Saving Color renders and recalling?

My biggest problem is understanding the management of the projects, media & renders. If I am coming from Final Cut off an external drive. How do I tell Color that is where I want to have it point to after it renders out and goes back to Final Cut? I don't see the drive when I browse in the intial setup in color. The reason is to take the project to someone else for final assembly using their Final Cut. Did it earlier and the Color media was left in my Documents folder where it defaults. Had to bring back external drive and move folder over. Thank You...

OK, now that I have finished this grade and have set it to render...
In the SETUP TAB (on the top), and then PROJECT SETTINGS tab (lower right, but above the timeline) you will see an option for PROJECT RENDER DIR. Click on that. Click on the CURRENT DIRECTORY drop down menu and scroll down to the "\" option. That is the BASE. Now, you should see VOLUMES. Start there and navigate to where you want to render to.
Shane

Similar Messages

Color Renders and FCP

What happens to the sequence in final cut pro if I erase the COLOR renders?
So I have a project in COLOR (that came from FCP), I finish my grade, send it back to FCP.
I would like to save space by erasing the COLOR renders, but wanted to know if it would affect the graded sequence in FCP if i do that?
Thanks,
Adam

What happens to the sequence in final cut pro if I erase the COLOR renders?
Everything in the sequence you sent back from Color will go offline.
I would like to save space by erasing the COLOR renders, but wanted to know if it would affect the graded sequence in FCP if i do that?
Yes, it would. FCP is referencing those renders...it is no longer referencing the original media.
Shane

Permanately Saving Color Settings and Profile in Photoshop CS2

Hello,
We have Photoshop CS2 for Windows and Photoshop CS2 for Mac. I have custom color setting .csf files and .icc profile we want to load in Photoshop permanently. If I use the load option in Photoshop it appears the color settings will load these settings temporarily. If I choose another color setting and go back to the custom settings, I will have to reload the settings again.
Is there a way to permanately have the color settings permanately appear in the list without having to load by using options in the Photoshop menu?
Now I know if I manually drop the .csf or .icc file in the below folders located in the below path, the settings will permanately appear i, but I don't know if there is an easier way using the menus within Photoshop to permanatly load these or do we have to manually install these files to get this done. Trying to give out directions on how to do this would like to know if there is an easier way.
On Windows:
in Windows, it's inside Program Files\Common Files\Adobe\Color\Settings.
On MAC:
Library\Application Support\Adobe\Color\Settings folder;

FIrst off, more info: Platform, RAW type and means of Monitor calibration.
Don
Don Ricklin, MacBook 1.83Ghz Duo 2 Core running 10.4.9 & Win XP, Pentax *ist D
http://donricklin.blogspot.com/

Saving and recalling users actions

I basically need to know if the following scenario can be
accomplished using flash and or additional technologies (e.g. XML).
I'm creating a product demo for a client. The client wants the user
to set a number of setting on this product and then save these
setting to be recalled. Think of it as presets on you radio. Turn
the dial (action 1 to be saved), set the volume (action 2 to be
saved), then set the bass (action 3 to be saved), then press and
hold the preset button. Now your settings are saved on preset
number 1. The user can now press preset number 1 and experience all
the effects (station, volume, and bass).
Can this be accomplished using flash? how would the settings
be saved? Would they be written to another file XML? Finally, and
this is the kicker, can this all happen if the demo is run off of a
burned CD or thumb drive (both methods might be used for
distribution)?
THANKS!

I believe you could get all this done with a SharedObject.
This type of object will create and store data on that persons
local drive. So the preferences could be copied to a string and
then saved to a shared object property when the preset button is
clicked. Including a counter function will enable the user to
access those values as the new defaults then next time they use it.
I have used this to set preferences like user name and background
color and it works quite well.
Type "SharedObject" in an AS frame and press help for
examples and process.

Where are the scanner mode (color, black and white) saved on a windows 7 machine?

We have 30+ Canon 2580c scanners and the users are constantly changing to color scanning and forgetting to change it back to black and white.
I'm trying to figure out where these settings are saved. I have compared full registry dumps before and after changing the mode but do not see any differences that look scanner related. There is a file setscan.ini the appdata/roaming/isis drivers folder that gets the date modified updated each time but nothing is changed in the file.
Any help would be appreciated.

Hi mswalter2012.
I will be glad to assist you. When using the CapturePerfect program, I recommend using the [Scan Job] setting. There are two jobs already registered in the program.. You can select [Color Document], which is 24-bit color as Simplex 300 dpi, or [Binary Document], which is black and white as Simplex 200 dpi. To create a new job, please follow the instructions below:
1. Select [Create/Delete Job] in the scan menu.
2. Select a number to register a job, and then click [Create/Edit].
3. Enter a title for the job.
4. Click the drop-down for [Function] and select where you want the scan to be sent.
5. Click [Detail Settings].
6. Click the [OK] or [Save] button to close the settings.
7. Click [OK] to close the [Create/Edit] window.
To scan using the saved scanned job, select [Scan Job] from the CapturePerfect file menu.
I hope this information is helpful. Should you need further assistance, please contact us at 1-800-OK-CANON (1-800-652-2666).
Did this answer your question? Please click the Accept as Solution button so that others may find the answer as well.

Best practice for saving and recalling objects from disk?

I've been using the OOP features of LabVIEW for various projects lately and one thing that I struggle with is a clean method to save and recall objects.
Most of my design schemes have consisted of a commanding objects which holds a collection of worker objects. Its a pretty simple model, but seems to work for some design problems. The commander and my interface talk to each other and the commander sends orders to his minions in order to get things done. For example, one parrent class might be called "Data Device Collection" and it has a property that is an array of "Data Device" objects.
The Data Device object is a parent class and its children consist of various data devices such as "DAQmx Device", "O-Scope Device", "RS-232 Device", etc.
When it comes to saving and loading data, the commanding class's "Save" or "Load" routine is called and at that time all of the minions' settings are saved or recalled from disk.
My save routine is more-or-less straight forward, although it still requires an overwriting "Save" and "Load" vi. Here is an example:
It isn't too bad in that it is pretty straight forward and simple and there also would be no changes to this if the data structure of the class changed at all. It also can save more generalized settings from it's parrent's class which is also a good feature. What I don't like is that it looks essentially the same for each child class, but I'm at a loss on an effective way to move the handling of the save routing into the parent class.
The load routine is more problematic for me. Here is an example:
Again, the desirability of moving this into the parent class would be awesome. But the biggest complaint here is that I can't maintain my dynamic dispatch input-output requirements because the object that I load is strictly typed. Instead I have to rely on reading the information from the loaded object and then writing that information to the object that exists on the dynamic dispatch wire. I also dislike that unlike my Save Routine, I will need to modify this VI if my data structure of my object changes.
Anyway, any input and insight would be great. I'm really tired of writing these same VIs over-and-over-and-over again, and am after a better way to take care of this in the parent class by keeping the code generalized but still maintain the ability to bring back the saved parameters of each of the children classes.
Thanks for your time.

I'm with Ben. Don't rely on the current ability to serialize an object. Create a save method and implement some form of data persistence there. If you modify your class you might be disappointed when you cannot load objects you previously saved. It mostly works but as soon as you reset the version information in the class, you can no longer load the old objects. This is fine if you know how to avoid resetting the history. One thing that will do this is if you move the class into or out of a library. It becomes a new class with version 1.0.0 and it no longer recognizes the old objects.
[Edit: I see that you are just writing to a binary file. I'm not sure you can load older objects anyway using that method but I have never tried it.]
This will not help you right now but there are plans for a nice robust API for saving objects.
=====================
LabVIEW 2012

Premiere Pro stops rendering and gives error message when encounters "RGB Color Corrector"

Premiere Pro (and also Encore) stops rendering and gives error message when it encounters a clip containing the "RGB Color Corrector" in any clip. It will process clips without RGBCC, but will stop when it gets to one with RGBCC activavted. PP will render clips if other effects, such as "Fast Color Corrector", "Color Balance (HLS)", and "Three-Way Color Corrector" are selected. However, these do not have the capabilities that The other color correctors will not do what RGB color corrector does, so I need to have this working to finish a large product that is due to the client. Please help me..... I am not using the Creative Cloud version, and can't find either a download for the new update from 2013, or a phone number to talk to anyone.

Using a Win7 computer with 2.8 quad core processor, 24 gig of ram, Nvidia Quadro 5000 video card. Don't think I have any plugins. I looked at one a while back for cleaning up grainy video, but I am not sure I paid for that. Think I deleted it.
Incidentally, someone named Jim on another part of the forum mentioned that this problem has been fixed in the CC version of the program. I am using the non-CC version because I am 68 years old and only do seminars and documentation video. Don't need so many bells and whistles, and definitely don't need learning curves every few weeks. CS6.0.3 works fine for me. By the way, someone else said that maybe version 6.0.1 might work better and I should revert to that. Not sure if it is the version i have on the disk upgrade to 5.5 that I purchased in December.
As it stands now, I have 7.5 hours of a seminar that is ready to go out the door. If there is an upgrade I can get from Adobe, maybe you can tell me about it. If I have a setting incorrect in the video output format, maybe I can change that. So far it just happens with clips in my video that have RGB color correction.
Rick

Why do I get a loss of quality video when placing titels or grading in FCE. Even after rendering and saving to the final product? The video starts to get shaky

Whenever I place a title in my video in FCE, the part where I placed it losses its quality. Its getting shaky and blurred.
Even afther rendering and saving it to the final end product. The same problem occurs when I'm collor grading. I use the internal tools for titels and grading of FCE.

and some more specs;
My systsem >>
IMac 3.06 GHz Intel Core 2 Duo
8 GB 1067 MHz DDR3
clips and master on Imac
Scratchdisk on external disk with firewire 0.8
On both disks I have more tehn 0,5 TB geheugen left
Videocamera HF 100
Imported clips >>
- FXP 17 Mbps
For RT I use >>
- RT Unlimited
- Playback Video Quality high
- Playback framerate high
Videoclip =
- videorate 25 fps
- framesize 1920 x 1080
- compressor apple intermediate codec
- pixel aspect square

ActiveX container disappears after vi saved and recalled

I can create a container and insert an active x object.
The vi will run but if saved and recalled the control
disappears! No other indication of a problem.

This problem was related to the MS Forms 2.0 scrollbar. After talking to NI they recognized it as a known problem but it was not posted. The solution was to use the Microsoft Flat Scrollbar Control, version 6.0. This is fine except for the time spent looking around. It would have helped if it had been posted originally.

How to control Color Mode and Resolution for brochure creation?

Hello guys,
I am trying to find some settings within Pages, where I could set CMYK color mode and 300 dpi resolution for my pdf file.
I am creating brochure from scratch, using blank document, because non of brochure templates work for what I need. But I can't find any controls for color mode and resolution set up.
Is there any solution for this?

There has been a lot of discussion in the Pages forum about resolution and some on CMYK.
Much of the discussion has been incorrect.
For the colour handling there is the colour palette
The Apple Colour Palette is the user interface for colour managing vector objects created in Apple Pages such as rules and panels and for colour managing one class of vector objects not created in Apple Pages, namely typographic objects.
Imported objects maintain their colourant model and colour space, if there is one. If there is none, a colour space is assigned and the assigned colour space is saved out into the PDF, opposite e.g. Adobe Photoshop which will colour manage the object in the open editing session, but will then save out the object to disk without the assigned ICC profile if 'Colour Management: Off' is configured.
Therefore, if the imported object is data space CMYK and the colour space device CMYK, the system will assign the Generic CMYK Profile which is equivalent to ANSI CGATS TR001 colourimetry (US SWOP); if the imported object is data space RGB and the colour space is device RGB, the system will assign the Generic RGB Profile which is equivalent to sRGB colourimetry in OS X 10.5 and higher.
In general, always capture and then convert for correction in one of two data spaces with three channels, either ICC colour managed RGB or ICC CIELa*b D50. Then convert to CMYK1, CMYK2, CMYK3, CMYKn from the ICC colour space chosen for correction and archiving. This colour space should be large enough to hold any colours that the output colour spaces can hold.
The Apple ColorSync Utility has a gamut comparison dialogue which is 3D (point, press, and turn the 3D gamut comparison). Use this facility to pick an ICC colour space of reasonable size and shape for correction and conversion into final output. Don't pick sRGB as a quick look will show that it can't hold as input what ISO reference offset can hold as output for pure cyan, let alone hold what a big inkjet can hold in greens, blues, reds and yellows.
The ICC architecture lets the ICC profile for the printed output match out of gamut colours to in gamut colours using the Perceptual rendering intent, as intended in the original architecture from 1995. Adobe internally introduced an inhouse conversion for compatibility with PostScript and as default for PDF, Relative Colorimetric with Adobe Black Point Compension. Relative Colorimetric is in fact a proofing transform, without gamut mapping. Black Point Compensation is a simple linear scaling of the lightness to compensate for the fact that the shadows will be clipped in a Relative Colorimetric conversion.
The other problem is transparency, introduced in the QuickDraw Graphics Extension for Mac OS 7.5. Transparency is not supported in any version of Adobe PostScript (level 1, level 2 or level 3). Transparency is also not supported in any version of Adobe PDF prior to version 1.4 and higher. Therefore, unless the RIP Raster Image Processor is able to accept PDF 1.4 and higher, transparency has to be rendered / flattened which is done in the PDF/X-3 filter of the Apple ColorSync Utility.
The idea in the PDF/X-3 filter (for Adobe PDF 1.3) is that the everyday enduser, after placing ICC colour managed RGB or CIE La*b D50 objects, and after choosing an ICC colour space for objects created in Pages, chooses the ICC colour space for the output condition. The filter accepts both ICC profiles of type MNTR Monitor with data space RGB, ICC profiles of type PRTR Printer with data space RGB, and ICC profiles of type PRTR Printer with data sapce CMYK.
The colourant conversion (RGB to CMYK) and the gamut mapping (out of gamut colours in input colour spaces mapped to in gamut colours in output colour space) is then calculated as per the ICC profile for the output condition. An output condition is the combination of factors that affect how colour is formed: the colour lightness and colour tint of the paper, the colours of the colourants, and the tone value increase. Think of gamut mapping in a good ICC profile as Format 1 kerning in a TrueType font (where your font has state-based kerning for up to 8 glyphs simultaneously).
Below a link to a discussion of how to change the default PDF/X-3 filter the Apple ColorSync Utility. "Wegen diverser Fehler im Mac OS X empfiehlt es sich, wo immer möglich, die PDFs ohne Transparenzreduktion (also auf normalem Weg) über den Befehl Als PDF sichern zu erstellen und das Flattening der Druckerei zu überlassen," that is, pick the plain save as PDF path and leave the transparency flattening to the prepress technician.
Henrik
Reference:
http://www.icalamus.net/tutorials/howtocreatepdfx.php

Adjust color rendering for your camera in Camera Raw

According to the help node with the above subject, one can embed profiles into TIFF, JPEG, PSD and DNG files and select them within Camera Raw 4.
I can assign profiles to all excepto DNG files, since DNG files cannot be saved and thus cannot be persistently be assigned a profile (say created with ColorEyes 20/20 camera profiler software). How then can I assign a profile to a raw image? Is the help incorrect or mis-written?
Thanks,
Juan Dent

Changes introduced with DNG version 1.1.0.0 included new tags AsShotICCProfile (+ AsShotPreProfileMatrix) and CurrentICCProfile (+ CurrentPreProfileMatrix).
If a camera or editor uses these, are the ColorMatrix1 (and if required ColorMatrix2) tags required to be present anyone, for example for ACR to use, while these xICCProfile tags are an optional alternative? How does it all fit together?
AsShotICCProfile:
"This tag contains an ICC profile that, in conjunction with the AsShotPreProfileMatrix tag, provides the camera manufacturer with a way to specify a default color rendering from camera color space coordinates (linear reference values) into the ICC profile connection space.
"The ICC profile connection space is an output referred colorimetric space, whereas the other color calibration tags in DNG specify a conversion into a scene referred colorimetric space. This means that the rendering in this profile should include any desired tone and gamut mapping needed to convert between scene referred values and output referred values.
"DNG readers that have their own tone and gamut mapping controls (such as Adobe Camera Raw) will probably ignore this tag pair".
CurrentICCProfile:
"This tag is used in conjunction with the CurrentPreProfileMatrix tag.
"The CurrentICCProfile and CurrentPreProfileMatrix tags have the same purpose and usage as the AsShotICCProfile and AsShotPreProfileMatrix tag pair, except they are for use by raw file editors rather than camera manufacturers".

Error Compiling when using RGB Color Corrector and Unsharp Mask

If I apply the RGB Color Corrector and and Unsharp mask to a clip within a sequence and try to render the sequence or a small portion of the work area I get the Error Compiling: Unknown error.
This is occurring within a project I have updated to Premiere CS6 from Premiere CS5.
I have tried creating a new sequence and importing the same clip and other clips. Anytime I try to use both the Unsharp Mask and RGB Color Corrector I am unable to render. I have tried this with Mercury Playback both in hardware and software modes with the same result.
Has anyone else seen something like this?

Okay, glad this occurs for others too and I am not experiencing something isolated. The issue here is this shouldn't be happening at all.
Premiere CS5 has no problem with this.
Yeah if I turn off one effect or the other no problem. Unfortunately it doesn't matter the order I place the effects in I get the same error regardless of which is placed first.
Nesting does work. If I create a sequence, apply one or the other to the clip in the sequence then embed the sequence in another sequence and apply the remaining filter to the sequence containing the clip then I can get my color correction and edge definition. But this is a work around.
There seems to a bug here since there were no issues when using RGB Color Corrector and Unsharp Mask simultaneously applied to one clip in CS5. I doubt there will be a fix for this anytime soon so it looks like I will have to use another method for color correcting or apply RGB color correction to clips already embedded in a sequence as I move forward into solely using CS6.
(How this can become an issue is that after applying effects and color correction to several clips within a sequence I like to render that entire sequence. Then this sequence is ebedded in another main sequence and I can add additional effects and transitions and overlays without killing the live playback speed and only have to render smaller amounts of content from additional tracks. It ends up saving a lot of time after the initial length of rendering.)
Thanks for the suggestions.

Aperture Olympus E-PL2 Raw Color Distortion and other issues

Hello there, Olympus Micro Four Thirds Fans!
So finally, Apple introduced Olympus E-PL2 Raw Support in Aperture 3. After some testing and troubleshooting there are still some issues remaining that sort of still leave the Raw option unusable for me:
The Apple Raw developer does not seam to read Olympus gradation curve settings properly. I usually leave the cameras color mode to "natural" which in JPEG gives the Olympus-typical beautiful documentary-style color accuracy. However, in Raw, colors get distorted in the most unpleasant way! Especially the greens get horribly oversaturated.
Noise reduction settings also are not correctly translated. I'm the type of Raw user who always wants to start from the camera settings chosen and who then wants to be able to tweak settings to perfection just a little bit. But all in all I chose an Olympus camera, because it does deliver superb white balance metering, decent noise reduction and beautiful color gradation right out-of-the-box.
SPEED! Aperture seems to be horribly horribly slow with Olympus .orf files. Lightroom is easily ten times faster in real-time developing of Raw files.
Did someone observe the same behaviour? How do you work around these issues, what is the best setup for the apple raw developer?
Greetings from Esslingen am Neckar!

Hi there!
I am now developing my raw files with Olympus Viewer. It is the only software solution that would deliver results close or identical to Olymus built in JPEG engine. Most of the time I need to get color reproduction that is as subtle and fine as the Olympus engine, but I do want to benefit from all the other postprocessing advantages that RAW has to offer.
Within Aperture I have not been able to get comparable color rendering.

MacMini DVI colored static and KVM's

Hi
I manage 50 odd Mac's at work and have a new 09 MacMini. I have it connected via the Mini-DVI to DVI connector to a Rextron DAG12 DVI-I / USB KVM switch. I have been using the KVM for a year or 2 with a PowerMac G4 machine with no problems. When I connect the MacMini all I get is multicoloured static / a snowstorm (as described elsewhere) for about 3 seconds, then I see the actual screen for about 1 second and this repeats over and over making it unusable. I tried various resolutions / refresh rates and it made no difference. If I unplug and re-plug the DVI adaptor about 5 times it eventually stops doing this and I just get the screen as it should be. I then used it all day, switching between my mac and PC and left it on over the weekend and it was fine on Monday.
I discovered restarting the machine brings me back to the static mess (after the grey apple screens). As does opening iTunes or Quicktime. It appears to be related to video rendering. I also tested it on a new MacBook with the 9400 Nvidia chipset and get the static. I tried another 09 Mini and same problem. Tried another Mini-DVI adaptor and same problem. Tried both DVI-I and DVI-D cables from the switch to Mac.
I tried an older MacBook with the Intel X3100(?) chipset with the same DVI adaptor and it works fine. As did an old 1.83Ghz Intel based graphics MacMini.
Using the screen without the KVM seems to work OK but is no use to me. The fact that I can get it working for days as long as I dont restart or open iTunes / Quicktime seems to suggest it's something driver / software related to the Nvidia 9400 chipset on the Mac. Any ideas / thoughts? HDCP? I will try and get a mini-displayport to dvi connector to test that.
Matt
Message was edited by: Matt Hall

Matt,
It's been quite a while since I had this problem, so I was looking for my notes on fixing it. No luck there.
The bottom line is that the "native" refresh rate on your KVM is far enough out of specs for your monitor that it's affecting the display. When you plug directly into the mini, the display automatically senses the correct refresh rate and looks fine.
It's a hack, but here's what I did (after giving up on manually modifying the settings in Terminal and failing miserably):
1. Plugged the display directly into the mini and created a "calibrated" color profile for it in both user and admin accounts.
2. Connected the KVM and booted in safe mode, selected the "calibrated" color profile with appropriate resolution in all profiles.
2b. Made sure I unchecked the +Show profiles for this display only+ box in the Display > Colors tab for all users.
3. Plugged in the KVM and restarted in safe mode, doing 1 & 2 above.
4. Restarted and manually set the color profile and resolution.
It can take a few tries to get the settings to "stick."
-Wayne

Premiere Pro CC - Playback issues, rendering and export

Adobe Premiere Pro CC 7.2.2
Computer: HP Elite Book
OS: Window 7 Professional
RAM: 8GB
Intel I7 Processor
64 Bit Operating System
Intel HD Graphics Card
250 GB Computer, 39.2 GB Free
Hello all -
I am trying to edit, render, and export a video for play on YouTube. The source is a Camtasia Studio 8 Screen capture with a 1080P High Defintion PTZ camera that is hooked up to the computer as the "webcam". We recorded the screen, used Camtasia to produce and edit, and saved it as a .MOV
I then transferred the .MOV to my computer and opened Premiere Pro CC. I have been watching a lot of YouTube videos and have a read a lot of threads, so I decided that a simple edit job would be the easiest and fastest. I have attempted this 3 times now, each try has been a failure.
Attempt 1:
Opened a new project. Imported my video. Dropped it into a sequence. Added an opening and closing title card, plus lower third captions to video, and added transitions. Playback was choppy, so I read that it needed to be rendered. I rendered the sequence (it took most of the evening). When I went to play it back, I just got footage that said "Media pending" in 7 different languages.
Attempt 2: I decided not to render, just export. Followed the steps above, but instead of rendering, and exported it. I exported as media file, chose the TechSmith Capture Codec, and .AVI as the format. Let it do it's thing. The result was very fuzzy, plus the audio was about 10 seconds out of sync from the video.
Attempt 3: I didn't get very far here, because when I started playback to check my audio syncing, my computer started flipping between Premiere and my desktop, just swtiching back and forth.
Any help here, suggestions, would be very much appreciated. I need to post this video for work as soon as I can.
Adobe Premiere Pro CC 7.2.2
Computer: HP Elite Book
OS: Window 7 Professional
RAM: 8GB
Intel I7 Processor
64 Bit Operating System
Intel HD Graphics Card
250 GB Computer, 39.2 GB Free

Camtasia http://forums.adobe.com/thread/836800 may help
-and Lagarith Codec http://forums.adobe.com/thread/1287577
-and http://forums.adobe.com/thread/775288
-and http://forums.adobe.com/thread/453044
-and http://forums.adobe.com/message/3202148

Saving Color renders and recalling?

Similar Messages

Maybe you are looking for