Workflow for Animation-Productions

I am working on an Animation. With fcs i was able to start and edit with previews and then replace them with the final Animations produced in the animation companies. How is that possible with the final cut X?

alifromköln wrote:
or better then that change the tool! After more then 10 years I say goodbye to Final cut pro!
If you say goodbye to FCPX you really won't be saying goodbye to Final Cut Pro...., X only borrowed (stole) the name, it's an entirely different video editing program. Apple can do what they want as the own the software but it's really a misnomer to call it Final Cut Pro.
pancenter-

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Workflow for creating product video for web

I am trying to create an introductory product video to present the story behind my jewellery designs. This video will be uploaded to my website as a point of sale and shown at exhibitions. I was thinking of combining a 2D/3D model of each jewellery design, real footage and animation. Would someone please be able to suggest which Adobe programmes I should be using and in which order for the most efficient workflow and effective results?

Moving this discussion to the Premiere Pro forum.
Astralex you may want to also consider posting your inquiry in the Help with using Adobe Muse CC forum. You can find a list of available forums for the different Adobe software titles at Welcome | Adobe Community.
Finally you can find a listing and additional information about the applications included with your Creative Cloud Membership at Explore Adobe desktop apps | Adobe Creative Cloud.

Advice for best workflow for catalogue production

We do several catalogues annually for some customers that are in the 80-120 page range. Each catalogue has between 1000 to 2000 products listed. The layout is based in sections and we use Indesign tables for the part number/description/key technical details/price/ The tables are not the same from product to product but vary depending on the type. So, for example, the number of columns and rows varies, the relative location of the price column changes (but is usually always the last right hand side one) and so on.
What we normally do is take an excel spreadsheet from the customer which is set up with multiple tables that follow the catalogue format, so we copy and paste the content from Excel to the appropriate Indesign table. The customer uses a LookUp function in Excel to maintain the price list monthly, and we do annual updates. The LookUp function searches another Excel file that has a data source from the accounts system, and so keeps the price and key data up to date (depending on the function).
What I would like to know, is there a better, more efficient way of doing this?
Is there a way for Indesign to lookup tabular data from Excel? In this way, what I am thinking, is that when the customer updates the price list spreadsheet from the accounts system (which is a 2 second task), we can then open the catalogue document (book actually) and automatically have Indesign update all the tables from the Excel document, then save the document to pdf.
Is there a plug in that does this? Or is there a technique in Indesign we are not using?
I've seen other people posting similar requests over the years so I know we are not alone in working this way.
Or are we actually better off sticking to the copy and paste table content replacement technique?
Any thoughts gratefully received. We're using Indesign CS4 on Mac.
Thanks,
Kevin

Thanks for the quick feedback.
I did try linking Excel to Indesign CS2 a couple of years ago on this job but found it a bit unreliable, maybe I'll try again in CS4.
I've not used table styles on this job - I'll need to take another look at that.
When we did the first iteration of this catalogue series using CS2 it was our first big job after switching from Quark Xpress so there were things I am sure we did wrong with regards to table set up. After completing that job I created a new Excel spreadsheet for the customer with all the tabular data from the catalogues in exactly the same format so we could copy and paste future corrections (at the time we used a table script that worked with CS2 for this). So in theory we may be able to link the two again (but I know the spreadsheet will need tweaking first!).
The problem I've had using table styles on this job was the number of variations in table layout in the documents. Having said that I need to look at the options on this again.
The whole catalogue is set up using a book with linked sections, unified styles and cascading master pages so making changes globally is relatively easy and consistent. Currently the tabular information is text styles (Character styles I think - need to check!).
I have no problem investing in a catalogue plug in provided it does help the workflow (as we do a few other similar jobs from time to time), but I'll need to take some time to try this out in detail. From the workflow I describe which product do you think would be more suitable?
Thanks again for the feedback. I'll take a look at what we can do and report back here as I'm sure others will be interested.
Thanks,
Kevin

Best workflow for DVD production

I need to create a DVD.
I have read that I can export my timeline to Adobe Media Encoder and use the DVD presets there. Is this good practice or are there better methods?
Thanks

Within Encore you can load the Adobe project file (*.prproj) as an asset. Dobble click in the Projects Pane and and navigate to your folder where you store your Premiere project files.

FCS for animation pre-production

I'm searching for an asset management solution for our animation production. The assets in this case will primarily be designs and storyboards. None of which would be used directly in a FCP project. This would all be part of pre production.
As the artwork moves through the pipeline, having one central location for everyone to work from would be great. Someone recommended FCS and though it looks great I'm wondering if this will work for us.
Thanks.

Final Cut Server would be a great solution for this needs regardless if you plan to use the digital assets in FCP or not. Final Cut Server can be installed both Windows and Mac OS X. I am assuming that at some point you may use After Effects to produce an animatic and Final Cut Server can be use for this as well. Also if you have a lot of image sequences Final Cut Server 1.5 has native support for image sequences which will also automatically create preview version of the image sequence.
Hope this helps.
Nicholas Stokes
XPlatform Consulting

Workflow for product hierarchy

I have to create a workflow for product hierarchy.
When we Create/Modified/Delete one product hierarchy using Tcode V/76 (entry in the table T179) I have to display that product hierarchy. I am not able to find any object type for that. Which object type I have to use.
I am new in this workflow. Please help me

thanks

Badi for workflow based on Product category

Hi,
Could let me know if there is any BADI that can be used to implement the process of my workflow based on product category.
kindly guide me in this.
regards
subhash

Hi,
Please go to SPRO nodes and there you will see one tab with BADI for self service procurement. there you will find badi.
i am not remeber the exact badi name but one badi is there bbp_target_sys
thanks
Ravi

Workflow for 2 Mac products

Hi,
i bay yesterday a neu Mac Pro to my Imac 27",
this Mac Pro should bee used for my soon he is 11 years old i also want to use it altrenativ to my main Imac 27"
on the Imac i have Programes like Iworks, Aperture by Apple registet.
My quastion :
Can i use thies Programms wirh my soon on the neu Mac Pro ?
I dont want to open a neu Apple ID for my soon, becase he is to jung know.
wahts the best workflow for this case?
also i want to register this Mac Pro by Apple, in case neu OSX insalation or lost it .

Use the same Apple_ID for everone in your household, and Apple says that is fine.
Do not share with your neighbors, Apple says they need their own copy.

Specs and workflow for creating opening/closing titles for video

I'm trying to create specs/workflow for videos that I will be adding opening and closing titles to (black background with colored text), using QuickTime Player 7 (Pro).
The videos are .mov, AVC coding, 1280x720, millions, 30fps, a sample video had a data rate of 7,463 kbits/second.
I created 1280x720 300dpi (perhaps I should have used 72dpi?), saved as a .jpg (highest quality), then copied the .jpg contents into a QuickTime Player 7 (Pro) blank document multiple times until I had enough frames for my need. The resultant video was very large; 339,743 kbps/second. I then exported to H.264, which brings the data rate down to only 214 kbits/second (and looks fine) and then copied that into the head of my AVC coding video.
Questions:
1) When I exported to H.264, the x pixels increased by 6, to 1286. After pasting that video into the AVC coding (1280x720) video, the resultant movie is 1280x720. Did my graphic get compressed by 6 pixels horizontally?
2) Does my method of converting the huge graphic movie to H.264, and then pasting it into the AVC coding make sense? The combined video has AVC coding, according to Movie Inspector; does the H.264 of the graphic get converted automatically? Any better way to approach creating my titles?
Note: these AVC coding videos may get converted to H.264 for some use, but for now, I'm keeping the highest quality (source) video I have to work with.
Thanks,
Bob

"First, tell use why you're not using FCP's titling and keying capabilities."
I don't own FCP.
"Then, explain why you're doing it this way."
I'm able to create graphics with plenty of control in a graphics program (PhotoShop in this case).
"There is no dpi in video, there are only pixels."
Sorry, I posted my thread then realized I left out a bit of info, but couldn't edit the post. I should have written that I created my graphics file in PhotoShop, hence the dpi reference.
"A black background for text is not the same as using an alpha channel."
OK. The portion of my video with titling stands by itself; that is, I'm not overlaying titles on existing video. Is there a use for alpha channel if I'm working up standalone title video frames? Uses less data rate?
It seems from your inference I would be best served by purchasing FCP, so I'll probably take that advice and buy it.
From a general video production point of view, I'd still like to learn more about creating titles in a graphics app and bringing them into QT Player; what format to bring them in as (e.g., H.264 into an AVC coding video, as I've done, or ?), and what happens when my graphics video gets converted from 1280x720 to 1286x780 (AVC export to H.264), and then brought into an AVC codec movie, and the movie remains at 1280x720-- does the graphic get horizontally widened, or the vertical compressed? Thanks.
Bob

How to schedule a workflow for recurring executions: The solution

Scheduling a workflow for recurring execution has been long awaited in WFA, perhaps from 2.0 time. The following document shows how to get it done. I've also explained the logic behind it. It’s very simple to use, meets every requirement which one can have from a scheduler and of course highly flexible. Let's go!! The Real stuff. What is this? Is this actually a scheduler? No. This is actually a command in your workflow, but a special 'magical' command. This 'magical' command logic is built using the answers for the following questions: Can a workflow be scheduled for a delayed execution in a future time? Yes, but only one execution instance. If you want the next execution, execute the workflow again providing the same set of inputs and the execution date/time.During workflow execution, can a command inside a workflow get to know what is the name of the workflow? YesDuring workflow execution, can the command know what is the job execution id? YesIs there any programmatic interface available to know what are the user input provided or a particular job execution? YesCan a command inside a workflow trigger another workflow? Yes.Can a command inside the same workflow trigger itself? Absolutely yes. I've ticked all boxes needed to build such a solution. The solution is to make the workflow a smart workflow, so smart that it can schedule itself for the next execution. It no longer needs any other task scheduler to tigger it. WFA provides a large set of REST APIs for other 3rd part SW integration. But I also can make good use of these APIs to make smart workflows. I have always believed that WFA should not only be seen as a framework for automating Storage boxes or server, but just about any task( inside a computer of course) which is done manually. WFA is an awesome product indeed. So this is a command called "Workflow Scheduler" which you can put in your workflow as another command. Prerequisites: You need PowerShell 3.0 on your WFA server. I certainly could have done it for PoSH2.0 as well, but life for web interfaces using PowerShell is so much easier with Posh3.0. Posh3.0 is a big jump from 2.0. WFA is fully supported to work on Posh3.0. Its available by default in Win2012, Win2008 can be upgraded, Win2003 users can't use it. Add credentials of a WFA Admin/Architect in you WFA itself with Name/IP: localhost Match: ExactType: OtherName/IP: localhostUsername: <WFA Admin/Architect Username>Password: <User Password> 3. Minimum WFA version 2.2. This is only needed for Importing the dar. I've provided the command code in text too. The command code is the real deal. How to use it? If you have a workflow which you want for recurring executions, just add this command "Workflow Scheduler" in it. The command takes parameters for the workflow execution intervals. For example minsInterval for executing this workflow every x minutes, or daysInterval for executing the workflow etc.Now just like a normal workflow execution execute this workflow deciding what is the trigger time. Example: Suppose you want the execution every day at 10:00 PM.So provide daysInterval = 1 And execute the workflow for a delayed execution at 10:00 PM. You can pick the day to start as you wish. The workflow will execute at 10:00 PM and when this execution reaches our magical command "workflow scheduler", this command will trigger the same workflow with same set of inputs for the next execution at 10:00 PM tomorrow. And so on an so forth. I’ve attached a very simple example workflow here to help you understand. An Example of a workflow scheduled for recurring execution Daily at 11:30 PM starting 10-March-2015 How to stop/suspend this recurring execution? Easy. You just abort the next scheduled job execution in Execution=> Execution Status. The cycle will stop. How to resume it? Easy again. Just resume the same aborted job. The cycle restarts. Can I change the schedule execution time? Yes. After aborting the current execution, you can resume the same workflow at a new time. Execution interval can't be modified as you can't change the command parameters. But the recurring execution now can occur at a new time. Where or which position to place this “workflow scheduler” command in your workflow? At the beginning ? At the end? Or somewhere in the middle. This completely depends on your choice. See some below cases. You don't want the next job execution scheduling to happen if any of the commands in my current workflow execution fails: Put command “workflow scheduler” in the end. It will trigger the schedule of the next job execution only when all real original commands of your workflow have passed. else not. You want continuous job executions irrespective of the workflow command failures: Put it in the beginning. It will trigger the schedule for next execution before any of the actual command begin executing. You want an approval before the next execution job is scheduled: Add an approval point before the comamnd. So it’s all left to you. Can an operator decide the execution schedule? Yes, but which workflows will be available to him/her for this recurring execution will have to be decided by the designer. This is a good thing to have as it serves for access control in a way. The Architect/Admin can now restrict which workflow can be put for recurring executions. Operators can’t execute just any workflow available to him for automatic recurring execution. And the workflow designer can also choose which scheduling parameter is to be made a variable for the operator. For example the designer want the operator to schedule a given workflow only for weeks Interval and not months or days i.e. he/she can only chose to schedule for weekly, biweekly etc. executions and nothing else. For this the designer can define a User-Input variable only for weeksInterval parameter. It’s Done. You want workflow execution to be scheduled either for daily or once in 2 days but not any other. You can restrict this. Or he/she wants to give full freedom to the operator make his/her own decision about scheduling, he defined user-input variable for all scheduling parameters. The workflow designer wants weekly schedule but the day should not be a weekday: You can even do this. Is this flexible enough for my requirements? I’ve attached the very command code. You can modify the command as per your requirements. Suppose you want daily execution of a certain workflow at 10:00 PM but skip a day of execution if the day is a Monday. Modify the code check for the day and add another day if it’s a Monday. Its posh code and highly readable. So you can see how this can be used in a variety of ways. This is the beauty of a programmatic solution. Its highly flexible, it allows users to design solution based on their requirements. Flexibility is the heart & soul of WFA. Thats why I like it. I have a workflow but I don't want to modify it by adding a new command in it. Can I still use this solution? Yes but with WFA 3.0 on wards. WFA3.0 allows to create modular workflows. Create a parent workflow with you actual workflow as a child workflow in it. Add our “workflow scheduler” command too. So now you don't need to touch your existing workflow. I've attached a workflow example here. Have fun!! sinhaa

Providing a new version 1.1.0 of the command "WFA Schedular" Changes made: Added conditional String Representation based on the Scheduling parameter provided. Provided check for the right number of parameters passed into the command.Added a new parameter "Expiry Date" to automatically stop the recurring execution upon expiry.Check for Posh3.0 version in code.Have Fun!! sinhaa Below example for:Schedule a workflow for recurring execution every alternate day i.e. once in 2 days at 10:30 PM starting 06-Jul-2015 (Today's date is 02-Jul-2015) . The recurring workflow execution should expire on 31-Dec-2015 and stop.

Archive workflow for FCSrv - does it work that way?

Hi,
we are installing FCSvr in our shop by the end of the month and after a lot of reading I have a question about an archiving workflow and if that works that way?
We have about 1 TB of files each month that are finished productions that need to go. Deleting is not an option as we often have to go back and do changes, we also want to have the clips somehow (digital, not only on video tape) available for later production. Final Cut Server sounds like a solution, eh?
We have 1x Xserve with FCSvr and 1x Xserve RAID connected via fiber uplink via trunked Gbit ethernet (works for us..)
The idea is to connect a Netgear ReadyNAS 1100 (Link: http://www.netgear.com/Products/Storage/ReadyNAS1100.aspx) with 3x 1TB SATA discs in Raid5 (4th slot is empty) to the network. Name would be archive001.
In FCSvr I would setup a device and tell it to use as archive space.
Once full (or lets say around 80%) I unmount the raid and shut it down, label the 3 drives and stick them in the shelf.
3 new drives go into the Netgear, I setup archive002, make it a new device in FCSvr and tell it to use as archive.
And so on and so forth.
In the case an editor needs an old shot / project (happens not very often, I'm calculating with max 4x a month, excluding if they need data that is on the device that is still mounted because its not yet full) FCSvr tells me where the archived asset is (?), let assume on device archive001.
I go to my shelf, grab the drives, stick them into the Netgear, and the person is able to grab the asset.
What happens if an user requests a restore and the "wrong" raid is mounted? (the device is not there?) Does he get an appropriate error message so that he can tell the IT person to change drives or how does that work?
Cost wise: the Netgear is about 1100 EUR and we already have a unit so in case one fails and we cannot get a new one (any more) we are sort of covered and can copy to a new system.
Each 1 TB is about 90 EUR at the moment, though Raid5 I can use 2 TB out of 3, so I end up paying 270 EUR for 2 TB of archive (plus the initial RAID).
The system is scalable (to some extend).
Future goal (2 years down the line?) would be a Object Matrix setup with Xserves and Promise 12-24 TB RAIDs. But not now (money)..
What do you think?
Any input greatly appreciated.
Tobi
PS: Data Tape: been there, done that, dont like it (for this purpose, we use data tape e.g. to create "Master" of XDCAM footage) and too inflexible (I actually hope to reuse all the 1 TB drives for the Object MAtrix thing one day).

Hello,
you might write a pre restore script which checks if your archive volume of choice is available. If not, it can then send an email to your administrator, so that he can make that volume available.
Regards,
André

Workflow for Order to Delivery Cycle

Hi,
I need some help to find the workflows for "Order to Delivery" Cycle.
I want to know whether there is any Standard workflows for this cycle from "Order to Delivery".
My requirement is
1) Marketing Department Generates the Quote with a validity of 2-days.Soon as a quote is created in the system a mail should get triggered to Quality and Production Users.
2) Once the Quotation is converted into the order an alert mail should go to the customer.
3) Once the Goods is produced (once the goods has been accepted by QC) Mail should get triggered to the customer.
4) Once the goods are dispatched Mail alert should get triggered to Production Head.
5) Once LWB is raised the mail alert should be raised to Customer and Accounts Head.
This is the total cycle form Oredr to Delivery.I'am unable to find a standard workflow for this.
Please guide me if there are any standard workflows are available,if not please let me know what is the other alternative.
With Regards.
Pradeep.B

ttpa,
What exactly details you are looking for?
well for your specific condition type you can either use solution described above in post.
Alternatively you can use check FM (go to SWE2 , double click on your BO and event linkage) . Inside check FM will have sales order no. so you can go into condition tables (I think konv/komv) and check it, raise an exception in your FM if you dont want to trigger the workflow.
Cheers
Jai

What is the workflow for creating templates in full FrameMaker and pushing them to XML Author?

Hi All,
I'm working for a large organization (3000+) that is subdivided into 60+ business units. I'm trying to figure out the workflow for using full FrameMaker to create a template that I can provide my business units to fill in via XML Author, send back to me, and then I can publish into a number of products using the Tech. Comm. Suite. I am somewhat new to XML so I am not sure how to get my structure and format to translate.
Can anybody clarify what the general workflow would be for this process? All I have been able to find is the flowchart showing full FM to XML to XML Author and back to full FM. From my test driving of the Tech Comm Suite though it has not appeared that easy.
---Corey---

Hi Corey...
Here's a rough outline of what is needed.
1) First, you'll need to define the data model that your documents are using. This could be some existing model like DITA or a new custom model. Depending on the complexity of your document's needs, this may drive that decision.
2) Once you've got a model, you'll need to create a structure application (in full FM). This structure application defines the model and appearance of documents. This will provide the fundamental structure of the "template" as well as placeholder text for the elements where you want people to provide information.
3) Then you have to install the structure application on each of the XML Author installations. This involves copying the structure application definitions file (structapps.fm) onto the client systems as well as the structure application files (into the proper location as indicated in the structure application definition). The structure application definition may reference these files at a network location, which might simplify the deployment, but would require that each person is connected to that network in order to create the files (pros/cons with this approach).
Once that's set up, your XML Author users should (in theory) be able to create a new document using the new structure application, then send you the resulting files. Lots of hand waving here .. but that's the general idea.
Cheers,
Scott Prentice
Leximation, Inc.
www.leximation.com

Best workflow for DSLRs and Speedgrade / Premiere?

Can anyone suggest a workflow for DSLR footage using Premiere and Speedgrade? I would like to be able to roundtrip and do a light grade on clips and sequences before completed the offline edit. Is this possible? I know in the video tuts it seems to work for Red footage, but I couldn't get it to work for me with my 5d mark iii footage. It's all new to me having recently switched to Adobe from FCP and also to DSLR from camcorders. Thanks

Speedgrade isn't designed to go pre-edit, so right now there's no dynamic link with the other CS6 apps. It's intended to sit post-edit in a classical film studio workflow, with Sg ingesting only the final edited frames and exporting your production masters.
If you "send" a Premiere Pro sequence to Sg you will render out a single DPX image sequence (including effects and transitions, and without any references to edit markers or original filenames) and so importing that back into Pr would flatten your entire timeline to a single clip. Any changes to the Pr timeline and you'd have to do it all over again.
You can export an EDL from Pr and use that in Sg to read the native footage (provided it's compatible*), but grading is not stored into the original files so it won't re-appear in your Pr timeline unless you manually re-import.
If you want to use Sg pre-edit, the options are:
Grade all your footage before ever touching Pr, export everything to lossless video or image sequences and work with those, forgetting about the original files completely (you'll need a bunch of disk space and hopefully a MOS shooting pattern, as your audio will be split out).
Grade a sample of every clip you're using, then save a Look for each one. Export the Looks as 3D LUT files (.cube) and use a plugin to apply them to your clips. Right now there's no official plugin for Premiere (Magic Bullet LUT Buddy isn't certified past CS5) but After Effects can apply both the .cube and the .look files via the "Apply Color LUT" effect. Note that some changes in Sg are not included in the Look, such as the choice of color space and tone curve, so what you see in Sg may not be what you get back in Pr.
I'm not downplaying the abilities of Sg, but it's a colorist's tool and doesn't sit very well in the CS6 unified concept of "one person can make a movie". It helps to think of it in terms of the union system in Hollywood - an editor never grades and a colorist never edits, so their tools look completely different, work completely different, and the electronic conversation only goes in one direction.
*Sg was designed with digital cinema in mind so it doesn't work with interlaced footage, plus it generally assumes you're feeding it log so be careful when picking defaults. It's one occasion where something like the Cinestyle fake-log profile for Canon DSLRs comes in handy.

What is the documetary interview workflow for Story/Premiere CS5.5?

I've looked in vain for the answer to this question, which I'm sure is thoroughly documented SOMEWHERE - I just can't find it. The few things I HAVE found online including at Lynda.com or other paid services involve CS5, which has a different workflow that involves OnLocation; this changed in CS5.5 but I don't see any on-point articles that incorporate the changes.
We've been using Premiere CS5.5 since its release but have never worked with dialogue metadata. At the moment we're working on a documentary with a number of lengthy interviews. In each case the interview subject is talking to an off-camera producer. Accurate transcriptions of the raw interviews have been prepared. Only the interview subject's ANSWERS are transcribed; the producer's questions are not (and are also barely audible on the soundtrack). So, typically, the producer will ask a question and then the subject will give an answer that could be ten seconds or a minute. Then another question, then another answer, all in the one clip.
So what I am looking for is a step-by-step workflow (for someone who has never so much as TOUCHED Adobe Story before) for importing the transcripts into the raw footage and then ultimately having Premiere match the transcript up with the spoken audio, and then maximizing the usefulness of this with the newly annotated clips as source footage. Realizing that the interview answers are separated by barely-audible producer's questions, I assume that one challenge will be to let the software know that it should only be paying attention to the answers, and lining the text up appropriately, and not getting confused by the questions. Perhaps the answers need to be subclipped?
If there's a tutorial on this subject I would very much appreciate being pointed to it. If not, if someone could do a step-by-step (beginning with an empty Premiere CS5.5 project and nothing in Story) I'm sure there must be a number of other folks in my position who would benefit from it.
As a product suggestion: for documentary applications it seems to me that it would be much better to be able to cut and paste text directly from a text editor into Premiere and then let it fit it to the audio instead of going through Story. While I understand it was even more cumbersome prior to CS5.5, I don't think interviews in a documentary need most of what Story offers (unless I'm missing something), so it seems like an unnecessary complication that could be eliminated.
Thanks in advance for any help.
Peter

Well, I tried following your steps, and I'm going wrong somewhere.
I created the film script and four scenes (one for each of four clips), giving the speaker's name as a character name (it's actually the same character in a continuous interview broken into several five-to-ten minute clips). I let Story number the scenes (1 through 4, as expected). I then exported an .astx file.
Within Premiere, I located the four clips and in the Scene column numbered them 1, 2, 3, and 4 respectively.
When I right-click on one of the clips, select "attach script file," and point to the exported .astx file, I get the following error message: "Failed to attach script file to the following clip: \MyProjectName.prproj\FolderNameWIthinProject\00019.mts [Matching scene number not found]" (of course I have replaced the path and folder names in this example with generic names since the actual names reveal my client company's name).
Opening and inspecting the .astx file in a text editor I confirm that it does in fact contain scene numbers 1, 2, 3, and 4, respectively, for the numbered scenes. Likewise I confirm the numbers 1, 2, 3, and 4, respectively, in the Scene number column for the four relevant clips.
Any idea what the problem is?
Peter

Workflow for Animation-Productions

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