Premiere Workflow Final Product Quality Question - General

Clarification: This is just a general workflow question regardless of hardware/software/cpu/gpu. I'm also not asking about rendering times - just how the final product looks.
Do any one of the following 3 workflow methods have any bearing on the "quality" or "look/feel" of the final output of a project.
Specific effects are named in my examples just for the heck of it - the root of my question is if any given workflow with any given effects applied affects the quality of the final export/render.
#1) Raw Clip => Apply Sharpness => Apply Levels => Apply Three-Way CC => Export final product.
#2) Raw Clip => Apply Sharpness => Export Clip => Import Clip => Apply Levels => Export Clip => Import Clip => Apply Three-Way CC => Export final product.
#3) Raw Clip (sequence 1) => Apply Sharpness => Create sequence 2 and drag sequence 1 onto it => Apply Levels to sequence 2 => Create sequence 3 and drag sequence 2 onto it => apply Three-Way CC to sequence 3 => Export sequence 3 as final product.

Jim's answer is probably based on the fact that no matter what you do to a video, exporting it will degrade the quality almost every time. But that is not only acceptable, but absolutely necessary. What video would you have that did not require some adjustments, even if just a straight cut.
In any case, I think the answer you really want is:
#1 looks normal. So that's fine.
#2 will degrade the image every time you export unless you export to a completely lossless codec like Lagarith - which creates HUGE files and is totally unnecessary. It is just a bad workflow.
#3 is technically the same as #1. It's fine. No problem. In fact, it can be quite handy sometimes to work that way. Nesting does not cause the problems that exporting does.

Similar Messages

Premiere Pro Final Product is Grainy

I have been using Premiere Pro (currently Premiere 3.0) for a few years now. My video export has always looked good on my computer and on a burnt DVD. That said...my photos which ae High quality do not look as impressive. They look slightly pixilated and at times grainy. I have tried resizing the photos to match my project's sizes and still no improvement. Here is my info:
Files Size 49.1 MB
Image size 720x480
Pixel Depth 720
Frame Rate 29.97
Source Audio 48000 - 16 bit stereo
Project Audio 48000 - 32 bit floating point stereo
Pixel Apsect 1.2
my photos are 4.65 in size
Dimensions 4288 x 2848
Horizontal and Vertical Res 240
Bit Depth 24
Again I have tried to resize them...and its seems to make no difference.
Three-year headache now! Please help!!
~Nikon

Nikon,
The best quality that you can obtain with PrPro and Video of Still Images, is by Scaling your Stills to the Frame Size of the Video Project, say 720 x 480 for NTSC, in Photoshop. The Scaling algorithms are much better, than those in PrPro. This ARTICLE goes into more detail. As you are on a version of PrPro, prior to CS 5, you can ignore the discussions on how things improved, as of CS 5, with the Mercury Playback Engine.
Depending on the version of PS that you have, there will probably be two very useful Interpolation algorithms for Scaling (with Resample checked), and you might want to experiment with them, and your Images, to choose whether it's better to use Bicubic Smoother, or Bicubic Sharper. Much depends on the individual Image, and on what you find the best. I use both, but it will depend on the original Image.
As others have stated, SD Video is much, much smaller, than your originals, so will never look so good, but with the help of PS, you can still get them, as good as it gets.
Good luck,
Hunt

Canon EOS 7-D/Workflow Final cut Pro questions.

Today i just upgraded my final cut pro from 5 to the latest 7.0.3, and im having trouble viewing my clips.
First off, im very confused.
http://www.usa.canon.com/dlc/controller?act=GetArticleAct&articleID=3249
i read this entire article and still cant view my clip in the timeline. Here's what im doing.
I plugged in my card into a card reader,
next i opened final cut pro, and i opened up log and transfer.
my clips are all there, and i can preview them all.
Step 3 is what confuses me.
3. In the Import Preferences window, select 'Canon DSLR' as your Source, and then select the Transcode to format of your choice (such as ProRes 422).
when i open up my settings/preferences in the log/transfer settings i cant seem to find "canon dslr, or how to make it my "source".
instead, i see AVCHD PLugin, P2 PLug in, MPEG2 Consumer Cameras, and Canon E1. i selected the Obvious Canon E1 (because thats the plug in you download) and when i added it to the queue it finished and i am still unable to see it in the right window. There's audio but the screen is white.
So the burning questions i have..
What am i doing wrong?
What do you use for your easy format or custom format?

First don't use Final Cut to import directly from the card. Use Disc Utility to make a new image of the card from your card reader onto a hard drive. Make a back up copy of this by dragging it to another drive if possible. Now if anything goes wrong you are secure. Open one of these disk images and log and transfer from them with FCP.
You do this by opening log and transfer window. Use the top left button in the window to point to the files. On the other side of the left pane at the top open preferences, select the Canon E1 but then double click the little arrows which should open another window and offer a selection of versions of ProRes, choose Apple ProRes or ProRes LT, anything higher is overkill. Select the files you want and add them to the import queue. They should start importing automatically. You should be able to see files appearing in logging bin progressively. Whilst the import is happening do not touch anything else in FCP, allow the whole import to finish before playing with them.

Unhappy with final product - bringing my questions/issues to one thread

I have been trying to get what I consider an acceptable DVD from my new Mac. I have started a couple of threads and posted in a couple of others, but I figured it was better to bring all my questions/problems to one thread. I'm going to try to give all the information that I can think of, in hopes that yall can help me.
I have iMovie11, iDVD7.1, Toast 8 Titanium, and Final Cut Express4.0.1.
At this time, the video I'm working with came from a Flip Ultra HD (the 30fps version, not the newer one that does HD at 60fps).
I have edited an 18 minute project, and created numerous versions of it, which I then burned to DVD with Toast. The final product on each disk all look pretty much the same to me, with the one problem that is making me go nuts --- the video playback does not appear "smooth". It looks like it is playing back at less than 30 frames per second.
I don't expect perfect video quality from the Flip camera - actually the video is acceptably clean and sharp (for me) - it's the frame rate thing that is killing me. In the past I have burned numerous DVDs from MiniDV through Sony Vegas that play back perfectly.
As of tonight, I have discovered that I apparently chose the wrong "easy setup" for FCE, it was on DV-NTSC, and I think I have found that it should have been on HDV-Apple Intermediate Codec 720p30 - although I might be wrong about that as well.
I did not do any kind of conversion to the Flip videos before working with them in FCE - don't know if this would be part of my problem.
In my trying various setting for the export, I have found "Key Frames Every xxx" with a default at 24 - don't know what this is or if it is related to my problem.
I don't mind re-editing the entire project if there is something I can do that will make this better, or if this is as good as it is going to get with this source video.
Also - I've noticed that anytime I add or make any changes to a transition, I have to re-render that section. Is this normal, or is it because I'm using video straight from the Flip (without MPEG Streamclip'ing) it first, or some other reason - maybe related to my wrong easy setup choice?
Please let me know if there is other information I can provide that might help you help me. I can see that I will love working with Final Cut Express and playing with all that it can do once I figure out how to set the export settings like they should be.

All the source video is converted, new project started with correct easy setup, corrected clips imported - the video looks awesome in FCE preview.
I notice that it still requires a re-render where titles are added from Live Type - is that normal or did I have something wrong with the items coming from Live Type?
I also exported a short video 2 different ways:
export - quick time movie - self contained.... This one has a very subtle jump just before and after each transition that I don't see in FCE while editing, it's only in the completed version
and....
export - using qt conversion
format - quicktime movie
options - compression h.264
quality - high
key frame rate - 24
frame reordering - yes
encoding mode - multi-pass
dimensions - compressor native 1280x720
This one does not have the jump before and after transitions, but from what I read earlier in this thread, I should be able to just use the "export - qt movie - self contained" - correct?
Message was edited by: bhamjeff

Final Image Quality in Film, Avid vs. FCP

Hello all,
I'm heading up post-production and editorial for an independent feature film in pre-production. There are some potential producers that are interested in the film, but they're saying that (from their experience) the films they've cut on Avid have turned out to be visually superior than those cut on Final Cut Pro.
Now, I have no specifics as to the exact post-production workflow for either of the films, but I feel as though this statement is incorrect, as it is my assumption that give the same post-production workflows, the image quality would be the exact same.
I, for one (as the editor attached to the project), am for using a Final Cut Pro workflow, specifically because I already have a system set up:
Mac Pro 2.66 GHz Quad
5.0 GBs RAM
Final Cut Pro 5.1.4
Kona LHe
Cal Digit HD444 6 TB RAID
Toshiba 26" HD Client Monitor
1402 Mackie Mixer
DSR-1500 DVCAM Deck via SDI and 422 machine control
Personally, I have no issue with editing on either system, as I am well versed in both Avid and Final Cut Pro. However, this is an independent feature, and saving money is key. So why cut on Avid and have to rent a bay when we could cut on mine for free?
As far as finishing is concerned, we're planning on cutting back to the original negative (using Cinema Tools as our aide).
Can anyone give me a possible reason for why cutting a feature-length on film in Final Cut Pro would not look as good if it were cut on Avid, assuming the post workflow is the EXACT same?
Thanks!
Mac Pro Quad 2.66 GHz / 5.0 Gigs RAM / GeForce 7300 GT / 2.0 TBs internal SATA Mac OS X (10.4.9)

Specifically, the producer in question noted that in
the past, when using FCP to cut a feature, they had
issues in the sound mix.
In my experience, I've never encountered a sound
mixer that's had a problem with an OMF export from a
FCP sequence when they create their ProTools
session.
Additionally, they pointed out that only Avid offline
projects would translate to a Da Vinci DI suite, and
FCP wouldn't work as well. Is there any truth to
this? I find this hard to believe...
It sounds as if your Producers don't truly understand the details of a post-production workflow for a professional film. They either only know the brands that they paid for, or they tried to unrealistically accomplish too much with too little resources and facilities on prior films, and hung their hats on the lesser of two evils. If the sound was edited, mixed, and somehow mastered on AVID or Final Cut only...without going into sound design/final mix/mastering in their respective stages and facilities...either one has an equal chance of sounding crappy...and that's a good chance. As long as the editor knows what he/she is doing and how to prepare their work for the next steps, a final mix/design can be just as good coming from a film edited on FCP as from AVID.
FCP offlines can translate just fine for AVID online/correction and what have you as long as this is planned for, researched, and understood from the outset. Basic things like knowing not to repeat frames if you're going back to film negative unless someone's willing to pay for the interpositives/dupes and such...apply if you're preparing for onlining. Same goes for sound and knowing that the final mix is where things will really take shape. the post supervisor needs to make sure that the editor and online/color correction facility (if different) are in perfect communication with eachother, and that the editor will know how to prepare and export their project to be compatable with the Davinci or whatever. The people who perform this work should generally be very open to your questions and attention, because it makes their job easier and more accurate when they're getting things well-prepared, rather than having to redo things that should be in place already. I've prepared simple EDL's which have worked fine for onlining and correction...but I made sure, step by step, that I was delivering what they needed, rather than just making it and shipping it out, and I was there with them for the whole process in case something was missing or confusing. Went without a hitch.
For sound design, I only do a basic edit during picture edit for sync work and music selection/editing/matching, or a rought mix that will approximate the final results, but I won't use that for the actual design except for perhaps a scratch reference. The rest...EFX, ambiences, foley, etc. is done in Pro Tools, and I can simply bring the project in to a mix house and open it on their system.
I guess you could hypothesize that there's a smaller, younger, and less-experienced pool of talent using primarily FCP than those using AVID, since AVID's been around longer and is still the "standard''. And a well-established, fully AVID-based in-the-can to on-the-screen facility will be more capable than a single FCP suite. But that's not FCP's fault. As long as we know the steps that have to be taken, FCP is fully capable of performing perfectly in its step on the ladder, and moving the project to the next.
So again, it seems like the producers are inaccurately attributing their disappointments to machines, instead of workflow and compatability that can and should be controlled by people who understand it. It's ususally the Post Supervisor's job to make sure of that. Of course, not every production will have the right budget for this, but the producers need to understand where the money for post goes and what things (along with the people, of course) need to be paid for in order to get the quality deserving of a professional feature film. That's the producer's job...at least one them.

Visual quality questions

I apologize in advance for the length of this post, but I want to be as clear and detailed as possible about my process and goals using iMovie and iDVD.
I read posts on this forum frequently and know that many users are having problems with the visual quality of the final product and are looking for help in finding the best method of sharing.
I use still photos exclusively in my projects. I shoot using jpeg fine or raw and I use a variety of transitions as well as the KB effect on a few of the photos when creating projects. My goal is to create a slideshow movie that I can burn to disc and give to friends.
Currently I am involved with an Apple Tech Support trying to solve a problem that is beyond the scope of these forums. Last week I was asked to create a 10 slide project using a variety of transitions and the KB effect on 2 or 3 photos, share through Export using QT, and to send it to my contact through her Mobile Me. The quality was appalling - as I knew it would be because I have tried various methods of sharing - all with poor results, with one exception. Sometimes the quality after the share is excellent but deteriorates in iDVD; sometimes the quality after the initial share itself is poor. It all depends on which process I choose. Reverting to iMovie HD has not proven successful either.
The one exception for me is to share using "Export Movie". I end with a product icon on the desktop with a title.mov signature. (I used this method last week to resend my 10 slide test project to Apple Support and my contact person commented on the high quality.) The time difference creating the project to me is telling: for example, for a slideshow project that is 24 minutes long in iMovie it takes almost 2 hours to create a movie using "Export Movie", but 36 minutes or less using any other sharing method.
I certainly have not read every post on this forum, nor do I have the expertise or skill of the people who respond to questions from others about visual quality. But I haven't seen the process I use suggested by anyone else. (I have offered my solution to the problem once or twice when I am certain that the questioner is using still photos.)
So my questions are these> Is there a difference in how iMovie/iDVD handle video vs still photo projects? Is the solution I have found to retaining high visual quality just a fluke that won't work for anyone else? I would like to be helpful to others if I can be, but don't want to waste other peoples' time if my solution really isn't a solution at all.

The problem is with imovie'08 or 09 and their way of discarding every second line
in interlaced video material. Not suited for DVDs.
Never got anything alike iMovie HD 6 or FCE/P from them.
Notes on DVD quality
*DVD quality*
1. iDVD 08 & 09 has three levels of qualities.
iDVD 6 has the two last ones
• Professional Quality (movies up to 120 min.) - BEST
• Best Performances (movies less than 60 min.) - High quality on final DVD
• High Quality (in iDVD08 or 09) / Best Quality (in iDVD6) (movies up to 120 min.) - slightly lower quality than above
2. From
• FCE/P - Export out as full quality QuickTime.mov (not selfcontaining, no conversion)
• iMovie x-6 - Don't use ”Share/Export to iDVD” = destructive even to movie project and especially so
when the movie includes photos. Instead just drop or import the iMovie movie project icon (with a Star on it) into iDVD theme window.
• iMovie’08 not meant to go to iDVD. Go via Media Browser or rather use iMovie HD 6 from start.
3. I use Roxio Toast™ to make an as slow burn as possibly eg x1 (in iDVD’08 or 09 this can also be set)
This can also be done with (Apple) Disk Util tool.
4. There has to be about or more than 25Gb free space on internal (start-up) hard disk. iDVD can't
use an external one as scratch disk (if it is not start-up disc).
5. Verbatim ( also recommended by many - Taiyo Yuden DVDs - I can’t get hold of it to test )
6. DVD-R (no +R or +/-RW)
7. Keep NTSC to NTSC - or - PAL to PAL when going from iMovie to iDVD
8. Don’t burn more than three DVD at a time - but let the laser cool off for a while befor next batch.
iDVD quality also depends on.
• HOW much free space is there on Your internal (start-up) hard disk. Go for approx 25Gb.
less than 5Gb and Your result will most probably not play.
• What kind of movie project You drop into it. MPEG4 seems to be a bad choice.
other strange formats are .avi, .wmv, .flash etc. Convert to streamingDV first
Also audio formats matters. I use only .aiff or from miniDV tape Camera 16-bit
strange formats often problematic are .avi, .wmv, audio from iTunes, .mp3 etc
Convert to .aiff first and use this in movie project
• What kind of standard - NTSC movie and NTSC DVD or PAL to PAL - no mix.
(If You need to change to do a NTSC DVD from PAL material let JESDeinterlacer3.2.2 do the conversion)
(Dropping a PAL movie into a NTSC iDVD project
(US) NTSC DVDs most often are playable in EU
(EU) PAL DVDs most often needs to be converted to play in US
UNLESS. They are plabacked by a Mac - then You need not to care
• What kind of DVDs You are using. I use Verbatim DVD-R (this brand AND no +R or +/-RW)
• How You encode and burn it. Two settings prior iDVD’08 or 09
Pro Quality (only in iDVD 08 & 09)
Best / High Quality (not always - most often not)
Best / High Performances (most often my choise before Pro Quality)
1. go to iDVD pref. menu and select tab far right and set burn speed to x1 (less errors = plays better) - only in iDVD 08 & 09
(x4 by some and may be even better)
2. Project info. Select Professional Encoding - only in iDVD 08 & 09.
Region codes.
iDVD - only burn Region = 0 - meaning - DVDs are playable everywhere
DVD Studio pro can set Region codes.
1 = US
2 = EU
Yours Bengt W

Premiere Elements 7 Basic Editing Question for DV

Hello all,
I have PE7, a Q6600 quad-core, and Windows 7 64bit.
I have captured about 6 hours of Standard Definition 16:9 DV footage from my church's grand opening ceremony. Video was captured from an old Pana PV-GS320.
The church wants a dynamic video to be produced from the captured footage (60 minutes at the most in length). I plan on doing many different effects including semi-transparent video layering, picture in picture, inserting photographs, and inputing audio clips from the ceremony. The final product will be a standard definition DVD disc.
I've done some research regarding how DV is interlaced and output for DVD should be interlaced (unless I'm wrong in that conclusion, let me know). I also know that doing heavy editing with interlaced footage (slowing/speeding footage, zooming in and out, rotating, multiple layering, etc) may create flickering and "mice teeth" in the video. I've also searched through these forums and keep on running into HD questions/solutions... I guess I'm asking an old question that was probably answered long ago when DV tape ruled the world.
QUESTION 1:
So, if I may ask, in order to get the best results, should I prepare my raw footage in PE7 before editing it by (1) by deinterlacing it? (2) exporting it as progressive? (3) both? (4) leave it alone and begin editing away? or (5) am I missing another option?
QUESTION 2:
Also, what resolution would be best to import the photos into the project?
I know the best way to work with any video is to make as little changes as possible to it, but this is unavoidable in my case. No one wants to sit through 6 hours of video...
Thankyou very much for reading my questions and I really hope you have some time to answer it! Thanks for any information! I really appreciate it!
-141rockwell

Relax, rockwell. You're making it all unnecessarily complicated.
If you've captured your video as DV-AVIs over a FireWire connection, you won't get "mice teeth" in your final product. The program is designed to work with interlaced video and create interlaced DVDs. The results should look virtually as good as the original footage! You can't damage video with "excess editing."
Just trust the program to take care of the technical issues. You can concentrate on the editing.
As for any photos you want to add, you'll get the best results if they're no larger than 1000x750 pixels in size, per the FAQs to the right of the forum.
http://forums.adobe.com/thread/431851?tstart=30
Meantime, if you're looking for some basic help with the program, be sure to check out my free 8-part Basic Training tutorials at Premiere Elements support site Muvipix.com.
http://forums.adobe.com/thread/537685?tstart=0

Control of serial numbers in productions (parts and final product serials)

Hi,
We are starting using our production module in SBO 9.0 PL11 and it is all quite messy.
We need to manufacture an item that has a serial number made of parts, some of which have serial numbers. Just imagine a car. The car will have its own serial number, but the engine, the radio and so on will have their own serial numbers. But the cables, tyres, etc do not have a serial of their own.
We set a BOM model, made of every part (with or without serial) and set every line to manual.
Then we place a PO for our parts, and then do a Goods Receipt and enter the individual items' serials.
Then, we issue a Production order for our final product made of all of our parts in the BOM. Then we release it for production.
Next, it all gets messi. If we create a receipt from production, we can issue the serial number of each of our final products.
If we create an Issue for Production, we can choose what serials to pick for production.
Big problem is that we loose all traceability. There is no way (or we can't find it) to know what are the serials of the parts that created the final product.
Not only this, issue for production looks (serial number transaction report-wise) looks like a goods issue, so just a way to decrease your parts stock. And receipt of production looks like a goods receipt. So you just now you received something for production or that you issued it to production, but there doesn't seem to be a link between them. No traceability at all.
Can anyone throw some light into this? I am sure we are doing something really wrong, but can't see what.

Hi,
1. But how do we control what serial numbers for each part we used to create the final product specific serial? (I use engine #003 and radio #376) to create product with serial #076. And we always produce in quantities greater than 1.
Please provide an sample process production with FG item and components with required serial format to check
2. This query is not returning any rows. I am inputing a final product code, with production orders, and nothing shows up.
As mentioned, the above query works for batch managed items. Once we conclude process, I can try modify above query to meet your purpose.
3. It sounds really complicated to have to open both receipt and issue to track a single manufacturing operation.
You can use relationship map option to view both issue and receipt for single production.
4. Besides that, what is the exact workflow? I don't quite understand issue and receipt, should I run both independently?
Standard work flow for production order:
1. Create bill of material
2. Create planned production order based on above BOM
3. Make sure required components are arrived.
4. Change planned to released status.
5. Issue components to production by issue production
6. Receive finished item from production through receipt from production.
Thanks & Regards,
Nagarajan

Levels of audio drops (audition to premiere to final video)

Ok, I export from Premiere to Audition. Mix there and set the peaks to -6db.
When re-export to Premiere the peaks change to -9db.
And when export for final product (and mp4 file) the peaks change again to -12db.
So I am loosing 3db in every export.
Did anyone have this problem and found an explanation / solution?
thanks

"A Bars & Tone Clip in the Source Monitor displays XXdB in the Levels meter.
Same Clip displays XXdB-3dB from the Timeline in the levels meter."
Yes.
But I found what is wrong. My sequence is DNxHD 220x. That I chose to use the previews in export. And the audio tracks in this option are set by default in mono 48Hz and 16bits. And I have stereo 48Hz 32bits. Now I made a new sequence this time changing mono for standard and the problem disappeared.
A silly mistake on my part.
Thank you very much for the help.

BLURRY FINAL PRODUCT!!

Very VERY FRUSTRATED. Just spent hours and hours putting together a slide show using Premiere Elements 12 - and the final product (after rendering) turned out VERY BLURRY! I don't understand how this happened. All the pictures and slides added were crystal clear until rendering. And watching the final DVD was a total disappointment. I am not happy that we spent all this money on a program that is not simple to use. The free program I used to use worked better than this. Please help me fix this slideshow.

jenn
Thanks for the reply. I will post information in whatever format you feel that you best understand so that we can get you the Premiere Elements end product that you seek. From what you have written, you want your slideshow in DVD-VIDEO format on a DVD disc. That is the format that will play back on the TV DVD player. Whether that DVD-VIDEO is standard 4:3 or DVD-VIDEO standard widescreen 16:9 will depend on how you set up the Premiere Elements project that produced it.
This all leads us back to what project settings you used to produce the DVD-VIDEO on DVD disc and how you did or did not match up the properties of the source media with the project preset (also known as the project settings). This is not complicated, but it does require details consideration so that you get a decent end product.
Also, in your end product is it your source videos or photos that are showing as blurry or is it both? Does anything display non blurry?
You have said that your source video media are coming from
GoPro camera
iPhone
Nikon Digital Camera
Kodak (underwater)
Each may be giving you source video in different formats (sizing et al). A Premiere Elements project has only one project preset. So if you are importing different formats into that one Timeline, you need to set priorities. Pick you prime source, set the project preset for that, and then fit all the rest as best you can after you import them.
Is it possible for you to round up the brand/model/settings for each of the above sources for your video in this project? There are all sorts of pitfalls to avoid so that you are not left with burn to failures, blurry images, black borders, etc. iPhone video may present with a variable frame rate and not let you import it or give you out of sync audio. Photos grossly oversized for the project can cause failures and crashes. The above is my overview of the situation.
The answers will be in the details. And, there are many that cannot be overlooked especially when you come with "Blurray End Product" as your thread title.
Please think about the above. Please try to give us the details of the source media going into the project that will produce your DVD. Then we will help you put all that information together (step by step) for a Premiere Elements project to produced the DVD-VIDEO on DVD disc.
Thanks.
ATR

Where else can I go for answers to my CS production Premium questions?

I have not gotten any replies to my questions. Where else can i go to get answers to my Creative Suits Production Premium questions so I can use my program? I keep getting error messages when importing video and cannot even begin.

That's an invalid resolution. Adobe products only support standardized resolutions as they are commonly used in video production, well, at least in Premiere. This has something to do with hardware acceleration features for realtime playback. You should be able to open the file in After Effects, though. If that still doesn't work, you may have to run it through a conversion tool like Handbrake. To avoid such issues in the future, you should set your preferences on teh phone to a standard resolution like 640x480, 360x480 or 720x1280 pixels. It may look squished on the phone, but will be much better for later video processing. Also use plain MP4/ H.264 files, not MOV if possible.
Mylenium

CONVERTING FINAL PRODUCT TO FLV FORMAT FOR ZMAG DIGITAL MAGAZINE

I am trying to get my final product into a flv format to send to my bosses to use on our new zmag online digital magazine. I have no clue how to export or convert my final product in final cut pro 6.0.1 to this type of file. I am able to do wmv, mov, avi etc. Can someone help me and explain how I can get my video into flv format?
Thank you sooo much!
Victoria

Smaller files typically equate to lower quality.
With that understanding, you'd lower the video and audio bit rates (trial & error) until you get the size file you want.
Consider Tony's suggestion of making a H.264 file and changing the file descriptor to .flv
H.264 is an excellent codec for internet distribution.

You saved me before...A quality question

I finally got my DVD made! BUT...I swear you can see every pixel on the screen. If a man has white hair, there are white pixels all around his head. Movements look like a blur of disorganized pixels, even stationary posters on the wall have their color pixels way past their borders. Jpegs look great, titles that move do not. I went over all the quality questions I could find on here, but most of them just confirmed I am in way over my head. I can not seem to change any of the settings, not the bit rate or anything else that would seem to effect the quality. I have my project set up as a DV NSTC, I did the Adobe encoder on high quality.
For an extreme newbie with a very important project due...does anyone have any tips???
Pleeeeeaaaase?
Sarah
PS...My footage came from a DVD recorder.

Sarah,
While your original footage was compromised by beginning life as an mpeg, you should not be getting the extreme blockiness you are seeing with the DVD. That being said, don't expect to be able to maintain the same quality as your original footage.
A couple of questions. Does the material look OK playing from the timeline? How are you exporting to Encore? What are your exact settings (everything and be sure to scroll all the way down...VBR, CBR, data-rate, etc)? What is your burn speed? What kind of DVD media are you using? What kind of device do you plan to play the DVD back on?
If all else fails, try a better encoder like TMPGEnc ($60?).

I am trying to complete a form but can't get to the final drop down question as it is not displayed because it falls below where my screen ends. i have tried changing the resolution but that doesn't work. any suggestions?

i am trying to complete a form but can't get to the final drop down question as it is not displayed because it falls below where my screen ends. i have tried changing the resolution but that doesn't work. any suggestions?

brilliant
google chrome works where safari doesn't on my macbook air. many thanks
i now have an embarrassing qu. have dowloaded spider solitaire (sad!) and i can't add cards at the bottom of a column for the same reason - the display cuts short. i have tried to extend it with the arrows in the bottom corners but it makes no difference. any ideas?

Is there a way to develop the same raw file multiple times, each time keeping the final product?

I've been working with my NEF raw files. When I import one into LR I can start developing it right away, which I've done. I also know that the modifications aren't made to the raw file but kept in an XMP file. Since the I'm not actually changing the raw file do you know if there is a way to make a secondary edit of the file?
Here's an example. Let's say I have a raw file and I want to develop it in color. Then when I'm all done I want to start over and develop it again and black and white but keep the color one as well.
I know I can undo all the edits I've made but then I lose all that work too.
Is there a way to develop an image twice and keep both final products? I know copying the raw file and renaming it is one crude way but I have to believe there's a better, easier way.

Yes, you can make a virtual copy at any time.
If you want the virtual copy to be un-edited after you have done some editing to the "non-virtual copy", you could open the "non-virtual copy" in the Develop Module, click on Reset, create the virtual copy, then undo the Reset operation (click on the last real edit in the History Panel)

Premiere Workflow Final Product Quality Question - General

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