Sequence limit for PPCC project?

Is there a limit to the number of sequences I can have in a PPCC project?

Not that I am aware off.

Similar Messages

  • Sequence Settings for AVCHD project

    I just loaded AVCHD clips for a project, is there a specific sequence setting I should use? The final product will be burned to a DVD

    Yes....very normal.
    New to this? Watch this tutorial
    Tapeless Workflow for FCP 7 Tutorial
    Shane

  • Revenue Hard Limit for Program Projects Funded by a Single Agreement

    Hello All
    We have the following Scenario
    1) Project A and B are Liked to each other using Program functionality or using Project-Sub Project Functionality.
    2) We have one agreement of USD 100,000 funding both projects are funded in the way explained below
    Project      Funding
    Project A     40000
    Project B     60000
    Is there a way that can we can ensure that revenue hard limit is ensured at the Program level instead of the Project level?
    For example
    Given Project B has recognized revenue of 30000 USD can Project A recognize Revenue of 70000 as the total agreement is 100000 USD. Means Project A can consume funds allocated to Project B as these projects are interlinked. So that it is ensure that the total revenue recognized by both these projects is not more than 1,00,000 USD.
    I am aware of manual reallocation Process of Funds, but is there a automatic way thru standard functionality.
    Regards
    DR
    Edited by: 933993 on Jan 13, 2013 8:31 AM

    Hi
    No automatic solution using standard functionality.
    You can set up the agreement with no hard limit, and develop a validation within a billing extension.
    Dina

  • Duplicating Sequence Structures for Furtre Projects

    The pink blocks below represent a series of title text animations that I want to use for the framework for many future projects. Is there a way I can export the sequence and just update a change into the the blue video and the green audio blocks?

    cool !!!
    why do I feel like you're watching me through my window??!!!
    hahahahahahahahahahahaha!!!!
    Because I am!
    hahahahahahahahahaha.....
    Check this one out dude: Reuse clips and work across multiple projects | Adobe Premiere Pro CC tutorials
    Enjoy, Kimosabe.
    Kevin

  • SEQUENCE SETTINGS FOR HD PROJECT

    I just started a HD project elements were shot 720p 60 on p2. My sequence settings are Frame Size 960x720 Compressor is DVCPRO HD 720p60. Video rate is 29.97. There will be SD file footage mixed in as well. mostly mini DV tape and there are DVDs as well. I am going to edit this sequence in HD and export it either to a SD deck or to a DVD. Before I get into my project too deep are these sequence settings correct? I ask this because my sequence was hesitating while I was playing it back. I got error messages telling me to change my RT bandwith, and change disk speed. I am thinking it was my sequence settings causing this.

    Now I have a new issue that just popped up. I have 2 Lacie drives i am working with. As per Lacie Tech support they recommended me not to daisy chain the drives. I have then separately connected. One of the drives is not seen I am getting a message telling me the drive was not properly removed and all of my video that I captured to it is offline. This happened earlier and I re launched and the media came back. Why is this happening?

  • FAQ: Are there best practices for building projects within the 20 page/state limit?

    The 20 page/state limit in Flash Catalyst is there to prevent Catalyst (and your finished application) from running slowly. You can however build efficient applications that have more than 20 states by using custom components. Custom components can contain states as well; so by creating an app that has several states, and using custom components that have states, you can get more unique views of your app while keeping it efficiently built.
    Try this:
    1. Select some of your arwork where you need more states. Right click and choose "Convert to Custom Component"
    2. Double-click to edit the custom component. Note that you can now create states in the custom component. Try creating a few states here.
    3. To exit editing the component, double click a blank area on the artboard.
    4. If you try creating an "On click transition to state" interaction now you will see that you can choose from both the states of the application as well as the states of the custom component.
    Answered by: Ty Voliter. See entire discussion.
    More help:
    Video tutorial on custom components
    Video/demo discussing the benefits of "pushing interactivity down" into custom components, by Ian Giblin @ MAX 2009
    (jump to the 11:15 mark, and watch through to about 20:30)
    Another forum post by Ty:
    Here's an ASCII diagram to illustrate one way of pushing application or top-level pages/states down into a custom component:
    Before:
    State1     State2     State3     State4     State5     State6     State7...
    After (project refactored to push three top-level states down into a custom component):
    State1     State2     State3      State7...
                        |
      Custom Component
    State4     State5     State6
    For some projects this can be an inconvenient workaround, and for others it can really clean things up by reducing complexity. If you have several top-level pages in your app that are completely different than other pages (for example, they don't share any objects with the other states) than pushing these down into a custom component makes things a lot more manageable in Catalyst. The layers panel, for example, shows all objects across all states-- this is useful when your states share many objects. If however, your states don't share a lot of objects, the layers panel can get a bit unmanageable. Refactoring into a custom component allows you to fix this by grouping content into a container.

    The 20 page/state limit in Flash Catalyst is there to prevent Catalyst (and your finished application) from running slowly. You can however build efficient applications that have more than 20 states by using custom components. Custom components can contain states as well; so by creating an app that has several states, and using custom components that have states, you can get more unique views of your app while keeping it efficiently built.
    Try this:
    1. Select some of your arwork where you need more states. Right click and choose "Convert to Custom Component"
    2. Double-click to edit the custom component. Note that you can now create states in the custom component. Try creating a few states here.
    3. To exit editing the component, double click a blank area on the artboard.
    4. If you try creating an "On click transition to state" interaction now you will see that you can choose from both the states of the application as well as the states of the custom component.
    Answered by: Ty Voliter. See entire discussion.
    More help:
    Video tutorial on custom components
    Video/demo discussing the benefits of "pushing interactivity down" into custom components, by Ian Giblin @ MAX 2009
    (jump to the 11:15 mark, and watch through to about 20:30)
    Another forum post by Ty:
    Here's an ASCII diagram to illustrate one way of pushing application or top-level pages/states down into a custom component:
    Before:
    State1     State2     State3     State4     State5     State6     State7...
    After (project refactored to push three top-level states down into a custom component):
    State1     State2     State3      State7...
                        |
      Custom Component
    State4     State5     State6
    For some projects this can be an inconvenient workaround, and for others it can really clean things up by reducing complexity. If you have several top-level pages in your app that are completely different than other pages (for example, they don't share any objects with the other states) than pushing these down into a custom component makes things a lot more manageable in Catalyst. The layers panel, for example, shows all objects across all states-- this is useful when your states share many objects. If however, your states don't share a lot of objects, the layers panel can get a bit unmanageable. Refactoring into a custom component allows you to fix this by grouping content into a container.

  • Generating a sequence diagram for an ADF/BC project

    hi folks,
    is there an automatic way to produce a sequence diagram? Read something about debug mode but its not working that way.
    Any help apreciated

    Hi John,
    thanks for the info but the documentation says somewhat about break points, but where to set them isnt mentioned - so nothing gets drawn in the diagram. Any info on that would be appreciated. Do i need several break points and especially where do i set them?
    I was allready wondering how a sequence diagram for an adf/bc project would look like - especially if no beans are involved.

  • Changing activity id in proper sequence for entier project (or certain WBS

    Hi,
    Presently I am working on a schedule with more then 3000 activities. I need to delete a WBS with 200 activities and then paste another WBS with 200+ activities. The problem for me is that I need to change the activity ID so that the WBS should be align with the entier project. Is there any better way other then manually editing the Activity Id for entier project? I need to change the Activity Id so that it should reflect the proper sequence with the start date. Any help will be apreciated.
    Thank you

    2. you can also use a global change to change all activity id's. (no if line needed), by concatenating any 2 or more existing text columns or udf's you create for this purpose.
    e.g. create 2 text udf's named "Sort" and "Sort_txt".
    under edit/ user prefs / dates, uncheck month name and use MM-DD-YY format so that 30-Oct-09 displays as "10-30-09"
    in the "then" field of the global change add the following lines:
    sort_txt = Start Date (you need this to convert a date field to text)
    sort = leftstring(sort_txt,5) (to extract the first 5 characters of sort_txt as defined in the previous step, that is "10-30"
    sort = sort & '-' (to get "10-30-")
    sort = sort & WBS Code (to concatenate "10-30-" with WBS Code or any other field for that matter)
    you can always use "Start Date" or the newly created "Sort" to sort your activities. I wouldn't mess with Activity ID too much if I were you, but if you must..
    keep Activity ID as simple as possible as a project default option (0001, 0002, 000x...) and add a final line in the global change:
    Activity ID = Sort & Activity ID (that is because you need a unique Activity ID). you should get something like 10-30-AAA-0001.
    it is safer not to play with Activity ID too much in global changes. that's why i use as many udf's i need for intermediary steps and change Activity ID in just one final line.
    OR if you feel more comfortable to work with the udf in excel,
    export "Sort" as a column in xls
    populate it in excel with 0001 to xxxx with the activities sorted by Start Date (as explained earlier)
    reimport the project
    run a simple global change such as:
    Activity ID = Sort
    or
    Activity ID = Sort & <any field you want>
    caution: there is no undo for this. practise on a backup copy of the project. don't forget you need a unique Activity ID.
    good luck
    Edited by: Tibi on Oct 9, 2009 5:17 AM

  • I have Video camera movies that are HD format.. I am doing editing work on them using Final Cut Pro, but using DV PAL format for the projects I am editing. When I then tried to copy my work done in FCP Project that's originally DV PAL , into a new FCP Pro

    I have Video camera movies that are HD format.. I am doing editing work on them using Final Cut Pro, but using DV PAL format for the projects I am editing. When I then tried to copy my work done in FCP Project that's originally DV PAL , into a new FCP Project that is HD, and tried reconnect media with original HD movies (video), the sequence project got distorted for all the text, shapes used and all.. everything changed its orientation and scale.. Is there a way by which I can preserve my work done on DV PAL and switch it preserving its proportions, scale and orientation, but on a HD project sequence?? Appreciate your help and advice..

    Yes.  A couple of ways that might work.
    First Way
    What you need to do is load one of your hd clips in the viewer and edit into a new HD sequence.  Does it display correctionly? 
    OK, select the clip in the hd timeline and copy (command-c).  Now go to the HD sequence with the material that's distorted.  Select all (command-a) and paste attributes (option-v) and choose basic motion and distort.  That should maek things work.  What won't work is anything that you've adjusted as far as basic motion or distort in your PAL sequence.  That I'm pretty sure you'll have to redo.
    Second Way. 
    Choose your original PAL sequence and do a Media Manage changing the sequence preset to the appropriate HD paramenters with the media offline.  You then should be able to reconnect these clips with your original HD media.

  • Can I possibly get Premiere to work for this project?

    Hi. I am working on a time lapse scanner photography project. I scan flowers a few times an hour and then make videos of them drying out. I'm currently making a movie of it all. The thing is, the scans can be thousands of pixels high/wide. The problem arises when I make sequences with 20 or more of these videos (scaled down to around 10% in Premiere) moving together. It becomes almost unusable on my older Macbook Pro. Doing the more complex parts of it is also very inconvenient on a new iMac. Because I'm working with so many files, I tried out After Effects. Its proxying feature excited me, but it soon became clear that AE is meant mostly for shorter projects, and not for clips that can get 40 GB + in size. For example, in trying to make tiny proxies of clips last night, only four succeeded. It seems that the rendering is centered on your available RAM, and when it runs out (a few seconds into the first clip) rendering becomes very slow. This might work for ads or something, but not for this project. Maybe I'm not using it correctly though.
    So I don't know what to do. I've tried a proxy workaround for Premiere, but that seems to involve working with clips at the resolution you made the proxy at, unlike AE where you can work with a now-more-blurry version of your main file. I tried making a tiny proxy manually, and then upscaling it in Quicktime Pro 7, but that seems to also be slow for Premiere, leading me to think that multiplying the one clip in my test sequence by 20 or more wouldn't be that different.
    Does anyone have any ideas as to how do edit a project like this with a reasonably responsive UI? I don't care if I have to spend hours rendering proxies, or rendering the final copy afterwards, I just want to be able to edit without waiting for minutes when I click on a 20 layer part of the movie. I understand that this is probably an abnormal way of using Premiere, as normally one only uses a few layers at a time.
    Another idea I had was to do the parts of the movie with 20+ layers in AE, and import them in Premiere to get around AE's focus on shorter lengths. But this doesn't get around the issue that its proxying feature, and rendering engine in general seems to be tailoured towards shorter projects. If you are confused, that's okay, I can elaborate more and provide pictures.
    Here's some single videos from the project:
    http://www.momentaryvitality.ca/
    Thanks!

    ATI cards will not work for GPU acceleration of the Mercury Playback Engine and only Nvidia cards with at least 1 GB or RAM and at least 96 CUDA cores will allow for a good experience when using the GPU enable Mercury Playback Engine.  I have a mediocre GT 240 with 1GB of RAM and it rocks. It is much better than using the software only mode. Software only mode is not bad but GPU enabled is so much better. You will have to trust me on that. A new Macbook Pro would not be wise. In fact $900.00 Dell or HP with at least 96 CUDA cores and 1 GB of RAM would be a much better option. You could in theory get a mediocre $600.00 Quad Core from Best Buy and then buy either a $70.00 Nvidia GT 240 graphics card or even a $135.00 GTX 550 graphics card to put in the system. That would work just as well.

  • Best way to collect all video and picture files for a project

    after effects has this great feature where you choose COLLECT and basically what it does is collects all your media files and puts them in a folder. What the best way to do this in FCP?

    ThatChineesYouth wrote:
    As a disclaimer; I used FCP's 'Media Manager' To duplicate my original project, to remove the excess unused clips and to preserve the right to keep specific audio files within the confines of the company. The file structure of the project, PROJECTNAME, may or has been altered as a result. Sequences might have blank spaces as a result of time remapped clips being incorrectly duplicated and media names and bin structure may be altered as 'Media Manager' caters not for the organization of the original project. These might or might not be corrected depending on how i feel at the moment of reviewing this 'duplicated' project.
    I make special exceptions for clients that do their best to stay on my good side. This disclaimer was made specifically for a project that I had to redo when the original editor was too lazy to make it "watchable". They said I only had to make some changes.... almost 2 months later, I technically did the project over from scratch.

  • Reconnecting media for entire project

    I have had to clean up a very messy project by moving all the media to new drives with one Capture Scratch folder on each. I'm wondering if there is a particular way the media should be reconnected.
    Would I start reconnecting the media from bins of clips? Or reconnect the media from sequences? Or would I simply highlight everything in my browser and then start reconnecting media.
    Thanks in advance. This has been a crazy process and prompt responses from other users has really helped. Again, I hope we can all make it clear to Apple that they should push fixing their media management to the top of their priority list. I make this clear on every tech support call.
    Loch

    If there is the possibility of media corruption (or sequence corruption, for that matter), reconnecting from your main sequence might be beneficial.
    In the past, I've discovered clips (stills, usually) that have gone wonky on me by reconnecting one-by-one from a sequence.
    If there is no question of media corruption (it's simply that the project is too bloated, for instance) then you can probably make do with connecting from your bins.

  • Sequence settings for combining HD videos, SD videos, and stills to DVD?

    Hi,
    After reading through the forum, I am still not sure whether I should be using the "lowest common denominator" sequence (DV NTSC preset to match the avi footage), the "highest quality" sequence (DSLR 720p preset to match the mov footage), or the sequence which best matches my desired final output (i.e. DV NTSC for DVD output) for a project consisting of HD 720p mov, SD 480i avi, and jpeg source files.
    Obviously, a newbie like me should be using Windows Live Movie Maker or even PE9 rather than PP CS5 but I hate not having a timeline (among other things missing in WLMM) and I'd like to make use of the 8GB of RAM with my Windows 7 64bit system when editing the HD footage.
    Thanks in advance for your feedback and any other suggestions you may have.

    So there shouldn't be an issue if I use source video clips with lower audio sample rates for a sequence with a 48kHz sample rate...
    There should be no real issue, as PrPro is very good at handling most common Bit-depths and Sample-rates. Just allow the program to go completely through the Conforming process. Depending on one's computer and the Duration (plus CODEC's, etc.), this should not take very long - just be patient.
    Good luck,
    Hunt
    PS - I agree completely with Harm's comment on up-rezzing SD to HD, however there are a few programs, like Red Giant's Instant HD, that do a pretty good job. If your final output is SD, then definitely go with Harm's suggestions and down-rez (Effect>Motion>Scale) for the HD material.
    PPS - for inclusion of stills, I Scale my images in PS to match my Project's/Sequence's Frame Size, though I have it from a very good source (Todd), that PrPro CS5 has improved the Scaling algorithms over previous versions.

  • Sequence settings for gopro

    what is the best sequence setting for a gopro hero 2 ?

    You can safely cancel that first sequence dialog when creating a new project and follow the advice from post 1.
    A wrong sequence could make playback more difficult, but often the more likely reason is that your computer simply isn't up to it.  You may need better hardware.  An i7 3770K or i7 3930K are what I'd consider starting points for smooth editing of this material.

  • Sequence settings for 16:9

    Hi,
    Just doing some PAL tests of 16:9 HD to 16:9 SD downconvert.
    What are the sequence settings for this?
    If I use the normal DV PAL 48khz, the VIEWER window shows a normal 16:0 ratio, but the CANVAS window shows a letterboxed 4:3 window. When I export this project, I get a letterboxed 4:3.
    If I need to give my European client a 16:9 SD project, what are the sequence settings.
    Thank you kindly!

    Thanks Michael,
    I still get images in FCP and QT exports that are letterboxed. Is that normal? I guess I assumed 16:9 FCP project windows and QT export movies would be all image and no letterbox within a 4:3 window.

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