Suggestions for Prelude to FCP workflow?

We have a project with 22 hours of footage that has been brought into Prelude and logged. The media represents a variety of formats including 5D, 7D, GoPro, FS700, etc. Although originally intended for a Premiere edit, we need to now pass this project over to one of our FCP suites instead. I can't figure out any way to both export a FCP XML file AND convert all the logged media to a usable FCP format such as DVCProHD or ProRes. Any good workflow suggestions for getting all this work out of Prelude and into FCP if I didn't already convert to ProRes when we originally imported and logged the footage in Prelude?
I need something like Media Manager that would let me point to a folder, move all the selected media to that folder (while renaming the clips what they have been named in Prelude), AND convert those clips ot a new format as it copies them. I tried sending the project to Premiere and using Project Manager from there - but Project Manager appears to give me everything but an option to convert the footage into a different format when it copies it.
I feel like I'm missing something simple somewhere.
Thanks for any help.
Don Hertz
AC Media Inc.

Prelude allows you to transcode during ingest, but does not have a way to transcode clips AFTER ingest. This is a great suggestion and I have it noted from the feature request you submitted in July.
You can send all of your clips through AME to transcode them. Getting the metadata you've already created can be applied to the new transcoded clips, however it is a one-by-one operation. For original each clip choose File->Save Metadata As... to save off the XMP to a separate file. Next ingest the transcoded versions of the clips and for each you can apply the XMP metadata via the Window->Unassociated Metadata panel.

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Suggestions for document scanning program/workflow

I am in need of a program/workflow for scanning a variety of mixed text/image media, including books, government and financial documents, university assignments, etc., which will at minimum allow one to crop and adjust the bitonal threshold, and produce djvubind files with OCR data. I have originally used a custom bash script to implement a scanimage - GIMP - djvubind + tesseract workflow, but it was inconvenient and djvubind was buggy in integrating tesseract (despite sending a bug report that was resolved). I also tried scanimage - scantailor/scantailor-cli - djvubind + tesseract, but scantailor had editing limitations and of course the OCR bugs were still an issue. My latest approach is gscan2pdf, a program that does properly integrate with djvulibre and tesseract, but the program is very buggy and therefore painful to use on a regular basis - for example, I have to manually verify every page twice (since sometimes it does not invoke OCR on certain pages, and sometimes it does not export all pages to the djvu file).
Ideally, it would probably be possible to achieve the benefits of both automation and a plethora of editing capabilities, while reducing redundancy, by some sort of GIMP plugin/extension. Any ideas?

Hi Referee06,
Thanks for getting back to me.
I do have a few more suggestions that we can try.
If you have a firewall or anti virus protection running, try disabling them and reboot the computer. Once the computer is back on, attempt to use the Solution Center again.
If you are still having issues, try running the HP Print and Scan Doctor.
Let me know if you see any error codes or messages.
Thanks again for your time.
Cheers,
Click the “Kudos Thumbs Up" at the bottom of this post to say “Thanks” for helping!
Please click “Accept as Solution ” if you feel my post solved your issue, it will help others find the solution.
W a t e r b o y 71
I work on behalf of HP

Training Suggestions for HD to SD workflows

I recently moved from a PowerMac G5 using an analog to digital converter to a MacPro 2x2.8 Quad Core with a Blackmagic Intensity Pro card. My current setup is mainly capturing component video/stereo audio via the breakout cable for the BlackMagic. On the G5 I was also using FCS 2, mostly dealing with fairly simple clips and editing them for output to SD DVD
I'm encountering new things like "for best performance your sequence and External Video should be set tot he format of the clips you are editing" messages. I'm sure it's just working out the proper settings, figuring how to export out my material for SD DVD, etc.
Are there any good training materials (online, books, etc) that give a comprehensive look at how to handle/configure my work flow? For now, most of my work will be output to SD DVD.
Thanks!
Message was edited by: mcguirek

There's no real secret here...and nothing that requires a full manual on the matter.
Edit native HD (if HDV or DVCPRO HD or XDCAM). Export a self contained Quicktime Movie. Use Compressor to encode as an SD DVD...using the BEST QUALITY encode options.
Shane

Suggestions for Premiere DSLR -- Resolve Workflow?

Hello all -
I have edited a huge documentary on Premiere Pro, and am very happy with the whole process. This doc is going to be a really cool, well-distributed doc.
I am, however, having a very hard time trying to get my work out of Premiere into Davinci Resolve.
When I try to go via XML, I am having trouble with clips relinking to the wrong clips, because I am dealing with Canon DSLR footage which creates duplicate filenames. I understand that this could be solved by making unique reel data for each clip.
However, I can't find a place to edit reel data in Premiere. Or, if I use a batch reel# editor (like qtChange), that doesn't import into Premiere for the XML import.
Does anyone have a tried and true method for going from Premiere to Resolve, while taking into account the problems of duplicate filenames?
This seems very very very backwards for getting data into a color application to be so difficult.
Ryan

O.K Guys
I have just finished ( an hour ago) a Resolve and Flame post prod session to finish 8 TVCs .
I edited in CS6 and simply exported an edl and supplied the finishing house with the source footage.
This was conformed into Resolve and then onto Flame (as DPX) for compiling once we finished the grade / cc.
I was also dealing with duplicate filenames as well as... and I manage this by organising the source folders.
Another thing...I dual record source files. One internal is AVCHD. The external recorder is ProresHQ so I edit the AVCHD and finish with the Prores files. This means the filenames are different and need prior organising.. but...
Resolve has the facility to manage this perfectly by way of looking for the timecode instead of the filename.
(maybe your DSLR does not produce timecode so you are going to need to adapt this somehow!)

Looking for some RAW + JPEG Workflow suggestions

I'm looking for some suggestions on how best to organize my workflow now that I've started shooting with RAW +JPEG. I previously shot only in RAW, but the time spent in post-production was killing me. I've realized that for 95% of my shots that already have the correct exposure, white balance, etc, a JPEG photo is really all I need and saves me a ton of time. I've become convinced that editing every single photo from a shoot in RAW is overkill. I want to have the RAW versions, however, to rescue that occasional great shot where I unfortunately miffed the settings.
Through reading other posts here and experimenting, I've found that Aperture basically defulats to showing me only the imported RAW photos and that I need to click "New Version from Master JPEG" to see the JPEG version. This seems counterintuitive to the workflow I'd like to establish though. (i.e. I'm thinking it would be nice to see only the JPEG versions, and then only bring up the RAW version when the photo needs some serious correction).
I suppose I could highlight the entire batch of imported photos and select "New Version from Master JPEG" and then sort through each RAW/JPEG stack, but I'm still hoping there's a less cumbersome way. Anyone out there have any good workflow suggestions for this issue? I'm curious how other people out there deal with this issue in their workflow.
Thanks in advance!
Message was edited by: Nate Cannon

Try this - I do this as a matter of course:
-select all of the photos after importing them into a project
-create a new album from selection/call it JPG
-with all of the images still selected create new version from master JPEG. all of these should now be the album pick
-close all stacks, the JPEG will be the one showing up on top for that album.
RB
More here: [Aperture RAW+JPG|http://photo.rwboyer.com/2009/01/14/aperture-2-quick-tip-shooting-rawjp g>

Workflow suggestions for CS4, Sony XR520 (HD) & TRV18 (SD-MiniDV)?

Hello all,
I'm working on my first video "production" in a long while, and it's my first time delving into the world of HD and mixed formats. So I'm feeling a bit like a fish out of water.
This is the workflow I was USED to:
Connect camera to computer via FireWire(MiniDV-SD-60i)
Launch Premiere 6.5
Use Capture Utility to set In/Out points and bring in as AVI clips
Import those AVI clips into bins and edit directly
Save Timeline out to AVI
Encode to final output format
SO, this is the situation I'm faced with now:
Two cameras. Main camera is Sony HDR-XR520 (AVCHD-1080i). Second camera is Sony DCR-TRV18 (DV - MiniDV - 30fps Interlaced - 60i?) for time lapse shots/filler shots.
My final output is going to be computer/internet playback (I'm assuming I'm going to need to output to a progressive format, 24P or 30P. Am I right on this?)
Any suggestion as to what my workflow needs to be?
My assumptions:
Edit using a 1080i30 (60i) timeline(sequence)
Edit XR520 clips directly
Import TRV18 as avi clips, put in timeline, but only use clips to fill 1/4 of the HD frame (don't try to up res)
Export to AVI, encode to mpeg4 and remove interlace.
Am I going in the right direction here, or am I all wrong on this?

Thanks for the suggestion. Yeah, I guess that's the thing: the final output, while it will be computer/internet playback, doesn't necessarily have to be at full hd. In fact, I'd rather it be 1280x720, since not all laptops (typical of what our sales people will have) will be able to handle playback of HD video. I really just want them to be able to play this video back in PowerPoint or directly through WindowMedia/QuickTime at 100% or fullscreen mode, and still be high quality to the viewer (typically in a conference room/board room, on a projector, an large monitor, or directly on the laptop screen)
I've seen SD internet video that plays back really well in fullscreen mode (on a typical 1280x1024 monitor), but I don't know what export settings will yield those type of results. Any good tutorials on getting SD video to encode and play really well at monitor resolutions?
It'd be nice to be able to use the SD timelapse footage at full size, but I was planning on only using that timelapse footage in multiples (2-3 clips playing at SD size on an HD timeline). As far as PAR, if I was to manually place black bars on the 4:3 footage, would I be able to export in native 16:9 PAR so I could then edit it in a 16:9 timeline?
So, going along with your suggestion, would I need to convert all my HD clips FIRST to 1280x720, then edit on a 720 timeline, or edit on a 1080 timeline and export to a 720 output?
Also, am I right that since playback is on a monitor/projector, that I'll need the video to be progressive?

Reccommendation for non-overkill MacPro for my FCP workflow

Hey-
Looking for a reccommendation on minimal Mac Pro specs I need to pull off my FCP workflow.
So I’m working on a big HDSLR-heavy documentary project, using FCP 7. Guessing 75-80 total hours by the end of it. At least ¾ of the media is Apple Pro Res 422 LT, transcoded from 5D/7D shot 1080 30p AVCHD footage. Remaining majority is also 422LT, transcoded from AF100-shot 1080 30p AVCHD; remaining minority is SD-original tape capture & SD res quicktimes.
So it’s a lot of relatively beefy, digital original files living on 4 FW800-connected Gtech 2TB drives. I’ll probably have all drives up at anyone point, but not necessarily all the var. individual projects open all the time (it’s a web-only series focusing on 10 artists, so at least 10 individual projects.)
Currently using a 2.93 “Nehalem” Dual Quad Core Mac Pro with 12GBs of RAM for the project – and though I’ll I’ve really done with it is transcode and media manage thus far, and very little actual editing or exporting – don’t have any complaints about the machine.
Thing is, I’m getting kicked off this particular machine and need to buy another. I originally bought the 2.93 Nehalem to meet Avid Media Composer 5 specs – I know FCP7 specs are a lot less exacting, or at least a lot vaguer.
So big question is – do I really need 8 cores? Can I go for something more modest (read cheaper) and still get the same performance? I bought that Nehalem thru Apple Store refurbished and would love to do the same thing.
Check out this link for the current offerings (they change daily):
http://store.apple.com/us/browse/home/specialdeals/mac/mac_pro?mco=MjEwNzU3Mzc
Let me know if I’m leaving anything out that’ll help.
Sincerely,
Nick

There is no reason to go deeper into debt than the work can support.
The current version of FCS is 32 bit - which means it can only address 4GB RAM. (1.5 for the system frameworks and 2.5 for the program directly). RAM beyond this amount will be useful when running other programs or when you run Motion. It will not have any effect on FCS.
Still, I beg to differ with my esteemed colleague, but extra cores can make a difference even in day to day use. If you multi-task (multiple apps open and active), the OS spreads the work across all available resources. More cores + more ram = more work accomplished. Whether this is a measurable speed increase over the course of a day or simply gives you more time to think is something only you could answer.
Good luck,
x

Suggestions for setting up external storage for video editing please?

I am just starting up as a one-man video-editing business, using a 24 inch iMac running Snow Leopard, with Final Cut Studio. I have realised I'll need an external hard drive for HD footage, and I also need to get some back-up solution in place. Looking for speedy i/o, I would like to connect via the ethernet port (if only eSata was included in the iMac, eh!)
I've been planning to get a Drobo, but looking around the forums I see that people say it's too slow for using as a working drive to keep all my source footage, so I've been looking at the G-tech 4 Tb, as it says it is designed for media-content production. Does anyone know if I could use two of the drives for working from and two as back up? Or would it be better to keep back-up entirely seperate, and get a Drobo for that for the G-tech to back up to?
But I am also wondering whether a Mac Mini could be a worthwhile addition to this set up? I find myself sitting around waiting for rendering to complete on clips in my timeline (not to mention exporting to Quicktime conversion!), and I wondered if I put a Mac mini with Xserve installed (Apple store offers this with two 500gb hard drives inside), maybe I could farm the rendering out to the mini while I get on with editing on my iMac? That would require two installations of FCP, which I thought was allowed, but just today in a forum I saw that one would have to be a laptop... anyone have any suggestions for getting rendering done without stopping FCP from doing other things simultaneously?
Also I don't know if that arrangement is even feasible... I see all these things like Xsan and Artbox... as a one workstation editing suite, does FCP handle all the dataflows for external working drive and external back ups okay without having to introduce more controllers?
And can anyone explain to me how I could set up an ethernet connection to an external hard drive, or does that require the extra controllers mentioned above? I've seen it said that you can do it via ethernet, but haven't seen how you can actually go about doing it.
Thanks for overlooking my newbie quality, any answers received with humble gratitude!
Cheers, Syd

Hi there,
as NLEdit said, there will be loads of answers to this.
IMO i'd avoid drobo like the plague. G tech drives have served me incredibly well working on a huge variety of broadcast projects (just over the water from you in Bristol), I've had no probs with FW800 when using DVCproHD, pro res is ok, sometimes a little slow with multiple layers and of course it eats up storage space. so I'd go for 2 4tb drives, keep the backup one in a different location.
one tip that has saved me countless times is to format them as follows:-
mac os extended (not journalled)
create 2 partitions
partition 1 - make this small (1gig) and call it "drive a - do not use"
partition 2 - the rest of available storage and call "drive a"
this is because the boot sector of the drive is within the first partition and with this method if it goes down it can be re erased without losing all your footage.
If you call your backup drive the exact same name and have the exact same folder structure, you will not have to relink if you get a problem.
Ignore getting a mac mini for rendering, won't help at all in FCP. instead I would make every attempt you can at buying a mac pro rather than an imac. much more expansion/speed possibilities and a more robust solution.
best of luck
Andy

Suggestion for Apple or Third-party software company?

My first question is, where should I post the following suggestion for an improvement in FCP or for the creation of a third party software – suggested sites, blogs, etc.?
Next, my recommendation, and then my explanation of the reason why (including my personal semi-disaster):
Recommendation: That someone create a “Project Management” software for FCP (essentially a file management program that runs in the background) that organizes and tracks all of the files created during editing/post production – including the log/capture or log/transfer of the original footage, the audio files, stills, effects, etc, AND all of the files created by the program -- Live Type, Motion, Soundtrack Pro, and Color (especially color). The reason for this is that FCP has an incredibly complicated filing system that results in shots, files, documents, etc., being distributed all over the place – and not all known to the filmmaker or identified in the documentation. And, that condition can lead to disaster – see below.
Explanation: I just finished my first HD project using Studio 2, including sound track pro and color. After completing what I though was the absolute final version, I burned a one-off DVD and ran it by several filmmaker and non-film maker friends. They all spotted a small sound problem with one cut, so I went back to tweak it – and discovered that ALL of the footage had gone offline. I had nothing, nada, zilch. I had saved earlier sequences (rough cut, polished cut, etc.) and all the original footage appeared, but I had taken the final version into color for some corrections and adjustments, and ALL of those shots/files were missing.
After burning what I believed to be the final cut, I had cleaned up my hard disk, moving stuff to my backup hard disk, to my RAID array, and to the trash. So, after the initial shock and complete panic, several hours of searching all of these drives, led me to the file that contained the files that contained the color corrections – in my trash, which fortunately had not been emptied. I have no idea where the files were before or how they got into the trash – obviously they were not added to the scratch disk with all of the original footage.
Part of the difficulty of finding the shots was the discovery that color creates a file folder, that holds a set of file folders, each of which holds only one shot. In order to reconnect, I had to move the parent folder to the desktop, and then move all of the shots, one at a time. into a single folder, and then point reconnect to that folder. Problem solved.
However, now I face that question of archiving the project, moving all of the files off my hard drive so I can use the space for my next film, and I am terrified that I will leave something out, and not be able to recover the project in the future. Having a project management software that organizes and coordinates all of that would be a lifesaver – and well worth the purchase price.
Anyone who would like to explore this idea, please feel free to contact me – [email protected].

You've just learned a hard lesson. Put your current energy into your education, not finding a way to wallow in ignorance.
There already is a hardware device that will do what you want. It's called a "manual". In particular, the sections that relate to "where the program stores media". Pay very close attention to those sections and set up your computer so that all the scratch and storage pointers are aimed where you want. It's very simple to have them all go to one drive.
Then, when it's time to archive the project because you are starting a new project, just purchase another hard drive for the new project. They are absurdly inexpensive these days.
Remove the drive with your project to be archived from your computer (since you now know how to keep all the files organized, they will be all together) - and plug in a new disk for the next project.
If you want a backup, use carbon copy cloner to simply duplicate the drive (or simply just copy the relevant folders- you'll know which ones) to another drive (or get a RAID 1 device)
good luck,
x

Wait for event by using workflow

Hi Experts,
Can someone explain with example the purpose or functionality of 'Wait for event by using workflow' of Wait step-type.
Regards
Balu

I suggest first you go throughly through the SAP help
[Wait|http://help.sap.com/saphelp_nw70/helpdata/en/8d/25f07b454311d189430000e829fbbd/content.htm]
[Event Creator|http://help.sap.com/saphelp_nw70/helpdata/en/c5/e4b9e6453d11d189430000e829fbbd/content.htm]
and then reffer to the wiki that is given in the above post

Capturing audio from telephone for use in FCP

My requirement is quite specific, and so far none of previous posts seem to answer my question. So...
I'm looking to capture audio from my telephone for use in FCP. It won't be a telephone conversation, but a voice text. In other words, an SMS sent to a landline. The audio is saved as a voice message on the answer machine. My phone / answer machine is fairly basic - it has a speaker and the only ports it has is for power and the telephone line itself. I have tried a very basic method of playing the message on speaker and capturing it on a mini DV - but that results in too much audio edit to get it to sound acceptable. My Mac is a G5 and I have the full FC studio, but just not sure of best way to get audio onto the Mac without losing too much of the sound quality.
Any suggestions?
Many thanks all...
Kirsten
iMac G5
iMac G5

you need a telephone audio interface like the products made by the fine folks at gentner, telos or jk audio. i have a celltap from jk audio, works very very well. http://www.jkaudio.com/celltap.htm

Suggestions for Personalized Advanced Photoshop Support via Email

Can you suggest an individual who could offer personalized Photoshop and Lightroom support via email? I am an advanced user with 20-years of experience using Photoshop; so I want someone who knows more than me. They need to have excellent interpersonal skills. I want contact with one person who is easy accessible and I'm willing to pay for the privilege.
I am not looking for classes or online training. I want personalized support for questions as they come up as I work. I imagine paying for help as I use it. If this works well I could see establishing a long-term relationship.
I am a successful full-time, self-employed artist/photographer using Photoshop and Lightroom to make large fine art prints.
Some of the questions I might want help with might include:
How to create actions for specific workflows
How to fine-tune the interface to hide things I don't need to see
Suggestions for optimizing prints that are greater than 10-feet wide
Suggestions for improving my workflow to be more efficient
Help with improving my masking skills
Help with compositing skies in landscapes
Occasionally I need to use Illustrator with Photoshop and find myself quickly lost.
An Adobe Certified Expert is prefered.
At least three eferences needed.
I am working on a new high-end Mac with dual 30-inch monitors. I am running the latest versions of Adobe Creative Suite CS5.
If you know of someone who meets my criteria and would consider working with me have them email me at [email protected]
Thanks,
Henry
Henry Domke Fine Art
www.henrydomke.com

Not a proper answer to your question, but still …
How to create actions for specific workflows
Actions are a valuable tool, but for streamlining certain workflow items you may want to look into Scripting Photoshop.
How to fine-tune the interface to hide things I don't need to see
Just in case you have not yet, do check out Configurator:
http://labs.adobe.com/technologies/configurator/

Film burn effect for motion or FCP

Hi guys and gals - I'm making some "cine film" looking footage that I want to make look as though its caught in a projector and burns out/melts! has anyone got any suggestions for making this in Motion either to do all post production or to apply in fcp? I'm also going to publish on fcp forum if anyone has any suggestions there as well.
thanks in advance.
Allen

Heya,
Unfortunately, burning/melting film has a really organic and distinctive look, so synthesizing it would extremely difficult and probably wouldn't give great results. I would check out pages 1 and 2 of Artbeats' Film Clutter 2collection. It has a few different film burns, and they could easily be comped/edited with your footage.

Need Suggestion for Archival of a Table Data

Hi guys,
I want to archive one of my large table. the structure of table is as below.
Daily there will be around 40000 rows inserted into the table.
Need suggestion for the same. will the partitioning help and on what basis?
CREATE TABLE IM_JMS_MESSAGES_CLOB_IN
LOAN_NUMBER VARCHAR2(10 BYTE),
LOAN_XML CLOB,
LOAN_UPDATE_DT TIMESTAMP(6),
JMS_TIMESTAMP TIMESTAMP(6),
INSERT_DT TIMESTAMP(6)
TABLESPACE DATA
PCTUSED 0
PCTFREE 10
INITRANS 1
MAXTRANS 255
STORAGE (
INITIAL 1M
NEXT 1M
MINEXTENTS 1
MAXEXTENTS 2147483645
PCTINCREASE 0
BUFFER_POOL DEFAULT
LOGGING
LOB (LOAN_XML) STORE AS
( TABLESPACE DATA
ENABLE STORAGE IN ROW
CHUNK 8192
PCTVERSION 10
NOCACHE
STORAGE (
INITIAL 1M
NEXT 1M
MINEXTENTS 1
MAXEXTENTS 2147483645
PCTINCREASE 0
BUFFER_POOL DEFAULT
NOCACHE
NOPARALLEL;
do the needful.
regards,
Sandeep

There will not be any updates /deletes on the table.
I have created a partitioned table with same struture and i am inserting the records from my original table to this partitioned table where i will maintain data for 6 months.
After loading the data from original table to archived table i will truncating the original table.
If my original table is partitioned then what about the restoring of the data??? how will restore the data of last month???

I cannot send an email from my iPad 2? No problem receiving, why does this happen? Have tried the suggestions for setting up email and after doing the sync mail through iTunes receiving worked great but still cannot send? Any help would be great

I cannot send an email from my iPad 2? No problem receiving, why does this happen? Have tried the suggestions for setting up email and after doing the sync mail through iTunes receiving worked great but still cannot send? Any help would be great!

The fact that you can receive means you have a valid e mail address, and have established the connection to the incoming server, so all of that works. Since the send does not work, that means your outgoing server is rejecting whatever settings you used formthe outgoing set up. Try them again.
Google your particular isp, and ipad and many times you will find the exact settings needed for your isp. Or tell us here, and soneone else may be on the same isp. Some mail services need you to change a port, or have a unique name for the outgoing server.
Kep trying.

Suggestions for Prelude to FCP workflow?

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