PS 3D Timeline 10f limitation on imports

When importing 3d objects (any format 3ds or obj) into latest Photoshop 3D enviroment... It limits me to 10 frames in timeline. What is the workaround for this?

One source is from url: http://www.creativecrash.com and another from http://www.turbosquid.com'
TurboSquid had fast response but only to say to "contact Adobe" 8-\
Thanks again
J

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Premiere Pro file size and timeline duration limits?

Hello. Are there any file size limits for importing JPEG or MPEG files and exporting WMV? I am looking at some extremely long footage. Thanks!
Message was edited by: Kevin Monahan

I understand clients ask for things, and normally I would suggest that you merely export a second time to show them the H.264 results. Higher quality and smaller file.
I don't know how long it would take to export a 24 hour sequence though. That might make it a waste of time. Unless it can be done overnight, I suppose.
You file size should be interesting. It will depend on how low you can take the bitrate and be happy. Or, it might be a case of using a higher bit rate and just dealing with a large hard drive.
Please post again with your results. This is a new one for me, and I would love to hear about it.

Limited image import from scanner

I find only limited image import options under Photoshop CS5 and CS6. Under CS3, I have a number of options which I have used frequently, regarding preview, zoom, desceening, filtering, stretch, noise removal, fading, grain, etc. None of these seem to be available under either CS5 OR CS6. In fact, under CS5, under "FILE>IMPORT", I I don't even GET the Canoscan 8400F opton. This is pretty basic stuff, getting good quality off a scanner. What's up? Do I need to go back to CS3 for everything? It actually worked.

Hi there, I'm sorry you aren't able to scan.
What operating system are you using? There are known issues with scanning while running Mountain Lion, in particular. If this is the case, Adobe engineer reccommends trying Image Capture:
Image Capture is a utility program in the Utilities folder inside the Applications folder, and is a standard part of Mac OS X. As far as I know, Image Capture does work properly in Mountain Lion.
ImageKit refers to the underlying Cocoa frameworks (programming interfaces) used by Image Capture as well as by Photoshop and other applications to perform scanning. For reasons I won't go into here, these are not working correctly in Photoshop, but are in Image Capture, which is the problem we're working to resolve with Apple.
The scanners that work with Image Capture/ImageKit are also a standard part of Mac OS X, which means that users do not have to go to a different web site (e.g. Epson's web site) to download and install drivers for their specific scanner, which you do have to do with TWAIN. Scanner support (numbering in the hundreds) through Image Capture/ImageKit is already included in Mac OS X "out of the box".
We added support for ImageKit scanning to Photoshop CS6 because we recognized it was unlikely that scanner manufacturers would go back and rewrite their TWAIN drivers to work in 64-bit mode (especially older scanners that are no longer manufactured).
One advantage is that as improvements are made to ImageKit and as more scanners are added by Apple to their Mac OS X releases over time, Photoshop users get those "for free", so to speak. Unfortunately, changes to ImageKit made for Mountain Lion have had the effect of breaking this feature in Photoshop, but we are confident this will get sorted out.
Here is an article talking about known issues with scanning in CS6, and some workarounds. It suggests downloading a TWAIN driver (more information here) or using your scanner's scan utility (although this might not be the optimal solution for you, considering you came to the forum).
I hope this information helps!

Are there any limitations for importing Apple Aperture Libraries for Lightroom 5.7 ? What can be the hardware limitation importing large Aperture Libraries like 200 gb ? Or is importing larger Aperture Libraries even possible at the moment for Lightroom 5

Are there any limitations for importing Apple Aperture Libraries for Lightroom 5.7 ? What can be the hardware limitation for importing large Aperture Libraries like 200 gb ? Or is importing larger Aperture Libraries even possible at the moment to Lightroom 5.7 ?

dj_paige wrote:
As far as hardware restrictions, the only one I can think of is that you certainly need enough free space on your hard disk to accomodate the masters from your Aperture library.
IIn which case, ensure all your masters are "referenced" in Aperture, and that you then go to Options in the Lightroom import box and import photos in their existing locations.

Every time I import an .fcpxml file into Final Cut Pro X, the timeline doesn't get imported

So I had exported an .fcpxml file from one machine, which i had to format. So, after formatting the machine, each time I import the .fcpxml file into Final Cut Pro X, The timeline remains empty

Use MPEG Streamclip from Squared 5 (free software) to convert the media to something like ProRes 422, then import into FCP X.
MPEG Streamclip can cope with many codecs.
Andy

Why do i lose the audio of my Timeline movie when i import back into ImovieHD?

I lost everything of my Imovie project but the Imovie Timeline clip, so i wanted to salvage all my edits and imported the clip into Imovie to try and use it and there is no sound. There is sound when I play it in Itunes or Quicktime. Is there any way I can find the sound in Imovie? Thanks!

nu2computing:
Welcome to the Apple Discussions. To get the exported files to have the same file name as the edited titles in iPhoto you must use the "Use Title" option when you're exporting. That will give you the file names that you want.
Do you Twango?

File size limitation to import into imove

I can't import a movie into imove that is 999 mb. Does this application have a file size limitation. The file is saved as a *.m4v. Thanks for your help using imovie 09.

EyeTV should have an iMovie 09 Preset. That should make sure there are no extra tracks included.
Another way to get files out of EyeTV3...
Get MPEG Streamclip, which is free.
IN EyeTV 3, right click on the recording, and Reveal in Finder
Right click on the .eyeTV file in the finder and SHOW PACKAGE CONTENTS
Drag the .mpg file into MPEG Streamclip.
FILE/EXPORT TO QUICKTIME from MPEG Streamclip, choosing Apple Intermediate Codec.
Import this AIC file, which will be in a .mov container, into iMovie.
Note: You may need the Apple QuickTime MPEG2 Playback Component for this to work. MPEG Streamclip will tell you if you do. It costs $20 from Apple.
Message was edited by: AppleMan1958

File size limitation while importing from camera?

I just installed QuickTime 7 Pro and tried to import a movie from my video camera (mini DV).
It worked ok until it stopped with the pop up message like "file too large". That happened after 35 min of recording and 7.8 GB file size.
Is there really a limitation in file size?
thanks for feedback

Th DV quality is not as good as mp4 would be but it is a nice alternative.
If miniDV camcorder is recording in standard DV, then the Vidi captured quality should be the same as your source file on the camcorder. If camcorder is recoding in HDV and down-converting to DV for Vidi capture, then display dimensions would be reduce drastically. (In this case, you should capture the content using iMovie which will convert the HDV content to AIC while retaining the original dimensions and converting the audio to QT compatible audio.) The main difference between MPEG-4 and Device Native capture by QT 7 Pro is that the camcorder's DV content is transcoded to the MPEG-4 OR MPEG-4/AVC (H.264) compression format making the file much smaller. DV is an "editing" compression format while MPEG-4 is a "delivery" compression format. You can edit the DV files in QT 7 Pro or any other Apple or third-party video editor and then convert them to any QT compatible compression format for which your system is configured.

How to Maintain Timeline in FCP Upon Import?

Forum,
When I send my sequence from FCP to Compressor it shows up as one big file, which also means that it comes back to FCP as one big file - not what I need.
My goal is to send my project round trip without seeing any change in my timeline whatsoever.
I suppose I could try dragging the movie off the timeline into a bin and the export the bin to Compressor, but last time I tried that I ended up with tons of separate video and audio clips in my bin.
Is there a way to do this?
Thank you,
Trey

Hey,
I don't want to make any changes to what's in my timeline. I'm looking for a way to re-compress it without having to rebuild/re-edit (whatever you want to call it).
I just want it to look the same when it comes back to FCP as it did upon export for re-compression. This has not been the case so far. How can I re-compress without having to manually bring clips back into my timeline and then manually arrange them?
I hope this is not too convoluted, sir. Maybe I'm just having a difficult time articulating the problem. Sorry.
Thanks, man.
Trey

I upgraded to 10.3 and tried to open an old project from 10.0 there are empty clips in the timeline and I've imported media to the library

I get this msg when I try to relink my media files. Im lost because I have not changed any formats or where the files are located.
83 name matches were found, but 83 files are not compatible.
Relinked files must have the same media type and similar audio channels as the original files, and must be long enough to cover all the clips that reference the files.
Select a single item at a time to get information about why it is not compatible.

Hi emeraldcleopatra,
Why not mimic the settings you have for your 12" iBook that connects, trying the same for the one that doesn't and checking each setting that you have played around with.
See if that works.
regards roam

Limits on clip name lengths on log and import?

Hi,
I just arrived back from vacation where I had shot quite a number of AVCHD files on my Sony HDR-SR12E (all in the same quality and resolution), plugged in the camera to my Mac, launched FCE, started the Log and Import and proceeded to name each of the clips in the queue something that I could use to easily identify them.
I came back after letting the queue import for a while and noticed that some of the clips were failing to import and hovering the cursor over the queue status flag simply popped up with 'Error: Unknown'.
I repeated the import on some of the small filler clips and it seemed to fail right at the end.
I then removed the clips from the queue, shortened the name and added them to the queue and so far they all seem to be importing correctly.
I didn't have any punctuation characters in the name, sure some had a few spaces but no more than any of the others.
Does anyone know of any naming limitations when importing like this..?
Regards,
-Andy

I didn't have any punctuation characters in the name, sure some had a few spaces but no more >than any of the others.
When naming files as you mention punctuation characters are best avoided.
Also parentheses, brackets, quotation marks and operators.
Spaces can cause trouble and the underscore (_) is a better option than a space.
I suspect one of the above characters to be at the bottom of your file naming drama.
Al

Automatic scaling of imported images in timeline.

I am working in a HD 1280x1080 timeline, and I am importing images (jpgs, tiffs and PSDs) into the timeline, but they are getting scaled automatically, which is not what I want.
I am aware of the pixel-apect issue- what I would like if for the images to appear at 100% of their original size in the time line.
Any one know how this can be accomplished?
Thanks.

I think the automatic scaling is a "feature" of FCP ... it does save time in most instances. But for your situation, place the images in the Timeline, double-click one of them to load it into the Viewer. Click on the Motion tab and change the scale value to 100% and the aspect ratio (under the Distort control) to 0 if needed. Next, right-click on the image in the Timeline you just adjusted and choose 'Copy.' Then select all other images in the Timeline, right-click on one and select "Paste Attributes" from the contextual menu. When the Paste Attributes window opens, select 'Basic Motion' and 'Distort' then click OK.
-DH

Slide presentation Vs. Timeline Document Based Development

Interested in all opinions or comments concerning experiences
with the limitations or extendability of Slide Presentation Vs.
Timeline Document development using actionscript 2.0 for the
purpose of Courseware/Presentation/Quiz development and
maintenance. Eager to hear all comments small or large.
Topics Points to include but not limited to: - Stability -
Range - Limitations - Preference - Experience - Pros - Cons -
Accuracy - Problems - Errors - Likes - Dislikes - Load Balancing -
Customization - Coding Development/Programming - Control

flashgodx,
> Interested in all opinions or comments concerning
experiences
> with the limitations or extendability of Slide
Presentation Vs.
> Timeline Document development using actionscript 2.0
I'm interested in this, too. (Thanks for bringing up the
topic!) My
guess, however, is that you won't see a flood of feedback.
The timeline
metaphor is deeply engrained in the Flash developer mindset.
Building a
slide presentation-based movie (the relatively new "screens
feature") just
doesn't feel like working in Flash. I don't think many people
use
screens -- though maybe it's too early to tell. I could be
completely off
base, of course, and I welcome friendly dissenters.
I think Macromedia was hoping to appeal to the Visual Studio
crowd with
screens. I'm curious to see how Adobe continues the idea. In
any case, at
present, there's a kind of ActionScript mini-framework that
gets added to
screens-based SWFs. This framework is what allows screens to
behave like
screens rather than timelines. It is important to realize,
however, that
all SWFs are, in the end, SWFs. The screens metaphor is no
more "real" than
the timeline metaphor is. Both are just user interfaces to
translate our
human instructions into something the Flash Player can
understand.
I don't much care for the fact that this framework adds 27KB
to a SWF
before anything else is even added. Start a new Slideshow
Presentation and
immediately test the SWF (Control > Test Movie). In the
resulting Flash
Player window, select View > Bandwidth Profiler to see how
much the SWF
weighs. Do the same with a normal Flash document and compare
the two.
To answer your specific bullet points:
- Stability
I have no opinion here, I'm afraid. I simply haven't
produced enough
screens-based SWFs to make a fair assessment.
- Range
Not sure what you mean, here. Are you asking if
screens-based SWFs can
be bigger, hold more content?
- Limitations
The end result in either case is a SWF, and a SWF is what it
is.
- Preference
I prefer the timeline metaphor because I've been using it
since Flash 3.
I use Flash for everything from applications to cartoons to
video, so in my
workflow, timelines makes more sense.
- Experience
Very little experience with screens (because I don't care
for them).
Plenty of experience with Flash in general.
- Pros
I would imagine -- and I can only imagine -- that some
people prefer the
"slides" format. To me, it feels like PowerPoint, which I
don't much care
for.
- Cons
The aforementioned extra SWF weight. 27KB isn't a deal
breaker, and
it's certainly less bulky than any of the v2 UI Components,
but ehh. For
what that's worth, I think it's a con. My programming skills
have matured
along with the phenomenal advances in ActionScript in recent
years. I
crossed a milestone back in Flash MX, I think, where Flash's
under-the-hood
mechanisms really started "clicking" with me. (To be sure,
the learning
process never ever stops ... I'm *still* learning, and things
are *still*
clicking for me, but I digress.) To me, the screens metaphor
introduces a
new (in my opinion, unnecessary) layer of abstraction to a
lean-but-powerful
environment I already know and love.
- Accuracy
Not sure what you mean here.
- Problems
I don't use screens often enough.
- Errors
Ditto.
- Likes
This is reflected in my views on Pros and Cons.
- Dislikes
Ditto.
- Load Balancing
Again, not sure what you mean.
- Customization
Good question!
- Coding Development/Programming
None of the programming books I've read even touch screens.
- Control
Control of what?
David
stiller (at) quip (dot) net
Dev essays:
http://www.quip.net/blog/
"Luck is the residue of good design."

Premiere XML import maps all stereo tracks to mono with no way back HELP!!!

Hi
I recently upgraded to Premiere 2014 and Audition 2014 so that I could import Audition and Premiere projects back and forth. This was meant to work previously but absolutely did not!
The very clunky and archaic export to FCP XML interchange format (FCP hello wtf) is the only way to do this.
I have now discovered to my horror that all my imported stereo audio has been mapped to mono. And if you know what that means you'll also know that it cannot be undone without completely manually importing all the material again and dropping it onto stereo timelines only.
Meaning that Audition XML import still does not work.
I would love to know why this is and if there is a way around it?
I imagine that this is the sort of question only an Adobe employee can help with but if you're not then thanks a lot for your time
remainz

I'm not sure I follow your workflow. I've never used XML export/import from Audition. Usually I use the dynamic link methods to work on audio in Audition and round-trip back to Premiere. That said, I *THINK* I know what you're talking about with Premiere's audio limitations when importing from FinalCut XML (+1 for What the Fetch on FinalCut XML). The workflow and problem you describe sounds similar to what happens when syncing audio and video in PluralEyes and then importing the resulting FCP XML. It's been on my complaint list for a very, very long time. All audio shows up in Premiere as TWO separate tracks (each mono, if I remember right).
The awkward work-around, at least in my case, is to re-interperet ALL of the audio files as stereo, in the project panel and then hammer out about 100 or more Match Frame operations to replace all of the audio in my timeline(s). Let me take this opportunity, once again, to plead with Adobe: PLEASE fix XML import so that mono comes in as mono, and stereo comes in as stereo. If it's a limitation of FinalCut XML, why not be innovative and create a new industry standard that works: PPrXML! And please, please, PLEASE bring the "Modify Audio" command directly to the timeline where so many of us need it MOST!!!

FIXED ASSET : Import old asset in SBO ?

Hi,
I'm trying to import old asset in SBO which have been totally amortized for end 1998, and it seems impossible to do it.These assets are used and net to be in the Assets Book with one resdual value equal to 1.
Is there any limits for importing old assets ?

post in SBO forum

PS 3D Timeline 10f limitation on imports

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