imagine the shot is of a blue bird. When I type blue bird I would want all of these files to show up (obviously I could limit my search so I only get the version I need for what I am doing i.e. offline, proxie, etc. I have made metadata lookups for this so this is not the challenge.)
The challenge is I only want to log 1 of these files and have the metadata applied to all of them. They all have almost identical names. The offline, R3D, and folder file have the exact same name. The proxies are identical but with _F, _H, _M, and _P behind them. For the catalog process I only want to transcode proxies for the _M (The _F, _H take way too long and the proxies look the same as _M and the _P is too small
I could make them a bundle but that does not help too much as the offline lives in a different place as the footage.
Any ideas would be greatful. My easiest solution is to tag the files twice, once for the production and once for the archive, but this seems like a waste of time that I could have a computer do instead
P.S. anyone successful in getting the metadata out of the red file, I see the red metadata set, and have it in place, but can not get it to show anything no matter which file I upload.
Any ideas, or help would be great
mahalo
scott

Thank you for your replies. I guess my question is not really answered because of the conundrum associated with red footage
But my workflow to get through this will be as follows: (In case anyone is interested)
Set a scan to bring in the offline quicktimes as they are rendered and have someone tag them with meaningful tags to help us search during the production. I will send those to archive when we are done.
After the project is completed and the files are removed from Final Cut Server I will set a scan to import all the _M files (they transcode faster and quality is not an issue since it is making proxies) and tag them as best I can for the long haul (archive) I can either leave the media on the drive or back it up, depending on the immediate use of the files. This works very well if the media is still there as I can just drag the _M into Clipfinder and render the shot I need as I need it.
I am storing these clips in folders labeled CC_LTOXXX (where XXX is the number for the LTO tape which increases by one for each tape I use. When I import them into Final Cut Server from the LTO folder I have a direct line to which LTO tape the file lives on. It's not easy to get the files back (so with files used frequently I will also keep a copy on an external drive I can just plug in) from an LTO, but it is doable.
If anyone has an easy way to pull a list of files from an LTO tape that would be great, and even better if it could be a list Final Cut Server made, or if Final Cut Server could just pull the files. My LTO is a network drive so I would have to access it through an IP address, but if I could do that I would be golden.
Anyway I know this will all evolve and this is just where I am right now, any ideas would be appreciated.
Mahalo
scott

Need help with compositing DPX red footage and workflow

Hi Guys...sorry to repost this..I've tried in many other forums, but haven;'t gotten a straight answer yet, I'm hoping anyone on this page can give advice...
Recently, I was asked by a friend to help on a low budget project by doing some roto and paint work, and some simple composites in After Effects. The question I have is regarding the specific workflow when it comes to dealing with Red Footage in AE. Currently, the project, which is very small, is getting it’s fine cut done by the editor, and their post supervisor asked how I would like the plates to be delivered for comping…I requested 4k 10 bit DPX files set to Red Gamma/ Red Log Film color space, which I understand to be standard for ingesting.
The question I have is the best workflow setup for this in AE? Because AE has recently upgraded with CC 2014, there are several new plug ins that I am not familiar with regarding importing DPX or Open EXR files, and the precise color space to work in so I can have a “normalized” project to comp in…..basically Log to Lin, and then exporting Lin to Log.
This is what I have gathered, and again, I’m not sure if this is correct, so please let me know your thoughts on the best way to work with this:
Basically I was told to work in sRGB color space in AE in order to work with my VFX comps and elements in the “normalized” sRGB linear colorspace, so go “Log to Lin"
1. Import the red footage as 10 bit DPX sequence into AE (with a RedLog Film color gamma applied)…the project settings should be set at 32 bit depth and the working space set to sRGB
2. Right Click on the DPX footage and select “Interpret Footage” select “Main” and then go to the “Color Management” Tab
3. At the “Assign Profile” Box, select “Universal Camera Film Printing Density”. This should “normalize” the footage in the RGB colorspace of the project, and I should be able to see a Rec709 (sRGB) image instead of flat Log.
For the Rendered Output from AE for the colorist…..
Best to render out two different formats, one in Log space for the colorist, and one in a 1080 QT linear space for approvals from the Director
1. In the AE Render queue, set up two output modules…go to “Output Module Settings” and select “Color Management” tab, then select the “Output Profile”.
2. Set the profile to “Universal Camera Film Printing Density”, and the file format to DPX…or whichever the colorist requests as the file format (png, Tiff, etc)
3. The second module can be set to sRGB in QT for approvals
Does this make sense? Is there a better way? Am I on point? Thanks so much, I really want to have this nailed down before I continue.

Jason talks about merging clips right a the beginning of the video.
http://tv.adobe.com/watch/cs-55-production-premium-feature-tour-/adobe-creative-suite-55-p roduction-premium-feature-tour-overview/

Saving Sequence and Effects Presets that go with the project itself

Hi, please be gentle as I'm a newbie to the site.
I have been asked to create several master Premiere Pro projects in CC (templates if you like) that will be being sent to quite a few ops worldwide, many of whom are completely new to the Adobe Platform, so I would like to keep things as simple as I can for them.
Is it possible to create sequence presets and a few effects presets that actually go with the project. At the moment when I've tried opening projects on another machine with a different user account, it overwrites everything with their presets and I can't find anything to stop that from happening. I'm assuming it's to do with sync settings.
However, is there a function to allow premiere pro to open the project with the project's last settings (sequence and effects presets) rather than default to the user prefs? As an aside, I'm not interested in workspace or keyboard shortcuts - that's down to them!
If it's not possible, is there a very simple step-by-step workflow I can use? But I'd really like to avoid trying to explain how to install sequence and effect presets to loads of different ops if I can!!
Finally (wrong forum I know) but I need to do exactly the same thing with the assocated After Effects master template projects, so any help on that would be gratefully received too.
Thanks

Welcome to the forum!
When it comes to effects presets, you should be able to right-click on the Presets in the Effects bin and Export Presets...
The ops can then import the presets using the same method (right-click on the presets in the effects bin and choose Import Presets...)
For sequence presets, I can't find a way to do it within the software. Someone else will probably have to help you find it, but I'm certain there is a file somewhere in your computer that stores all of your Sequence Presets, so it would be a matter of finding and sharing that file with the ops, and then telling them where to put that file.
Hopefully this helps out a little bit!

Where can I find archived mail and how can I retrieve it?

I archived emails I wanted to keep and retread later, but I don't know where they've gone to or how to get them to read. Any help will be appreciated. I have an iPad mini , the iOS is 6.1 I'm pretty sure.

What email service are you using POP3, IMAP, Google, iCloud, your internet service provider?
With POP3 by default the iPad is set to delete old emails automatically. POP3 accounts such as the one your internet service provider gave you will have settings on the iPad you can change. Go to Settings/Mail, Contacts, Calendars/"Your Email Account"/Advanced and set Deleted Emails/Remove to never. I find this option is not labeled very well and gives the impression it is for the messages in the Trash, but auto deletes messages in the Inbox as well.
IMAP accounts such as iCloud and GMail are on the server and effect all devices.

Replacing material while keeping old cuts and effects

I went through the entire process of capturing, editing, and authoring video with Premiere Pro CS4 only to realize that the first half of my hour-long project was captured with the wrong aspect ratio. The aspect ratio of the footage is 16:9, whereas the capture settings were set for 4:3. The discrepancy causes flickering and other unwanted effects to the video, but I'm not compelled to redo the entire business with all the cuts and effects that I so carefully worked on. Is there a way to recapture the footage off the DV tape, this time with the correct aspect ratio, and to import it to the project so that it would replace the respective, pre-existing while keeping all the editing decisions of the old footage intact?
Thanks a million for any help!

Just make a new sequence with the right aspect ratio.
Copy old timeline into new one.

3D Camera Tracker and Effects

Hello Everyone.
I have noticed when using Tracking with 3D Camera Tracker, and having effects, It dose not work well. So what we have to do when using Camera Tracker and Effects ? Maybe using a Precomp and apply Effects, and Track ?
Also, I used The Foundry Camera Tracker many times, and I noticed the After Effects 3D Camera Tracker did a better job.
Off course, I am very new to Tracking.
Thank you very much.

The proper workflow for most tracking is to track the original shot then use the tracking information to control something else. In the case of 3D camera tracking you apply the data to a camera and position a reference layer in the scene.
In some cases, where there is a lack of detail or the tracked object can be better defined by the addition of things like Color Correction effects you would apply the effect, pre-compose or pre-render to a lossless DI and then track the modified shot. Generally you would not use this modified shot in your production, you just want the tracking data.
On rare occasions there are compression artifacts or Intra Frame compression problems with the original footage that you will only get a successful track if you render the original to a lossless DI before tracking. You also need to render a DI if your original codec is not compatible with the tracker. Mocha is very sensitive to highly comprised formats and the Warp Stabilizer (a form of tracking) and AE's other trackers may also not like highly compressed originals either.
There is also one un breakable eternal law that no one has yet found a way to circumvent. Some shots will not track with one tracker but may track with another. IOW, you may not be able to do a 3D camera Track with the Foundry's Camera Tracker, or AE's Camera Tracker but you may be able to get a successful track with Syntheyes or MOCHA Pro, or other tracker software, but some shots cannot be tracked with any software. For example, an aerial shot of the ocean from an airplane cannot be 3D camera tracked because there is no fixed geometry in the shot. A shot of a wheat field with the wheat blowing in the wind many not be able to be tracked because there is no fixed geometry in the shot, but it may be able to be stabilized if the horizon is well defined.
If you apply any distortion effects or do masking or anything else the the shot will only track if you pre-compose but the effects may throw off the final result. If you must apply effects do them after you track the shot unless paragraph 2 applies. If your track fails and you are confident that there is enough fixed geometry in the shot to track then see paragraph 3.

How can I disable iMessages from archiving messages and attachments?

I noticed while browsing ~/Library\Messages/ that iMessages has been archiving my messages (Archive folder) and saving attachments (in a separate Attachment folder). Under the settings for iMessages on OS X 10.8.2 Mountain Lion, I don't see any options to disable this. The only thing close to that is already unchecked: Save history when conversations are closed.
Any ideas why iMessages is saving all this information? How do I disable it? My concern is that it's going to keep accumulating data overtime. I don't want to keep having to go back in there and delete those two folders constantly.

Hi,
This somewhat date back to the way iChat's Saved Chats were once Stored.
At iChat 5 (in Snow Leopard) you could choose to see the last chat - (when opening an new chat with a person you had chatted with before) or parts of the Last Chat in terms of the Last so many IMs.
Example Pic of iChat 5's Prefs
Since then the management choices of the Save Chats has changed in both iChat 6 and Messages.
Messages stores Chats two ways if they are iMessages.
You can elect to Save them in Messages > Preferences > Messages.
It also store the chat.db and other databases items which includes the Attachment items
The chat.db is the bit that fill in the "history" if you iMessage the same person even if you are not saving the Chat in a formal sense in the App's Preferences.
This is irrespective if your delete the Conversation from the Messages main window.
How big these Databases get obviously depends on your iMessages usage.
Striker's link seems to be about a similar issue on an iPhone (I presume it transfers to other iOS devices) but I am not sure that it is relevant in this situation.
Edit.
I should have been clear that you cannot change the database behaviour.
9:49 pm Sunday; October 6, 2013
 iMac 2.5Ghz 5i 2011 (Mountain Lion 10.8.4)
 G4/1GhzDual MDD (Leopard 10.5.8)
 MacBookPro 2Gb (Snow Leopard 10.6.8)
 Mac OS X (10.6.8),
 Couple of iPhones and an iPad
"Limit the Logs to the Bits above Binary Images."  No, Seriously
Message was edited by: Ralph Johns (UK)

I am a newbie...and I think I did a big no-no as my Ipad isn't working. I synced it to a second computer at work which is a new Imac after already syncing to my pc at home with Itunes. Now it says it can't restore and can't get it to open. HELP!

I am a newbie...and I think I did a big no-no as my Ipad isn't working. I synced it to a second computer at work which is a new Imac after already syncing to my pc at home with Itunes. Now it says it can't restore and can't get it to open, getting error messages but can't fix myself. Can anyone help??

iPad can connect only in one iTunes Library. If you want to connect it to a iTunes Library then you have to erase it. You can erase it from iTunes. Make sure you iPad doesn't have a password, or if it has a password make sure that you connect to the computer and enter the password of your iPad

Print Archived document - and get it into spool

Hi
I need to merge the ServiceOrder - shoppaper - with another pdf document.
My suggest will be to print the shoppaper again, and pick it up in the spool - the issue with that is, I need the service order to be printet in the spoolfile, so I can pick it up later by selecting from the spooltable.
The problem with this, is that I can't get the service order number to be printet on the spool.
Any who know how I can do that ?
Another solution could be to reach the pdf file from the archive server, and run a copy of program RSPO0023, so the pdf file can be "moved" into the spool.
The problem with this is that I don't know how to point out the pdf file on the archive server.
Any who know how I can do that?
Or do any have a better suggest than above?
Thanks,

No other application can open PageMaker files, only PageMaker. You'd need a copy of PageMaker (and license) and a Mac of ancient vintage, one with a floppy drive. The ancient Mac is needed not just to read the floppied but to run PageMaker which won't run on modern Macs.
Frankly, if you have a paper copy, scan it and start from that!

Newbie ?: Archive Footage and Effects

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