Typical workflow in LR3

I am new to LR3; have been in the learning phase still. What's a typical workflow inside of the Develop module?
I understand that the Camera calibration should be used in the beginning, if at all. Other than that, what's the typical sequence of post-processing in the develop module? E.g. camera calibration -> white balance -> exposure correction -> ...... When should I do lens corretions or noise reduction or sharpening?
Is there a recommended workflow as a sequence of steps (I understand that I may not need all steps at all times).
Thanks in advance

As others have indicated, the order in which you apply your adjustments doesn't matter to Lightroom as the application will apply them in an an optimal, but non disclosed sequence. That being said, the order of the sliders / panels has been designed so as to minimise the need for flitting back and forth between sliders /  panels as you edit the image. If you do decide to change the camera calibration profile then yes you should do it first because it will very often have a significant effect on the initial rendering of the image.
The reference to camera calibration by Jasonized should in fact read lens profiles. There is no performance hit resulting from the camera calibration profile. There is, is and it can be substantial, when lens profiles are applied before spot healing and/or local corrections such as graduate filter adjustment brush.

Similar Messages

  • What is the Design to Deployment Workflow using DW with WordPress?

    I am a Designer and Developer/programmer. This is a complete workflow question: What is the Design to Deployment Workflow using DW with WordPress? For example, is it:
    PS/IL > DW > WP? (Photoshop or Illustrator, Dreamweaver, WordPress?)
    Or is Edge Reflow inserted between PS and DW?
    PS > ER > DW > WP?
    Are these workflows iterative and, whats the word, recursive - we are able to go back and forth?
    My understanding is that the Edge tools are not up to the coding standards of DW, and ER > DW (Edge Reflow to Dreamweaver) is not seamless or even practical.
    Where does the Stack come in? MAMP (or LAMP/WAMP) of course, jQuery/jQuery UI, WordPress and other items; how integrated are these things?
    I used to be a Flex developer and quite comfortable with the Design to Dynamic Deployment workflow of Illustrator or Photoshop to Flash Catalyst to Flash Builder; moreover, I thought the Eclipse IDE was excellent with its database introspection capabiliities, debugging etc. Adobe really pushed this workflow, then instead of innovating and standing behind its own product with 98% market penetration, Adobe disembowelled Flash right before everyones eyes.
    What about Prototyping, which is certainly part of the process? Fireworks is on the kibosh. Illustrator, while excelling at some aspects falls short of making a functional prototype (unless you're tying in Acrobat to link the pages), and while Photoshop is Edge Reflows darling, Edge seems redundant with DW and spits out twacky code.
    (Muse of course is unusable for professional developers, but it makes you wonder why some of those UI elements where not employed in DW whose interface seems antiquated by comparison).
    It seems Adobe is bloody all over the place, more like a rabbing drunk with a microphone rather than the dependable go-to software company for creatives the world over.
    In my opinion, workflow from beginning to end is important. Having a million different options to try to accomodate everyone is not. Some guidance in this department is greatly appreciated!
    Best,
    Dylan

    I have not used Edge Reflow myself.  Nor do I espically like WordPress.  But my typical workflow is:
    PS for Design Concept and web images.
    DW for CSS, HTML & JavaScript.
    3rd party editors like Zend Studio & Navicat for PHP & MySql development.
    Nancy O.

  • VHS - DVD Recorder - PC - Premiere Pro CS6: Workflow Questions

    Hello,
    I hope I have this posted in the correct place. I am seeking advice and suggestions for VHS tape to digital transfers. Here is my current workflow:
    VHS tape is played back on a Panasonic PV-D4744S VCR and is recorded directly (via composite A/V cable) to a Panasonic DMR-ES40V DVD recorder and onto a DVD-R, -RW, or +RW.
    The disc is then copied into a Windows 7 folder with all of the contents of its VIDEO_TS folder intact; this folder is saved on several external hard drives for safe keeping.
    I then open and import a copy of the .vob files into Premiere Pro CS6, where I minimally scale the video to eliminate the distortions (“VHS tearing”) on the sides and bottom of the VHS source video. The result is a very clear video which fits perfectly in a 4:3 project window on my 16:9 HD computer screen with minimal pillarboxing.
    It is at the stage of export where I am stuck.
    The final DVDs are going to be viewed on a 16:9 widescreen TV, as well as on an iMac computer. I’ve read all much about interlaced scanning (VHS, Laserdisc, TV) and progressive scanning (computer, LCD TVs), but I’m still not sure if I can make a DVD which will look proper on both TVs and computers. In addition to the scaling, I am using Premiere to add chapter makers and poster frames to the video, which I wish to then export to either Encore CS6 or NeroVision – I love Nero’s animated 2D and 3D menu selections. What export settings should I use in Premiere which are closest to the original, imported .vob files? I’ve exported some test videos in MPEG2-DVD format to folders, but they are huge compared to the original DVDs made on the standalone recorder, i.e., 12.8GB on Premiere export compared to the 4.7GB import.
    Are there settings to make the Premiere export as close to the original DVD import of 4.7GB without sacrificing quality? Should I simply import the sequence into Encore as a timeline and let it perform the heavy lifting of automatically compressing the files to fit on a 4.7GB DVD? NeroVision seems to not accept the MPEG2-DVD files; it “sees” only the .m2v video files and not the .wav audio files.
    In a nutshell:
    I want to take a raw DVD-R (or -RW, +RW) recorded on a standalone and copy to hard drive, add chapter markers and minimal scaling in Premiere Pro CS6, then export and burn a DVD that will look good on both a 16:9 TV and computer screen.
    I'm trying to get this project finished for a soon upcoming family get together. Any suggestions, tips, and general advice would be greatly appreciated.
    Eric

    Hi Eric,
    The issue I would have with the workflow is that DVD is heavily compressed for delivery - not meant for re-compressing again. You're re-compressing a file that's already been compressed as small as can be. Most DVD recorders have different quality settings, like 1 hour, 2 hours, 4 hours. Use the 1 hour mode on the DVD recorder to get the "best" quality source if you must re-edit the stuff. The typical workflow would be to have some sort of capture device on the computer that records a larger, less compressed file to begin with.
    As for export from Adobe using Media Encoder, choose "MPEG-2 DVD" of course, and select "NTSC DV" for the preset. Under the VIDEO tab, you'll need to adjust the encoding bitrate according to the video length. A good rule of thumb is to use 560/minutes=bitrate, and I will round down a touch for safety margin. This assumes Dolby Digital audio on the DVD (AME exports .wav audio and Encore converts to Dolby). Note that most folks don't go over 7 or 8, for best compatibility (the max limit is a bit higher, but quality of VHS source is not going to get any better anyway at higher rates, GIGO).
    Regarding audio for the DVD, could be that Nero expects ONE file with audio and video. In AME, look under MULTIPLEXING and change from NONE to DVD, this will combine them. Then under AUDIO, choose DOLBY or maybe MPEG will work for you. Use a 192k bitrate for audio if going that route.
    Note sure what you meant about the 16:9 screen - would recommend against putting the 4:3 source material into a 16:9 sequence in Premiere in you are, this will do more harm than good. Stay with 4:3 throughout, including the DVD creation - the DVD player and TV ought to know what to do with it. You're actually REDUCING the resolution if you use a 16:9 workflow. Note that if you encode a 16:9 DVD using 4:3 material in the 16:9 frame, and then play that DVD on a 4:3 TV, bad news - it gets letterboxed AND pillarboxed and you end up with a small video surround by black on all sides. Not cool.
    I'd stick with interlaced - if you deinterlace the footage at any point, you are essentially throwing away HALF the resolution, which is weak to start with for SD. Most software players will have Preferences settings to let you tweak the playback/deinterlacing at that point, and TVs will handle it fine.
    PS - if you use Encore, then just export the .m2v and .wav files using Media Encoder, import both to Encore, and Encore then does NOT recompress the video any further (as long as it fits), only the audio gets the Dolby conversion. Do NOT use Multiplexed files in Encore.
    Hope this is all helpful
    Jeff Pulera
    Safe Harbor Computers

  • LR3 not retaining attributes after trip thru ext. editor

    Unless I'm missing some setting somewhere, LR3 does not retain the image attributes (color label, star rating) on a new file created as a result of a trip thru an external editor, ie PS. LR2 did.
    workflow:
    in LR3, filter down to your (for example) 4 star photos.
    select one, right click, select "edit in external editor". I pick Photoshop CS3 (I'm 100% DNG user).
    I have "edit a copy with LR adjustments" selected, as well as "stack with original". These are the same settings and process I did with LR2.
    Edit in PS. Save newly created .psd.
    Go back to LR3. PSD is missing, because it didn't get marked as a 4-star (or color, or whatever other attribute you've filtered by). You'll only see the pre-edited DNG, with the stacking icon in the corner telling you it is 1 of 2, but the second one is not shown.
    Unfilter the selection so you an see all photos. There you will find the just-created PSD as part of the just-created stack, but without the attributes that were set on the original DNG.
    So the result of this is when working with a found set, choosing to externally edit photos has them dissapear when the editing is complete. You have to constantly turn off selection filtering and go find the new file and tag it with the attributes that should have been carried over -- like LR 2 did - and then turn the filtering back on to narrow down to the set you want.
    Is this a bug, or am I doing something wrong?
    thanks-
    -Matt

    you can autosave XMP data. But at a penalty: everything you do is saved again and again during your editing with a speed penalty as a result.
    catalogue settings/metadata/ turn on automatically write changes into xmp
    Not that crazy are they? just some reading

  • Archive content which is in workflow, status Review

    I have to archive content, which is still in workflow, not reviewed, not approved.
    So the Indexer status is shown as "Workflow"
    Revision Status is "Review".
    If I create a query with these critera, the archive is empty.
    dReleaseState = 'E' AND dStatus = 'REVIEW'
    Query Options = "All Selected Revisions"
    I know exactly that there is content and I should have more than 200 files but archiver exported "0".
    Finished. Successfully exported 0 revisions.
    What can I do to bypass this restriction?
    Thx for your help.
    By the way ... Repository manager found content in workflow. Archiver did not.
    Edited by: travillion on 18.09.2012 10:25

    As Jiri said, this is not a trivial task. I don't know of anyone who has done it.
    At a high level, you would have to copy:
    - workflow state data of the items, which is located both in the database and file system.
    - individual workflow queues, which is stored in each user's profile data on the file system.
    - the actual rows in the database that has the content's metadata information.
    - and put the actual content files in the right spot on the new server.
    Miss any of those items, and it's a failure. It's just a potentially highly complex process that also would not be supported by Oracle if you run into issues as a result.
    Releasing the items, and migrating them over, I do not think they would re-enter a workflow. IIRC, the archiver import process uses a checkin service that does not put items in a workflow, but I could be mistaken on that. Even if it did, again as Jiri notes, they would enter in the first step of the workflow. If the original workflow had more than one step, and the item was in step "x", then you've already "changed" the workflow processing state from the original environment. Then you get into issues of synchronization between the two environments. How do you reconcile when an item "advances" in the workflow process on one of the environments? I see this as a nightmare to keep each environment in sync. You could be constantly running this overall process.
    Small number of affected files? Manually check them in. Larger number? Make them complete workflow before migrating. You've noted that is a a "snapshot" of a website. Items in a workflow aren't really visible on a site if they are in a typical workflow (meaning there are no "post-release" workflow considerations using wfReleaseDocument()), so I don't see the issue of waiting for the items to clear workflow before migrating - they aren't visible anyway.

  • Best practices for applying sharpening in your workflow

    Recently I have been trying to get a better understanding of some of the best practices for sharpening in a workflow.  I guess I didn't realize it but there are multiple places to apply sharpening.  Which are best?  Are they additive?
    My typical workflow involves capturing an image with a professional digital SLR in either RAW or JPEG or both, importing into Lightroom and exporting to a JPEG file for screen or printing both lab and local. 
    There are three places in this workflow to add sharpening.  In the SLR, manually in Lightroom and during the export to a JPEG file or printing directly from Lightroom
    It is my understanding that sharpening is not added to RAW images even if you have added sharpening in your SLR.  However sharpening will be added to JPEG’s by the camera. 
    Back to my question, is it best to add sharpening in the SLR, manually in Lightroom or wait until you export or output to your final JPEG file or printer.  And are the effects additive?  If I add sharpening in all three places am I probably over sharpening?

    You should treat the two file types differently. RAW data never has any sharpening applied by the camera, only jpegs. Sharpening is often considered in a workflow where there are three steps (See here for a founding article about this idea).
    I. A capture sharpening step that corrects for the loss of sharp detail due to the Bayer array and the antialias filter and sometimes the lens or diffraction.
    II. A creative sharpening step where certain details in the image are "highlighted" by sharpening (think eyelashes on a model's face), and
    III. output sharpening, where you correct for loss of sharpness due to scaling/resampling or for the properties of the output medium (like blurring due to the way a printing process works, or blurring due to the way an LCD screen lays out its pixels).
    All three of these are implemented in Lightroom. I. and II. are essential and should basically always be performed. II. is up to your creative spirits. I. is the sharpening you see in the develop panel. You should zoom in at 1:1 and optimize the parameters. The default parameters are OK but fairly conservative. Usually you can increase the mask value a little so that you're not sharpening noise and play with the other three sliders. Jeff Schewe gives an overview of a simple strategy for finding optimal parameters here. This is for ACR, but the principle is the same. Most photos will benefit from a little optimization. Don't overdo it, but just correct for the softness at 1:1.
    Step II as I said, is not essential but it can be done using the local adjustment brush, or you can go to Photoshop for this. Step III is however very essential. This is done in the export panel, the print panel, or the web panel. You cannot really preview these things (especially the print-directed sharpening) and it will take a little experimentation to see what you like.
    For jpeg, the sharpening is already done in the camera. You might add a little extra capture sharpening in some cases, or simply lower the sharpening in camera and then have more control in post, but usually it is best to leave it alone. Step II and III, however, are still necessary.

  • Aperture 3 Bulk process workflow

    I'm having a work-flow issue in aperture 3 that I hope you can suggest a
    way out of.
    My typical workflow:
    1)import
    2)Stack similar images
    3)Pick favorite from each stack
    4)Process pick from each stack.
    That all works great. But now I want to create alternate versions of
    each of my processed picks. For instance, I want to offer my "client"
    B&W versions of each, extra saturated versions of each, desaturated
    versions of each, etc. On a one by one basis this is very easy. But
    I'm looking for a to do it in bulk. I'm not looking to put a lot of
    energy into these extra versions, since they are sort of bonus
    versions anyway.
    Some approaches that haven't worked...
    1) Create another album, (say called B&W) and drag all my picks into
    that. Apply adjustments to all. Problem: modifies the same versions
    that appear in the original project too
    2) Export picks. Apply B&W to all. Export B&W picks. Undo apply of B&W
    to all. Repeat for each kind of modification I want (desaturated,
    etc). Problem: Inelegant, don't get to keep the modified versions.
    3)Select all the picks, duplicate version. Apply adjustments. Now I
    have both the pick version and the B&W version, as I wanted. Problem:
    Now the top of each stack is the alternate B&W version, not the
    original pick.
    What am I missing? I know lots of photographers offer clients a disk
    with their pick images, plus folders of B&W, sepia, etc. How would one
    do that in Aperture 3?
    Thanks in advance for your help.

    I'm having a work-flow issue in aperture 3 that I hope you can suggest a
    way out of.
    My typical workflow:
    1)import
    2)Stack similar images
    3)Pick favorite from each stack
    4)Process pick from each stack.
    That all works great. But now I want to create alternate versions of
    each of my processed picks. For instance, I want to offer my "client"
    B&W versions of each, extra saturated versions of each, desaturated
    versions of each, etc. On a one by one basis this is very easy. But
    I'm looking for a to do it in bulk. I'm not looking to put a lot of
    energy into these extra versions, since they are sort of bonus
    versions anyway.
    Some approaches that haven't worked...
    1) Create another album, (say called B&W) and drag all my picks into
    that. Apply adjustments to all. Problem: modifies the same versions
    that appear in the original project too
    2) Export picks. Apply B&W to all. Export B&W picks. Undo apply of B&W
    to all. Repeat for each kind of modification I want (desaturated,
    etc). Problem: Inelegant, don't get to keep the modified versions.
    3)Select all the picks, duplicate version. Apply adjustments. Now I
    have both the pick version and the B&W version, as I wanted. Problem:
    Now the top of each stack is the alternate B&W version, not the
    original pick.
    What am I missing? I know lots of photographers offer clients a disk
    with their pick images, plus folders of B&W, sepia, etc. How would one
    do that in Aperture 3?
    Thanks in advance for your help.

  • Some bugs that are crippling my workflow

    Hello
    I've tried to search forums and didn't find anything or too little about these bugs, so I'm starting a new thread. Still I'm curious nobody encountered these or hasn't bothered to tell.
    First, export from FCP to TGA sequences (using QT conversion) got broken in February or maybe March - yes, I'm installing Apple updates as they come, my fault
    Since then FCP exports image sequences using aspect ratio but the resampling is nearest neighbor, therefore unusable in serious production. Before that, you got nice 720x576 images from a PAL sequence, now you get ugly pixelated 768x576 ones. If I missed some preference where to set this could you pls tell me? Or could you please do anything with this? Only workaround is to export MOVs and then use QT player which exports correct images (real pain if you have multiple exports). We work with image sequences a lot, so this would definitely help.
    Second is rendering of image overlays and motion effects in timeline. We completely stopped using FCP for gfx overlays, because the render output is totally unpredictable. Sometimes it works ok, but quite often we get one of there bugs:
    2a) Blue dots on the alpha edges of titles (imported TGA images, not titles from FCP generators)
    titles are mostly orange since orange(mobile operator) is our major client, maybe with other titles you get other dots this happens very erraticaly and depends from case to case, sometimes everything works and sometimes you get one or two shining blue dots
    2b) bright 1px frame around edges of images resized/cropped using motion effects. This happens on captured video or imported stills without alpha.
    This is mostly visible if you use a white background. Problem shows itself always when I crop/resize/move a clip. Sometimes it helps to use a luma key on the image and the border disappears.
    Funny thing both these problems have in common is that they don't show until you render. RT preview looks ok, but after render or export the dreaded dots and/or white lines appear.
    Doesn't matter if I use ProRes codec or uncompressed 8bit or 10bit codecs, if I set rendering to RGB, YUV 8bit or 10bit, motion filtering quality to anything. To me this seems as if it was an encoding problem.
    Also I'd like to join ranks of people who have been hit with the good ol' bug of bad EDLs created from timelines with speed changes. After a week of little sleep, our timing was absolutely packed as always and after we put the EDL from FCP to smoke, all clips with speed changes had wrong TC. So we spent whole day writing down timecodes by hand and manually re-editing them in smoke, a day we missed dearly during the next long nights :((
    so, I just call for help to all you hard-working people at apple, if you could contact me I can explain more or send you examples of where things have gone wrong.
    Michal

    Since we have a smoke(linux), many desktop compositing and 3d Wintel boxes and two PowerMacs with FCP our typical workflows are:
    a) ingest and edit on macs -> online on smoke/combustion/shake/whatever ->put it all back to macs, make broadcast master tapes from macs.
    b) Create animations and gfx on PCs(3d/AE/comb/...) -> edit them together on macs, make broadcast master tapes from macs.
    so we almost always need to trensfer footage between systems. For smoke we usually use SDI for sending PAL material, but when working with HD or other exotic formats, there is nothing better than good old tga sequences. We also must render to image sequences from 3d rendering farms for obvious reasons. Even when not farming, tgas give us the best speed when reading/rendering on the wintel boxes and the best compatibility around all software/hardware. Also, we have already experienced the joy of an hour-long render crashing after 58 minutes, leaving a corrupted mov. There's nothing like it. Even the mov is ok, you still have problems with codec compatibility/color shifts, etc.
    Sometimes you just need a quick still export form the edit suite. Was easy a few months before, but now you must do stupid workarounds if you don't want ugly corrupted pixelated crap.
    That much for the need of exporting tgas.
    p.s.: it would make our life a bit easier if we could make FCP import TGA sequence straight on as any other editing application.(WINK apple developers ) Not that converting them in QT player would be so hard but anything that eases the strain on your mind in front of an important client is good.
    P.S.2: sorry, this was meant as reply to andy, i'm new here
    Message was edited by: miskoluxak

  • Lightroom, Photoshop, RAW Presharpening, Noise Reduction Workflow Help

    I'm tying to determine a best practices route using Adobe Lightroom, Adobe Photoshop and Nik Software Sharpener and Dfine (Noise Management Software).
    I shoot only RAW with a Canon EOS 30D with good quality lenses.
    I import the RAW files from the CF card directly (DNG and save) into LR, add keywords, organize, etc.
    However, I am now at the point where I need to determine a sensible workflow that includes these steps:
    Import RAW into LR as DNG.
    Edit, as needed, in PS.
    Apply RAW Presharpening (as provided in Nik Sharpener).
    Manage Noise (with Nik Dfine (2.0 available in next 24 hours).
    Apply usage-based sharpening prior to printing or saving final file version.
    Maintain organization in LR.
    My original plan was:
    1. Import RAW in LR.
    2. Open in PS.
    3. Apply noise reduction.
    4. Apply RAW presharpening.
    5. Save (with new version being an "Edit" copy back in LR.
    6. Maintain organization in LR.
    I'm wondering, though, if I wouldn't be better off doing the basics to the files prior to LR import. Note that the Nik tools work in 16-bit mode.
    This is theoretically what I'm thinking, and would appreciate other user's input:
    1. Save RAW files to location on Mac.
    2. Apply Noise reduction to RAW files with Nik software within PS (perhaps automated, perhaps batched).
    3. Apply RAW presharpening to RAW files with Nik software within PS (perhaps automated, perhaps batched).
    4. Import noise- and presharpening-adjusted files into LR, with metadata additions, etc.
    5. Open files in PS as needed, with files becoming edit versions within LR.
    Any thoughts?

    To summarize, then:
    First time opening a RAW file from Lightroom, LR automatically creates a copy and appends "-Edit" to the filename. If it's a RAW file, only available option is the third option in the dialog box: "Edit a Copy with Lightroom Adjustments."
    Once opened in Photoshop, any number of adjustments can be made and saved. All adjustments are reflected in the -Edit copy when previewed in back in LR.
    If, later, I want to perform further PS edits on the -Edit version, I have 3 options as presented in the dialog box.
    1. "Edit Original (LR adjustments will not be visible)"
    2. "Edit a Copy (LR adjustments will not be visible)"
    3. "Edit a Copy with Lightroom Adjustments"
    Option 1 will open -Edit version #1 (but it will not show any changes made in LR to the -Edit file when opened in PS)
    Option 2 will create a copy of -Edit version #1 and open that new file, -Edit-2 (but it will not contain any changes made in LR to the -Edit file)
    Option 3 will create a copy of -Edit version #1 and open that new file, -Edit-2 and it will contain any changes made in LR to the -Edit file
    So, a typical workflow would be:
    1. Import RAW file in LR.
    2. Make adjustments in LR.
    3. If needed, open a copy (by default) in PS via LR (command-E).
    4. Adjust in PS, save.
    5. Adjusted file is stacked with original RAW file in LR.
    6A. Assuming no additional edits in LR, further PS adjustments can be made to -Edit version original, keeping just 1 stacked version in LR.
    6B. If additional adjustments are made to the saved -Edit version in LR, and further PS adjustments are needed, I must edit a copy of the -Edit file, ultimately resulting in a second stacked file.

  • Workflow Admin - Error Emails

    Hi there,
    I must admit I am much more of a techie than an "administrator" with regard to workflow and I probably have neglected some of the typical Workflow Admin tasks.
    I wonder if you can help me, every Monday morning I get about 4000 emails from R/3 Production....all "workflow error emails", and as you can imagine this does get pretty irritating sometimes
    I know we archive WORKITEM pretty often, were are all these "workitems in error"? Do I need to run RSWWERRE? Is there another report that I can run to safely kill all these "error workflows" so that I don't always get hundreds of emails?
    Any help would be greatly appreciated
    Lynton

    Well yes, that is what I want to do...sweep them under the carpet
    But in all honesty there MUST be an easy way to solve this issue, I cannot believe all Workflow admin's out there get all these streams of error emails each week.......
    Anyway, I will have to look into it again sometime...
    Have a good day
    Lynton

  • LR3 Getting Started questions

    I've been using Aperture since v2 and am looking to move to LR 3, but have some functionality questions before purchasing LR.
    Right off, this isn't meant as Aperture can, LR can't post.  It's meant as, LR has features that I like and am considering switching to it over Aperture as a result, but the following are 'must-have' and I just want to know from a technical standpoint if I can accomplish the same (similar) workflow in LR3.
    1.  Keywords: Can I assign keywords via the keyboard?
    Aperture
    Keyword set: Me, You, someone else
    Opt-1 will assign 'Me' to selected image(s), Opt-2 will assign 'You' to selected image(s).
    Keyword set: Cat, Dog, Rabbit
    Opt-1 will now assign 'Cat' to an image, Opt-2 will assign 'Dog' to an image.
    Can the same concept be done in LR?  If so, a link to a tutorial would be appreciated.
    2. Smart Albums (Collections in LR)
    Aperture
    I have a Project with 100 images, in that project I have 30 images in an Album1, 50 images in Album2.  Using Smart Album, I can create a rule that shows me only the 20 images that aren't in any Albums (ie. Album1 or Album2)
    Can the same concept be done in LR?  If so, a link to a tutorial would be appreciated.
    3. Refenced vs Managed
    I have a Reference library in A3.  Files reside on external HDD (~100 GB), library (previews, keywords, etc...) resides on internal HDD (~20 GB)
    Reason, I only have a 120 GB internal HDD.  Managed wouldn't fit on my internal HDD.
    I've added three images to a test LR, 2 MB each, and the resulting LR Catalog folder in the Finder is ~3MB.  Is the normal overhead in LR, ~50%.  If so, that won't work for me.  Are there pre-sets to reduce file info in LR?  Meaning, low-res previews, etc...
    4. Drag-Drop from Finder
    Is there a way to drag-drop images from the Finder to an existing Catalog?

    1.  Keywords: Can I assign keywords via the keyboard?
    Same as Aperture.
    Alt/Opt+n to assign keyword-n (where n is a number from 1 to 9);
    Alt/Opt+0 (zero) to cycle through Keyword Sets.
    2. Smart Albums (Collections in LR)
    Create a Smart Collection with the following rule: Collection doesn't contain "Album1" AND Collection doesn't contain "Album2".
    3. Refenced vs Managed
    Lightroom doesn't have "managed", only "referenced".
    The catalog size grows mostly because of the preview cache, which is always located next to catalog (unless you use some hacks). In Catalog Prefs, you have options for preview quality (low, med, high), size (1024, 1440, 1680, 2048 on the long side) as well as the max. time before discarding 1:1 previews.
    Those 3MB is you catalog + preview cache, and probably some initial overhead for an empty catalog (an empty database cannot be as small as 0KB).
    As a general rule of thumb, I think 1MB per image for the preview cache is a good guess. So, for a 50k catalog you need 50GB for preview cache. The catalog itself must be below 1GB for this number of images.
    4. Drag-Drop from Finder
    At least on Windows, it works quite well. You drop the files and Lightroom pops up the Import dialog with only those files that you've dropped being selected for import, even if the folder in Finder/Explorer has more files.

  • Workflow issue after transport to QA system

    Greetings,
      After transport to QA my workflow does not execute the job I've assigned to my step.
    I have a program assigned as a background job in a step that gets triggered by a typical workflow event.
    I believe this is the first workflow for their system... and it's definately my first as well.
    I can see the workflow executing using the trace.... but my job never runs.
    I'm beginning to suspect I need to refresh the workflow buffer... but perhaps it's an authorization issue
      Please advise...
    Doug -

    Doug:
    First refresh the memory of the workflow to take the new changes ok, transaction SWU_OBUF.
    Just to be sure, check the transaction SWU3 and check if everything is OK.
    The posible authorization problem is for the User WF-BATCH, so check the authorizations for this user.
    Best Regards,
    Jessica

  • Workflow Suggestion

    Hoping someone may be able to set me off in an efficient direction...
    I have 2 libraries of 130GB and 38GB (one is an older, pre RAW processing and now my current - all RAW) All my new photos will continue to go in the new RAW library. I primarily work on my desktop where the libraries reside, but I would like to continually update my laptop with my libraries, particularly for when I travel. I use Time Machine back up on a 1 Tb drive. I also have a 640GB portable that I can "drag and drop to or a 500BG Time Capsule no longer used for backups. I am not currently using vaults, as I am not sure with Time Machine I need them, but am starting to think differntly.
    My primary question is, what is the best way to update the laptop with ongoing changing libraries?
    SHould I be implementing Vaults and restoring from them? Right now I drag and drop libraries from imac to drive to laptop-VERY long. Also, if vaults are the way to go, should I/could I keep the two libraries on separate vaults?
    any suggestions for making this less painful welcome!
    thanks
    Nancie

    There ain't one way to do what you want, there are many. As your system gets bigger and maybe your needs change as it does, you need to be in a versatile position with whatever you choose.
    At the present i use Managed when mobile then transfer to Referenced when it is convenient, and back up manually Project by Project keeping the Projects small ( Aperture works better too with smaller projects ) so they are easy and quick to retrieve if need be. I may also keep a separate copy of rated images/versions. A typical workflow would go like this:
    Card Reader Download to MBpro > Rate the whole project with 2 Stars > A quick scan through to re- rate + or - > Trash the rejects > Empty Trash > Back up the Rated ones to usb stick > Format the card in the camera. Hope that helps. Allan

  • Workflow: Fireworks + Dreamweaver + Muse?

    Are there any recommendations, either from Adobe or from user experience, on workflow for those of us who at times want to use Fireworks with Muse or Dreamweaver with Muse?
    I had understood from presentations that this is not specifically supported by Muse, but then participants / demonstrators showed projects where they used DW and FW with Muse.
    Example? I have projects that a client wants template elements that are raster - cannot be rendered by even the most advanced CSS, etc. This needs to be 'cut' in FW. My typical workflow with something like this would be to render in photoshop, cut in FW and then produce / edit code in DW. There are items that render very well in Muse. Why not bring a project like this into Muse as a last step?
    Any recommendations or advice?
    Any tutorials or links that go with your advice?

    Please check this small video of how fireworks can be sync with Adobe Muse, http://tv.adobe.com/watch/muse-feature-tour/muse-roundtrip-editing-in-photoshop-and-firewo rks/
    You also have an option of placing a photoshop button in Muse, which detects the layers in the photoshop file to be used for different states.
    If you have a different suggestion I recommend that you add it to the ideas section over here, http://forums.adobe.com/community/muse/ideas
    - Abhishek Maurya

  • Spaces is counterintuive for my workflow

    Hi all,
    I have been using virtual desktops on a number of platform before becoming a happy Mac user. I am quite happy of Spaces, with one caveat: it behaves counterintuitively for my workflow.
    I am used to have different projects on each desktop. A typical workflow,
    1) On Desktop 1, I open MacVim (or any other editor) and a Terminal. I will be working on Project1
    2) I realise that I want to work in parallel on a different Project, say Project2. It seems natural to me to put this in Desktop 2, and to open a new instance of MacVim and a new instance of Terminal. This can not be done efficiently, as Spaces will *force me* to go back to Desktop 1, open a new MacVim Window, a new Terminal window, and then move them to Desktop 2.
    I understand that Spaces was done with another kind of workflow in mind (use a certain Application only on one Desktop).
    Is there any way to obtain what I want? It's becoming a bit frustrating.
    Thanks a lot
    Daniele

    Daniele,
    I'm not sure but see if this idea helps. Open the (Exposé & Spaces) Preferences Pane, and make sure that (When switching to an application, switch to a space with open windows for the application) is unchecked it is found near the bottom of the window. Now while Project 1 is in space 1 or what ever, switch to space 2  (Command) + tab to application one in this case Terminal now hit  (Command) + n. It will make a new window for terminal. Ok now I don't use MacVim but switch to it and use what keyboard shortcut you use to open a new window. Now you have a new Space if you will that is separate from your second one, and it wont force you back to space 1.
    I hope that helps,
    Weston

Maybe you are looking for