Resizing theory - source footage and compositions

Hi,
Two quick questions:
1)
Are the two processes below the same for the output quality
Assuming I need for example 960x540 sequence out of the 1920x1080 I originally captured.
a) I am working in a full HD sequence, then by the end I export everything to 960x540
b) I am working in a custom 960x540 project, scale down every clip manually, then export to 960x540
2)
If I have source fullHD footage, then import it to a say a NTSC sequence then scale the given clip up (i.e for a zoom effect) but not go over the original HD (say zoom-in 200% in NTSC), will it affect the output quality?
What would happen, if with source fullHD footage I was working on a fullHD sequence, done the same but then exported as small composition? Would it retain the quality or would it deteriorate?

I would personally go with choice A.) in the first question, simply because then if ever want to export a full 1920x1080 copy you won't need to scale everything up to do so.. So I'd recommend you work inside a 1920x1080 then export to your recommended frame size when you're finished editing.
For question number two if you import full HD footage into a NTSC (720x480) sequence then you most likely won't ever need to scale the HD footage, because it will already be HUGE compared to the sequence you're working in. However if you do scale the HD clip up to 200 percent it will indeed make your picutre quality lower.
If you work with full HD footage inside a full HD sequence then export to SD or another smaller frame size the quality will lower, because the frame size is smaller therefore less pixels, but this isn't because of the workflow it's just because when you scale stuff down therefore making the picture contain less pixels the quality will appear lower.
So either way you go when you're taking HD footage then making it smaller you're going to be lowering it's quality, simply because there won't be as many pixels.

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So my question:
1.) Can i save the source footages in External HD?
2.) Can i save the project in External HD and edit it and do everything as in External HD?
I have never done such thing so help would be acknowleged.
Thanks and if i am missing any information then do let me know!

Hi
YES - BUT
• External Hard Disk - MUST BE - Mac OS Extended (hfs) formatted (all mine are journaled)
• Should be FireWire or Thunderbolt - as USB/USB2 performs badly to me and especially when filling up.
• I do - create a folder on My external HD named as Movie project + date
- then Start FinalCut
- AND set up ALL Scratch disks to this folder
- then SAVE projects - and direct this to same folder
- then I also make a folder in this project folder (on ext.HD) named material - and in this I collect all photos, audio-files (all converted to .aiff - NO .mp3 or other) AND all texts in a text document to copy from e.g. Title, contributors etc. SO also a document describing how the project is to be done - sort of synopsis.
PROBLEM
When changing Scratch-disks in FinalCut Express or Pro (FCP-X i don't know) one must when starting up next time - FIRST CONTROL - where they are set - as they do not orient after project but after last settings. All material and Captures etc - can be stored in a very wrong location IF one doesn't keep this in mind !
MY OWN experience - very tedious to clean up - BUT at least FinalCut Pro can help in collecting in all parts if they go astray.
Yours Bengt W

Best way to replace source footage

I have about an hour of continuous source footage that I used to create a complex 15min edited version in Final Cut Pro X v10.0.5. After this project was already completed, I received a better quality version of the original 1 hour of source footage.
What would be the "best Final Cut Pro X way" to replace the original source footage with the higher quality new footage, without having to redo my complex edit?
Unfortunately, my new footage is slightly different frame rate, dimensions, and quality than the original, and also not exactly in sync.
I imagine this is the type of thing that professional editors must contend with all the time, but I'm not finding an efficient way to do this in Final Cut Pro X.
I've unsuccessfully explored three options:
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This is the workflow that seems most similar to those on other editors, however in Final Cut Pro X is seems this only works if the new media file is nearly identical to the old one. It explicitly states that it doesn't work with footage of different frame rates. And I also didn't see any way to sync to the old footage, if the new is slightly different length.
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I see that I can sync two different clips in the Event Browser to create a compound clip, but how does this help me easily replace my already edited footage (which was not the new compound clip) with the new?
3.) using the (new since v10.0.3) Multicam editing
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Suggestions?
Many thanks for any tips.

We also had a long debate on the same issue.
We decided to try the Soft-Code values instead of the Hard Code.
1. Create some custom tables which can hold the constant values. Like: We have some special processing for the normal sales Order ZOR1 and different logic for the Returns order ZRE1.
So, we have created
One table for the Group - NORM, RETN
One table for the Sales Order & Group relation.
NORM - ZOR1
NORM - ZOR2...
RETN - ZRE1
RETN - ZRE2
Create a View Cluster to maintain these tables easily.
2. Create a Classes which can fatch this data
Like: VALID_SALES_ORDER_TYPE
Definition-
Importing :
Sales Order type
Group
Exporting
Valid
Implementation-
Get the value from the table Sales Order & group relation
This class contains some other methods also, like VALID_GROUPS_4_SO, VALID_SO_4_GROUP etc.
Advantage: You can easily maitain a new Hardcoded value in the SM30
Disadvantage: Lots of coding
Another Approch:
You can create one Global class for Constants. You can maintain all your constants in that global class and use them in your coding. One main advantage would be, you can easily do the where used list on each individual constant.
Regards,
Naimesh Patel

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
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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”.
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3. The second module can be set to sRGB in QT for approvals
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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/

Warp stabiliser choppy and corrupting source footage

I am having huge problems with Warp Stabilizer - it creates choppy footage and actually messes up the source files (after removing all effects the choppyness remains, and viewing the original files shows the problem has been transferred over/files corrupted in some way. NO IDEA what the cause is or the fix. Any help appreciated!
warp stabilizer malfunction.mp4 - Google Drive

Hi,
What are the sequence settings that you have selected in the project?
Thank You
Arjun

Changed sequence settings to match source footage but only half footage now matches even though they're from the same camera and same aspect ratio

My source footage is 1920 X 1080 from a canon 60D. I changed my sequence settings to Digital SLR 1920 X 1080 to match. On the program window I have it set at "Fit". Only about a quarter of my footage now fits the program screen and looks to be the matching aspect ratio. The rest of the footage when on "fit" fills a tiny portion of the viewing window so it appears they don't match the sequence settings. I don't understand why this is happening because this footage is from the same camera, shot the same day, and have the same aspect ratios.
Can anyone tell me why this is happening and how I can fix it??

First of all, the setting that you mention is on Fit is the Zoom Level of the Program Monitor. It controls only how the sequence is shown in that monitor; it has nothing to do with how any sources are handled in the sequence.
Please provide the following information:
Exact version of Premiere Pro
Exact version of operating system
Graphics card and driver
Also, please post a screenshot showing the following
Project panel with the Video Info column visible
the Timeline visible
one of the problematic clips selected and the Effect Controls panel visible, with the Motion section twirled open.

AE CS6 and tearing of XD CAM EX Mp4 source footage

Hi I'm getting tearing artifacts in CS6 when using XD CAM EX MP4 source footage. This does NOT occur on a colleague's CS5.5 install with the same files. I found a discussion from last year at http://forums.adobe.com/thread/1009064 , where the issue was apparently resolved with a CS6 update. I, however, did not install After Effects until March/April of this year and I am experiencing the same problems as the unfortunate users of Premiere and After Effects in the beforementioned discussion. Screenshots in that discussion are exactly like the issues I am seeing, I've posted a couple of frames below. FYI, I'm on windows 7 pro and using the calibrated{Q} XD decode and MP4-EX import QuickTime Pro extensions, graphics card is a GTX 680 with stable drivers, and 16Gb RAM on the mobo - I just checked Creative Cloud and AE CS6 is up to date. Does anyone have any helpful tips about what I could do here, or insights into what the 2012 problem was and why?
addition: my present workaround is to stay at frame zero, apply effects and layers, clear disk cache and purge all memory... then set to render (without ever scrubbing or RAM Previewing)... this sometimes works. Of course, I need to define the endpoint of the clip as well... prior to the render run I make the duration decisions I need to (which is why the media cache file deletion is required), save and quit out, then come back in for the render session... less than ideal. The workstation has a fast Tb drive, it's only a few months old... I am almost certain this is a CS6 decoder interpretation issue not a source footage or hardware issue.
... also, once I scrub through the timeline and notice an artifact it stays on that frame consistently for that session (and it also means there will be other torn frames on the clip), and purging memory can make it go away - but further scrubbing in the same session will introduce an artifact again either in the same place in-frame or somewhere else. The source footage is presently interpreted as upper field dominant, if I change that to bottom field it moves the artifact somewhere else on the frame... once again, purging all memory and clearing the media cache makes it disappear back to it's *original* state. I'm also noticing that the artifact ISN'T a frame or field next to the *bad* frame, but a fair distance away on the timeline, and not consistently so (eg: not 25 frames away, some seemingly spurious amount).

Rick Gerard wrote:
If you are having problems decoding footage the first step would be to transcode the footage to something like a JPEG compressed Quicktime. Just use the AME or AE or Premere Pro to do so. If you don't know what I'm talking about then type rendering in the AE Search Help field at the top right corner of AE and read some of the materials you'll find.
I'm trying to avoid having to transcode, Rick In fact, I'm more interested in why you're suggesting I should transcode for CS6 when it's not necessary for CS5.5 (which I don't have access to unfortunately, it was a colleague's 5.5 version that we tested on with the same XD CAM EX footage, and it's being used on another project). I dearly hope that isn't the only solution, although thanks for the suggestion

Drag and Drop into Photoshop layer without resizing the source image

Hello,
I am using Photoshop CS5, 64bit, in Windows 7.
I went through following steps and getting result that I do not want:
1. Open an existing photopshop file.
2. From the explorer window of my folder, select 100 png files and drag into the graphics area of the open photoshop image.
Result: Photoshop resizes the png file and place it as a layer. It also asks me to commit the resizing for each individual file that I dragged and drop. Sometimes, it takes it as 100% scale, sometimes, 98%, sometimes 102%. If I change it to 100%, then it is not the original size. The image become larger and blurry.
Expected Result: Place 200 png files as separate layer of the open photopshop without resizing it.
My png files are icons that don't need resizing. I cannot tweak 200 images just to get this to the original dimension!
Other things I tried:
I turned off the "Preference->General->Resize Image During Place". I also turned off "Place or Drag Raster Images as Smart Objects".
I still get the same result. I need nothing smart here. Just let me place images without any smart stuff!
I also went to help and googled. I could not find what I need.
Thank you!

That works!!
Thank you!

Urgent question:can you replace source video and automatically have AE swap clips in timeline?

Hi there
Have an urgent question. I have finished editing a project that has been edited from pre-exported videos, but the problem is that i have been notified last minute if it is possible to change parts of it!
Is is possible to change and re-render the pre-exported clips at same length that are affected and then replace the 'source footage' in after effects to have it automatically swap the clips that I've edited and cut up already? As it would take a very messy and extremely long time to manually change all the trimmed parts!
It is only a small section of the source clip I need to change, but the overall composition edits are fine so I don't really need to touch that, it's just really to replace the footage but have everything to stay the exact same.
Please advise!
Appreciate this if anyone can! fairly urgent
Thanks

Yes, just right-click on a source in the Project bin and choose Replace Footage.

Dynamic Link from Premiere to After Effects (Source footage keeps erasing)

I am using Premiere cs4 and when I right clip on a clip on my sequence and hit (Replace with After Effects Composition) It opens it up with after effects. That part works. I also can make changes in After effects to the clip and I go back to Premiere and the changes are made. The problem is when I close After effects, in my premiere project the file that I changed in after effects goes offline and It is only color bars. If I open up the after effects project again it also shows that the source footage I edited is offline.
How do I fix this issue. All I want to do is take a couple clips in my premiere project and edit them in after effects. How do I keep it through the dynamic link and keep it saved even when after effects is closed?? Or if I have to reopen after effects how do I make it so the footage loads back in?
Please help!
Thanks

Hellow Kate
Now that worked for me 2! Thank you very much for the advice. Hope they fix this serious issue in the CS5 edition that is announced.
Otherwise I think the adobe-software is not wurth that amount of money. Indeed, it's very incredible software with great tools. But
such problems can not be tolerated...
Hope they do something about it!
Kind regards
G

How to get plain old S-video and Composite out from a MBP?

Hi,
this question is about someone's MacBook Pro he newly bought with adapters to get both DVI and Svideo/Composite Out.
He got Mini DisplayPort to DVI-D converter, and a DVI-I to video converter, that cannot be plugged into a DVI-D port. Apple removed the analog capability of its adapter, that's bad. But what's badder is there doesn't seem to have any Mini DisplayPort to Svideo/Composite adapter, as there was with previous generation machines.
How can someone easily output analog video from MBP?

In fact, I recognize that these standards are old, which doesn't mean they're not up-to-date. Similar example, VGA connector is old, but perfectly useful, even in 2009. I recently plugged a 22" LCD with VGA and DVI on the same computer (a bland desktop PC), and there was strictly no difference. Same color depth, same crisp display. Even looking at a corner with a magnifier, nothing was different.
So, changing standards just for the sake of it doesn't make any sense.
Agreed that, as a pro, Apple would like me to buy their pro line, but nowhere in the pro line does an easy solution exists for S-Video and composite out. The solution you posted exists, but is unwieldly and not neat at all, if it doesn't break the Mac's connector under its weight. If a manufacturer can do this kind of adapter, Apple can do it better, and make a bigger profit out of it.
For the adapter you posted, I don't ever buy anything that is not at least Mac+Windows compatible, or at a minimum is open-source, so anyone with programming skills can make something. The manufacturer also doesn't give a clue on how this works. I guess some sort of virtual driver sits in the system as a virtual IEEE1394 port so any program requiring FW can work transparently. Still, incompatible with the OS that most manufacturer ship their new PCs with, poor commercial decision, wether you like the OS or not.
Adding FW in the MB unibody design wouldn't have cost anout $30. Rather, we're talking about a 25 cents chip, a 25 cents connector, which they would have rounded up to $20 and still, that was present in previous-gen MB. After all, they are indeed selling a matte screen on the MBP 17" for $50 more, despite them removing a single piece of glass which may cost, well, let's be fair, $5 to manufacture? That's dishonest. And capitalistically justified.
So far, choosing a Mac for one's needs is no easy task: older white MacBooks have the same power as unibodies, excellent connectivity, top notch transfer speeds, BUT are heavier, as not as ecologically friendly nor do they have future-proof RAM standard. The unibodies are sleekier, easily recycled and will be able to be upgraded in the near future BUT is most likely unable to use current devices and have slower transfer speeds.
For Pro models, the newer ones have great efficiency, much power and flexibility with their dual GPU BUT lost the option of matte screen, although their other pro-oriented monitors still default to matte. Only the 17" has the option. If a pro already finds his 15,4" bulky and with ample reserve power, will he buy the bigger and heavier 17"? Probably not.
I understand that Apple way of doing business is keeping only what's essential with no unnecessary options (I'm looking at you, Asus, with you at least 10 different versions of you netbook). But this time, not everyone can find what he or she wants in Apple's line of laptops, as opposed to the iPod thing, where virtually any possible preference is covered.

Source footage is 16:9 but canvas doesn't match

http://www.youtube.com/watch?v=JDLJQalRTxo
Above is the link to 6 seconds of footage. The first 3 seconds is a still that shows the aspect ratio of the canvas, and the second shows the aspect ratio of the source footage in QT. I am trying to figure out how to get my canvas to properly represent the source footage. The canvas is cropping the footage and distorting it.
I shot this on a PD170 with the 16:9 setting on, with the addition of a wide angle lens. I also have the sequence set to anamorphic.
Any suggestions are appreciated.
Ryan

Ryan Andrzejewski wrote:
Thank you for the post. I've tried to right click on the clips and select that option, but it tells me that it is not available for those files. Is there somewhere else I should be looking?
I'll break it down step-by-step in case you're skipping a step
Make sure your Browser is in List View.
Select all of your offending clips (I guess everything you've captured) in the Browser
Scroll the Browser to the right until you see the Anamorphic column (it might be a lengthy scroll)
Once you see the column, right-click in the column for any one of the selected clips and select Yes from the shortcut menu. All of your clips will now be anamorphic.
But be sure to right-click, simply clicking (or left-clicking) will only toggle the property for a single clip (and deselect all other clips).
As JSL has already mentioned, you might need to re-edit your clips into your sequence if you've begun editing. (Either that or clear the distort property of the clips added so far, but please confirm that your sequence is set as Anamorphic.
Or is that what you've been doing?

Replace footage and keep grading in place?

Hi all
I'm working on a production with a less than ideal post work flow. Its a tv show with lots of fx shots and I'm being delivered the project in chunks. So I'm doing scene change detects and obvioulsy working without an EDL. So I had to do the first session with some shots being incomplete. Now I have a revised "chunk", same length, etc, but with finished FX shots. I'm trying to figure out if there is a proper way to just replace the clip. It has the same scene changes, so I was goign to try and trick speedgrade by replacing the source footage with the new one and naming the file the same way, but it seems there must be a better way. Is there?
Thanks for your time.

Hi,
You can replace the existing clip with drag&drop:
- Open reels browser (Timeline-Reels)
- Browse to new clip
- Drag&Drop new clip onto clip in reels browser
This should replace the source clip and keep SCD settings.
Hope this helps.
Dennis

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Missing raw footage and storage from P2 card into FCPHD 5.1.2

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Where did it put them?
If you tell it that the capture scratch is the external drive, then the footage should be on that drive, in the CAPTURE SCRATCH folder, in the project name folder.
Shane

Resizing theory - source footage and compositions

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