Setting up Super 16mm Film project

Maybe someone can direct me a little. What are the basic settings for a Super 16mm project ?
We are shooting 16mm which is transfered to DVcam format for Dailies.
I imported Flex files information into Cinematools.
But I cannot import them as they are into FCP 6.01
And what will be my settings for capturing and the sequence?

I guess I will not be able to see Keycode # in FCP, is that correct,
Correct. FCP does not have the film interface that Avid does. But Avid was designed around a film workflow...then moved to TV. So it will have more options. BUT...if this telecine was done properly, you should have BURN IN numbers on the tapes. Keycode, tape TC, audio TC...the usual.
We are not going to have a negative cut but a 2K scan . The lab made some HD Masters.
SO these are dubs of the HD masters? OK, what is the frame rate on the HD masters? 23.98? If so, then yes, AFTER YOU CAPTURE, remove the pulldown with either FCP or Cinema Tools to get you to 23.98, and check EVERY CLIP so that you make sure that the TC matches at the head, middle, and end of them. Yes, this is tedious...but it has to be done. Typically this is the Assistants job.
Shane

Similar Messages

Super 8 film and Mac

Hello All,
Does anyone here know of someone who uses a Mac to help transfer Super 8 or 16mm film to video? (via flatbed scanner or using Mac to color correct from a projector)
I know of some PC software for this, but how about Mac?
Thanks,
Mike

Just normal Super 8 projectors from the 1980's. You can pick them up very cheaply (or even free) because almost nobody wants them any more.
I have also done a few transfers on my 30 year old projector but it has no fine speed-adjustment setting so my results had a hint of flicker occasionally.
It depends who you are doing it for. If it is just for the family archives most people would be more than satisfied with the results.
The important thing is to project it small (A3 or A4). That way you get a brilliant image which is easy to get into focus and also focus on.
You need to experiment to find whether it's better to lock your focus and white balance or leave them on automatic. There are no hard and fast rules - it all depends on your particular setup and the actual quality of the film.
Ian.

FCP Pro Res Super 16mm -- Compressor -- DVD Studio Pro (Nightmare Workflow Critique)

Hello,
I figured I post here rather than the DVD Studio Pro forum; I've posted on Creative Cow as well but haven't gotten any responses yet.
Before I mention my problem, I'd like to mention that I've tried several types of compression methods and bitrates and unfortunately, my disk still freezes in my player, generally around the same area.
(I have two, minute long clips with Smoothcam there).
I'll try to be as specific about my work-flow as I can and I've posted the photos of my FCP and Compressor settings below.
30 Minutes. Super 16mm.
2K DPX Scans -- > Graded In Color --> Pro Res 4444 23.976 --> Sent To Compressor --> Mpeg 2 + AC3 --> Build & Format With DVD Studio Pro
I set blue compression markers at the start of each Smoothcam clip.
I've recompressed my footage without Smoothcam as well - with the same end result.
I've sent my timeline to Compressor and used both the 5.5-7 VBR setting and the 6.5 CBR settings (with everything under Frame Controls set to the highest quality).
(I've also used the 6.2-7.7 built in settings with the ninety-minute high quality preset).
I am using Sony DVD-R disks. 16X/1X. When I play them in my PS3, the film freezes at different points in the first two-three minutes - then skips ahead exactly to the same point in my film - about halfway.
I've set Chapter markers and it skips to the halfway one; from there it plays fine.
1. I wanted to ask if I should maybe export my entire sequence first through FCP (an .mov file) and try Compressing that?
(I've done this and the result is still the same)
2. Should I set it to Pro Res 422 HQ first?
(I've done this and the result is still the same)
3. Perhaps I should just try to Compressor with the 90Min-HQ setting without changing anything?
(I've done this and the result is still the same)
4. Should I remove the Smoothcam?
I'm currently compressing the entire sequence void of all Smoothcam.
When I bring the files into DVD Studio Pro, I see under preferences that Studio Pro also has VBR settings. Do those have any effect on my DVD encode? There is no CBR there - only VBR set from 5.5-7.
5. Is there anything I'm doing wrong with regards to my workflow? There are several options that may be causing this; I'm not sure if its the progressive footage to interlaced standard definition disk, or modifying field dominance, gop structure, etc.
Any help would be greatly (that's greatly) appreciated.
Thanks!
-Boris

My first impression is you're trying to make this too hard...
You have a high quality timeline which is downconverted to 1080, no problem. Once rendered, SmoothCam
should not represent a problem. If anything, SmoothCam will reduce the sudden movement that can cause problems. Any scenes where you have a high rate of change per frame (like in an explosion or a background of leaves flapping in the wind) should be marked with compression markers.
Export as a QT movie using sequence settings (include markers for DVDSP) so you have a completed source file for compression. I'm not aware of anything that will improve the quality beyond what is in the timeline, so current sequence settings are fine. Test this for playback issues.
If you are having playback problems with the sequence after export and compression, the most probable cause is excessively high bandwidth requirements. Try using the DVD: Best Quality 90 minutes preset. It generally produces a very good quality product. Any attempt to increase the quality will likely increase the bandwidth requirements that are the probable cause of the skipping.
While Sony is a big name, their DVD substrate is only mediocre. If you think the substrate is a problem, switch to Verbatim or JVC/Taiyo-Yuden.
If you are dissatisfied with the quality of the Compressor output, look into the Cinema Craft encoding products.
Hope this helps.

16mm film to Digital (Flicker Problem)

I am transferring 16mm film by projecting it to a screen and then capturing it with a Cannon XL2,
These are very old family films that are not the greatest quality to start with so quality is not an issue.
We just want to keep the old movies but not to go to the expense of having it done professionally.
We can even live with the flicker but if there is a way to reduce it some, that would be nice.
I have searched the forum but all of the posts dealing with flicker are old, like 2006 or so.
I am wondering if FCPX has some kind of filter available that would help.
Thanks for any input.
Jac

a) a projection usually creates issues with socalled 'hot spotting' - that's easy to fix in post
b) projection and video-cam are never in synch - which creates flicker; theoretically, you could try to set the projector to 30fps, and slow down the 'Keystone Cops'-effects in post. but your cam is electronics (and, to be precise 29.97), a projector is mechanics ... never in synch, neverever .......
c) your camera records 'lines' of pixel - which could miss part of the frame, which is fully projected; this creates the annoying 'running bars' - so, the shutter speed of your cam has to be 1/30 (if 30fps projected). And has to be in synch with your projection ....
jac Colon wrote:
… We just want to keep the old movies but not to go to the expense of having it done professionally.
all that would be 'solved' if done professionally - no projection, but each frame gets scanned = time/costs.
I remember a product, kinda box, two holes, one for pointing your cam into it, the other to 'beam' into with your projector; the tiny 'screen' inside was sort of 'phosphorized' material which had a split-second of 'afterglow' .... came up in the 80ies, when first home-video-cams appeared, and people tried to transfer their 8mm stuff; perhaps you can find such a Magic Box (no idea, what the correct term is/was) in some garage-sale ......

16mm film in FCP - sound synch.

I am making a working edit of a 16mm film in FCP. Once complete the EDL will
be used by a neg cutter and the project will be finished as 16mm show print.
All the sound was recorded wild and although most is not in need of a tight
synch. there are short spoken sections that must be lip synched.
In FCP we have both video and audio, but the runs faster than the audio and
a lip synch. is impossible.
We telecined to DigiBeta but also laid the picture off to DVCam (with TC and
Frame Numbers in pic.). We captured from the DVCam into FCP. In ignorance we
did not pay attention to the capture rate or the frame rate of our sequence,
so used 25 frames for both. We want to do as much work in FCP as possible to
produce a sound track mixed down onto DAT for the production of a optical
soundtrack neg. FCP is helping us make decisions for the neg. cutter but is
not usuable as a guide to edit the audio.
This may be a problem of our own making but any advice as to how to get out
of this impasse would be much appreciated.
G4-dual 1Ghz Mac OS X (10.2.x)

Many thanks.
We telecined to PAL video (UK). Does this still use 3:2 pulldown? or a different system? Cinema tools doesn't offer Reverse Telecine for changing PAL 25 fps to 24 fps, but it does have a Conform tool which allows me to do something similar (I think). Will this have the same effect and bring the video back to match the film and audio speed as it was recorded (24fps)?
If you are going to cut the negative you'll need
something more than an EDL. EDLs track the xfer tape
timecode, you need to give the negative cutter
keycode number from the negative. You can xfer with
keycode burn in for this. Is that what you did? Talk
to your negative cutter and see what they want.
Yes I think we did. We have two counters burnt in vision on our DVCam dub. One is TC (from the telecine) the other has the suffix FN (frame number?). We will talk with our TX guy for confirmation. However these FN numbers do not appear in the FCP EDL - is it possible to generate an EDL in FCP that references the frame numbers/Keycode?
Again thanks, any more info on using Cinema Tools with PAL material would be welcome.

Canon XH G1; setting up a FCP HD project

I am an avid editor and will be venturing into the world of FCP. The project I'll be working on is filming with a Canon XH G1 in HDV. The footage is going to be captured to a hard drive. This is all pretty new technology and I'm wondering if there is anyone out there who has set up this type of project before... and if you've used this camera that would be great! Any input you can give on setting up an HD project in FCP or tips with this camera specifically would be greatly appreciated. Thanks!

But stick around. We'll explain the unobvious. You'll get it faster than you think. All effects are tweaked by double clicking the clip you select in the timeline... it's faster than Avid's interface for this single reason I believe. I ran one for 14 or so years. Never looked back. But I'm freelance with my own bay. O yeah... FCP has 800,000 registered users now. so there's work for sure to be done.
There are much better solutions for HDV shot material than editing in it too.. transcode it to DVCPROHD at four times the file size, yet small enough for inexpensive drives to run... better editing experience. You can do it in compressor if you don't have the hardware for it. Transcode it using the "advanced format conversions" submenu preset.
Jerry

48-Hr. Film Project Nightmare

Well, it's been quite a weekend for this editor. I was a participant in the 48-Hour Film Project - and everything was going okay until about 4pm yesterday, three and 1/2 hours before we were to deliver our finished film. At that point things went terribly, horribly wrong. I was trying to export an HD sequence to an SD-format Quicktime. I had done this before in tests and I knew it could be done, and knew how I wanted to do it. But when it came time, that's when the trouble started.
Every time I would try to export, I would get the most useless message I think anyone could get - "General Error". What??? And this happened EVERY time, no matter what format settings I tried to export with, no matter what I did. I closed out, trashed prefs, rebooted, ran disk utility to repair permissions - all with no success. We had a good entry, and the pressure was starting to rise. We could not get this $%^&^%$& sequence out of the box. Period.
We never did manage to get a file. With 1//2 hour left we went into a dark bathroom with an SD camera and pointed it at our Apple Cinema screen, running audio from laptop to camera and shot the screen. Desperation and ingenuity at it's best/worst. Shooting the screen ended up working okay, although there were exposure issues that we didn't have time to deal with. We DID manage to get our entry in, 4 minutes before the deadline - although nobody was happy with the outcome and what had happened.
The worst part about all of this is that when I returned home after going through all of this and turning in our entry, I started to look into what happened and immediately was able to export with no issues. I just wanted to cry uncontrollably at that point, and laugh hysterically at the same time. There are not words to express. After poking around some more the error did show up again using one of the sequence timelines I had created, but not anything like getting that "General Error" literally almost 100 times in the course of those two - three hours yesterday when I was trying anything/everything I know to get it to export just ONCE. I had the settings, I knew the drill - I had even practiced doing this before this weekend with the camera we used and did tests - all that went out the window when the export issue started.
All I could think about was how I was glad this wasn't a "paying client" but in reality, all the people who donated their time to our project were the client. At least we delivered something, but it was only a sad facsimile for the great looking and sounding short film we created. Everything I had done to try to avoid this nightmare was to no avail, and all I can figure is that in the process of editing, one timeline got corrupted and managed to keep any timelines from exporting, or something was corrupted on my video drive that reset powered off and then back on when I packed up my gear and went home. I don't believe I cut/reset power to the drive when all of the problems were happening, so maybe that had something to do with it.
Anyway, thought you might be interested in hearing about this - makes you appreciate not being me yesterday.

Contrary to the information above, your workflow was far from "unnecessarily risky...". Back in 2007 when the HVX200 was all the rage I helped more than one team in the 48-Hr Film competitions that Panasonic sponsored, they used a nearly identical workflow to yours without a hitch. There are some not-so-obvious benefits to shooting in HD and then making a downconversion to SD that many even today just don't understand.
The "general error" bug has haunted many a FCP editor - myself included - and unfortunately Apple has never been forthcoming in exactly all the things that could cause this error code. In fact, I had an Apple Pro-Care Tech support tech tell me that the reason it's called a "general error" is because the application itself is unable to determine the source of the problem. It happens.
As you've probably learned from this exercise you should be prepared to do some heavy-duty troubleshooting when things go awry; you've covered a few things in your list of attempts to fix the problem and here's a short list of other things you can check in the future:
- Connections to external drives, both in hardware (cables, power-supplies etc) and in software (making sure assets/preferences in FCP can still find those drives and are pointing to them).
- Get a copy of DiskWarrior and make it part of your regular maintenance routine.
- Speaking of maintenance, download Onyx (free app); use it's maintenance and cleaning routines regularly.
- Don't forget the obvious; I did see in your original post that you did all the initial troubleshooting (reboot, trash prefs etc) but don't forget things like basic hardware needs: Check internal power-supplies, make sure RAM is fully connected, listen for drive noises (like heads banging themselves silly).
Don't take this error bug as an issue with your workflow; HD to down-converted SD is not only safe but a preferential method for making superior-looking SD content whether for broadcast or DVD.

Missing Functionality -where do I set a budget for a Project?

Budgeting for Projects is non - existent
Budget for Profit and Loss for a particular project , How is it done ?
Does not work , No facility to put in Budget for a project ?
The report I am trying to run is:
REPORTS>FINANCIAL>BUDGET REPORTS>Profit and Loss Statement Budget Report.Then go to Expanded and choose a PROJECT, say MailOrder.
The result is that it will show the MailOrder project for the ACTUAL but it will show the whole company Turnover against the BUDGET column.
This is because there is no place to set a budget for MailOrder Project in the first place. So the question is where do I set a budget for a Project?
1 Budget setup screen - this has no facility to setup a budget for a PROJECT
2.Budget Profit and Loss - this has the facility to run a PROJECT budget but the figures for the Budget cannot be right because they were not setup in the first place.
PS MailOrder project is just an example.
Version: SAP BUSINESS ONE 2007 A Patch Level 41
Description of requirements: As above
(Valid as of: (Date that this legal requirement is applicable) N/A
Business needs: Customer cannot set the budget for a project and this effects their accounting.
Examples: (Please describe a typical example, how the functionality should work.)
Current Workaround: None.
Proposed solution: Create a Project and then be able to set a Budget for it
Edited by: Darpal Thiarha on May 14, 2008 10:34 AM

Hi Darpal/Kerstin
Please ignore my previous replies because I have now worked out why this idea will not work:
Kerstins' idea is based on setting up new Nominal Codes for every Project and for Every Nominal Code in the Profit and Loss structure. Apart from the fact that this will create a messy Nominal Structure with hundreds of Nominal Codes, the main issue here is the way the Cost Of Goods Sold is structured. The logic of our Nominal Structure for Sales and Cost of Goods is based on Item/Item Groups and the Nature of these Items. In our case we sell Skin Care products under 3 Brands. Say Brand A, B and C
So Brand A is summarised into one item Group and the ITEM GROUP is coded to Sales Nominal 20000 and the Cost of this group is coded to Nominal 30000. In Kertins suggestion, I would need to raise a Nominal Code 20001 for say Project Mail Order and 30001 for the Cost of Goods for Mail Order but this the Mail Order project is selling ALL our brands (A,B,C) - so you can see the problem here. You cannot use Nominal Codes for two different purposes and make it work. So the problem here is that my BRAND A summary will contain a Nominal with a Project Mail Order, that has SALES of Brand A,B,C. The Net effect will be that we will not be able to summarise anything in SALES and Cost of SALES in a logical way (Neither by Brand or By Project) and the Nominal Structure will be a mess.
My conclusion is that SAP b1 Sales and Cost of Goods section demands certain logic when building the Nominal Codes, and this is based on the NATURE OF THE STOCK ITEM and trying to superimpose the PROJECT issue into this, will never work. In my view, the PROJECT issue needs to be sorted without involving New Nominal codes and the starting point would be in sorting out the SALES and COST of SALES and the project Budget for this.
Please let me know if you need further illustration of the problem.

What files need to be backed up to make sure film project is safe?

Editing a feature film using Premiere Pro, Audition, Speedgrade, and possibly After Effects? My question is what files do I need to backup to make sure the film project is safe in the event that the computer and hard drive both break. Editing on a computer, with footage stored on external hard drive. Will use a separate 2nd hard drive for the files to be backed up.
I know I need to backup the .pproj Premiere pro files backed up. I know I need to backup the footage shot (both video and audio files) backed up. I recently learned that I need to backup the files created by Audition, when I send an audio clip from Premiere to Audition and back to Premiere for audio editing.
So my question is this: what other files need to be backed up? If I round trip to from Premiere to Speedgrade and back to Premiere, is there a file created that I need to back up? If I do a round trip from Premiere to After Effects and back to Premiere is there a file that needs to be backed up? Are there any other files that need to be backed up?
My goal - back up all files needed, so if I need to resurrect the project after computer and hard drive break, that I will have all files necessary to continue editing, and that no footage, or edits, or color corrections, or audio edits will be lost at all.
Thanks in advance.

Hey there Matt, nice to "see" you here too!
I can answer one question directly: when round-tripping PrPro/Sg/PrPro, the only place Sg files "changes" is back in the PrPro project file. Essentially, its designed to function much like perhaps a plug-in "within" PrPro. So that part is one of the nifty things of the Direct-Link PrPro/Sg. Now something I'm curious about in your request is how the other folks with LARGE project back things up whilst working. I know they do not archive the previews & cache, but ... with a large project ... can/does it save time to backup those files also when you do get a crash/corrouption. Is it faster to get back working if you backup the cache/previews?
You note wondering where to store the outputs of Audition work-sessions. I put them in the "main" projects folder-tree. I know others feel this is "content" and put them in with the video/graphics folder-tree. I started doing it this way, but now ... wonder if the other is "cleaner" though the difference may be more of intellectual curiosity than having any actual affect on diddly. Note, as I've got separate discs for each part of vid work ... programs/system, cache & previews, projects, footage/graphics, renders ... that does influence having separate folder-trees per project on separate drives. If the project & content files are all on one drive, well ... that's simpler to backup/archive.
Video projects are so space-hogging these days ... "footage" just gets bigger you know! ... and projects more complex. Planning for both in-work backups and continual movement of material from project inception to archiving it off the "working" station is a must, as you are clearly aware. There are many different layouts folks have chosen or simply need to use for their workstation disc layout. This can have some effect on project "stage" planning also.
For those with a "hot" workstation with say a 4/5 disc RAID system for projects/footage/previews/cache so everything is on one big "system", I suspect everything can just live in appropriate folders under a project name to begin with. Backups and Archiving is pretty simple ... use a good backup program to copy & CHECK the the project master folders with sub-folders to your backup/Archive option/s, then delete off the working system (when Archiving).
And as noted here, there, and elsewhere ... putting all the "project" files & their assorted bits & pieces in one main folder per project, and then all footage/graphics/etc. "content" material in a joint folder-tree on the drive *that* lives on for working purposes make backing up & archiving/storing things much simpler. I've seen all sorts of things done afterwards but the simplest just seems to be collating the "project" files folders and the "assets" (content) files/folders under a general project name folder

Lost film project

I made a holiday film project on iMovie 09 and cannot find this project anymore.
Are there any tips & trics to find this?

iMovie expects to find Projects in the Movies/iMovie Project Folder of the boot drive.
iMovie expects to find Events in the Movies/iMovie Events folder of the boot drive.
If you have moved the project and event to an external drive (using iMovie), then iMovie expects to find them in the iMovie Projects folder or iMovie Events folder respectively at the top level of the external drive. The drive must be formatted as Mac OS Extended (journaled).
If you have moved the project somewhere else, you may be able to find it by doing a spotlight search for all files having an RCPROJECT extension. (just key rcproject into the search box).
You will also need to locate the Event file.

Trying to move film project between external firewire drives HELP!

i have a film project that i've been working on and all of the media files and the project file are on one external firewire drive. I want to move the film project to a different, smaller and more transportable firewire drive, however, when i use the media manager to make a copy of the project on the second external drive, when i try to open the new project, it uses only approximate outpoints of the clips in the sequence and all my editting work is pretty much lost. is there a way to preserve my editted outpoints? please help! thanks, jkkjnz

the clips all have names. 01_01 until 01_85 or so and 02_01 until 02_52 or so. when the cop of the project is finishing up, a series of error messages appear which say "an unknown error occured while trying to reconnect clip 02_12 [for example] to the copied file". Then, when i try to reconnect the media from the new project, it says specifically for some clips, "02_09 does not have enough media content to reconnect clip in Sequence 1" and then after a list of similar messages, it says "one or more files did not have enough media to reconnect some clips. some edited clip items have had their outpoints adjusted." grrrr...

How to get the super 8 film look?

Hi,
I'm shooting a music video with both Super 8 film and my Panasonic DVX100B digital (both in 4:3). Now as the DVX100 has progressive it already looks quite similar to my real film images. The only thing thats missing is the grain and unpredictable nature of super 8 developing. I wondered if anyone could help me match the two types of footage as closely as possible?
For example to get that grain I thought maybe I could film a white screen with my Super 8 camera for about 15seconds and then develop, get digitized and finally import it into FCP. Now I would have the pure grain against a white backdrop. Could I then overlay the grain effect on my DVXfootage somehow? Or do something similar to this that might work? It's really important I get around the problem in an uthentic way such as this, however I'm just not sure the above idea will work?
Any ideas and thanks in advance!
Kind Regards
Kevin

Hi Ian
I downloaded the aged film plug in from cgm but cannot save it to where the tutorial instructs me too.
That is this tutorial:
http://library.creativecow.net/articles/smith_stephen/FCS2_film/video-tutorial
Now I go into Library, Application support, but then there is no FCP system support folder? Instead there is a Final Cut Studio folder that only leads to DVD Studio Pro, Motion, Patches and Shapes. There is no plug in's folder? What do I do or where can I find my FCP plug in's folder?
Thanks

I have had some 16mm film converted to digital format. Photoshop displays it ok. Then when I save

I have had some 16mm film converted to digital format avi 190 by 1080 pixels, 72 pixels/inch. Photoshop displays it ok. Then when I save the file as a psd, the quality of the video displayed deteriorates when I bring the file up to work on it. Then no matter how it is rendered, it deteriates further. I am using a windows 7 computer. I have tried this with an Nvidia Quatro 1800 card and an Nvidia Gforce 760 card.
Why does not photoshop at least keep the quality of the video as origional in a psd file? I can understand offering to degrade the display for faster display, but not the rendering degradation. I have tried H.264 High Quality and DPX full range 8 bit, they both degrade the quality, even though the origional avi file is an 8 bit depth, the others degrad the colors considerably.
I have worked on this for several months and am very disappointed in photoshop 6.
Where can I get information on what is going on in photoshop 6 as to how to control how it saves a file and more control of the color depth?
Russell Whitmer
[email protected]

You may want to post this to the Premiere Pro forum as this may fall under 'video/film issues' (just a guess). Someone there may have had similar experiances.

Setting up number range for projects in cProjects

Hi,
I am new to cProjects & my apologies if my question may sound very naive. My client wants an alpha-numeric number range to be set up for numbering of projects. Is this possible & if yes how? Which is the object for setting the number range? (I believe the transaction in "SNRO")
Thanking you for taking a note of my querry.
Regards
Deepak

Sample Code Method SET_DEFAULTS_UPON_CREATION
Method IF_EX_DPR_ATTRIBUTES~SET_DEFAULTS_UPON_CREATION
*/ This method is called when creating a new project element (i.e. project definition,
*/ phase, task, etc) and can be used to fill in default values for standard as well
*/ as customer defined data fields.
*/ This implementation is provided to assign customer specific numbers to project
*/ elements.
*/ It's interesting to note that when this method is called, the external ID of the
*/ object has already been determined and assigned by the default numbering services
*/ class CL_DPR_NUMBERING_SERVICES. It is also interesting to note that if a user
*/ specified an ID for the object through the user interface, changing the identifier
*/ in this method will have no effect -- meaning the user specified ID will still be
*/ assigned to the object.
*/ Only the example for Project Definition is provided. For other project elements,
*/ insert similar code between the Beginning and End comments below. In addition,
*/ the filter for this BADI implementation must be updated to include any other
*/ project element for which custom number assignment is desired.
DATA:
    lr_parent              TYPE REF TO if_dpr_common,
    lr_project             TYPE REF TO cl_dpr_project,
    lr_approval            TYPE REF TO cl_dpr_approval,
    lr_individual_approval TYPE REF TO cl_dpr_individual_approval,
    lr_phase               TYPE REF TO cl_dpr_phase,
    lr_task                TYPE REF TO cl_dpr_task,
    lr_checklist           TYPE REF TO cl_dpr_checklist,
    lr_checklist_item      TYPE REF TO cl_dpr_checklist_item,
    LV_NUMBER              TYPE DPR_TV_EXTID,
    LV_NUMTEXT             TYPE CGPL_EXTID,
    LV_INTERVAL            TYPE NRIV.
FIELD-SYMBOLS:
    <ls_project_attrs>             TYPE dpr_ts_project_int,
    <ls_phase_attrs>               TYPE dpr_ts_phase_int,
    <ls_task_attrs>                TYPE dpr_ts_task_int,
    <ls_checklist_attrs>           TYPE dpr_ts_checklist_int,
    <ls_checklist_item_attrs>      TYPE dpr_ts_checklist_item_int,
    <ls_approval_attrs>            TYPE dpr_ts_approval_int,
    <ls_individual_approval_attrs> TYPE dpr_ts_individual_approval_int.
*/ Determine which project element (object category) is being processed
CASE flt_val.
    WHEN cl_dpr_co=>sc_ot_project.
      ASSIGN cs_attributes TO <ls_project_attrs>.
      lr_project ?= ir_common.
*/ Beginning of custom project number assignment.
*/    In this example, the default system numbering is manipulated to
*/    produce the Project Number...
*/    Get info regarding the number range for operative projects...
      CALL FUNCTION 'NUMBER_GET_INFO'
        EXPORTING
          NR_RANGE_NR              = 'DO'
          OBJECT                   = 'DPR_EXTID'
*         SUBOBJECT                = ' '
*         TOYEAR                   = '0000'
        IMPORTING
          INTERVAL                 = LV_INTERVAL
        EXCEPTIONS
          INTERVAL_NOT_FOUND       = 1
          OBJECT_NOT_FOUND         = 2
          OTHERS                   = 3.
      IF NOT SY-SUBRC IS INITIAL.
        RAISE EXCEPTION TYPE CX_DPR_FATAL_ERROR
          EXPORTING
            TEXTID = CX_DPR_FATAL_ERROR=>SC_INVALID_PARAMETERS.
      ENDIF.
*/    Strip off the year that has been appended to the object number
*/    by the default numbering services...
      write <ls_project_attrs>-project_id(20) to lv_number.
*/    Get the incremental number of the project from the number range...
      lv_number = lv_number - LV_INTERVAL-FROMNUMBER.
*/    Format the number according to customer specific requirements:
*/    In this example the number is PROJ-<inc num> where <inc num>
*/    is the incremental number of the project (i.e. for the 33rd project
*/    created, the <inc num> is 33).
      WRITE lv_number to lv_numtext no-zero.
      condense lv_numtext.
      CONCATENATE 'PROJ' lv_numtext INTO lv_numtext SEPARATED BY '-'.
      TRY.
          CALL METHOD LR_PROJECT->SET_PROJECT_ID
            EXPORTING
              IV_PROJECT_ID              = lv_numtext.
      CATCH CX_DPR_OBJECT_UPDATE_ERROR .
          RETURN.
      ENDTRY.
*/ End of custom project number assignment.
    WHEN cl_dpr_co=>sc_ot_phase.
      ASSIGN cs_attributes TO <ls_phase_attrs>.
      lr_phase ?= ir_common.
*/ Beginning of custom phase number assignment.
*/ End of custom phase number assignment.
    WHEN cl_dpr_co=>sc_ot_approval.
      ASSIGN cs_attributes TO <ls_approval_attrs>.
      lr_approval ?= ir_common.
*/ Beginning of custom approval number assignment.
*/ End of custom approval number assignment.
    WHEN cl_dpr_co=>sc_ot_individual_approval.
      ASSIGN cs_attributes TO <ls_individual_approval_attrs>.
      lr_individual_approval ?= ir_common.
*/ Beginning of custom individual approval number assignment.
*/ End of custom individual approval number assignment.
    WHEN cl_dpr_co=>sc_ot_checklist.
      ASSIGN cs_attributes TO <ls_checklist_attrs>.
      lr_checklist ?= ir_common.
*/ Beginning of custom checklist number assignment.
*/ End of custom checklist number assignment.
    WHEN cl_dpr_co=>sc_ot_checklist_item.
      ASSIGN cs_attributes TO <ls_checklist_item_attrs>.
      lr_checklist_item ?= ir_common.
*/ Beginning of custom checklist item number assignment.
*/ End of custom checklist item number assignment.
    WHEN cl_dpr_co=>sc_ot_task.
      ASSIGN cs_attributes TO <ls_task_attrs>.
      lr_task ?= ir_common.
*/ Beginning of custom task number assignment.
*/ End of custom task number assignment.
ENDCASE.
ENDMETHOD.

Best export settings for digitized 16mm film to vimeo

I had my black and white 16mm film digitized with the following settings:
HD frame rate of 1080psf 23.98
HD compression with the Apple Pro Res 422 (HQ) Higher Quality
Standard def 23.98 frame rate (HD Conform or DFS Film Out)
4x3 aspect ratio
NTSC
I want to upload the finished product to Vimeo so I can start showing festivals my finished product. However, when I use PrPro's CS6 Vimeo settings, I can't seem to get a file that looks decent—it always looks incredibly pixelated. I've played around with higher frame rates (and higher settings on everything) but it doesn't seem to look much better. Right now I'm using H.264. Should I be using a different codec? Please help!

What's the best export format or codec?
http://www.video2brain.com/en/lessons/whats-the-best-export-format-or-codec
And,
Vimeo Video Compression Guidelines
http://vimeo.com/help/compression

Setting up Super 16mm Film project

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