Workflow question - need to do quick speed adjustments in fcp and maintain

Tried the documentation first...
I have a project where I will be adjusting the timing (speed) of most of the clips. Once I have the video and audio locked i will undue speed changes in fcp and use motion to get the most precise results / renders. Check me if I have this part wrong.
to facilitate editing i would like to do the speed changes for a clip in fcp and keep it's associated dialogue track in sync. ultimetly this will be a silent film so the dialogue will fall away. is there any way that speed changes applied to a linked video and audio clip can be made in fcp while preserving pitch? otherwise higly annoying to edit.
if not and i have to go to sound track pro to maintain pitch what does the workflow look like to make speed changes and keep audio at the same pitch.
thanks in advance,
wayne - portland oregon

Michael,
That's what I am doing with Batch Export now. I just wish that I didn't have to create a new destination folder for each bin. This is an insurance documentation project. W/o going into too much detail, I have 3100 clips from 54 different buildings, 395 different units in those buildings and the clips for each unit in their own bin. I need to keep that structure intact as I export.
I'm guessing that using Batch Export is the only way to go with out an upgrade to go straight to compressor from the Browser.
K

Similar Messages

Workflow question: DVCAM NTSC footage to 1080 24fps in FCP or CT?

We are making our VFX clips in 1920 x 1080 @ 24fps (as in true 24, not 23.98) and delivering to the client as such, but they are supplying their offline locked edit on DVCAM @ 29.97fps.
Every day I need to make an edit by cutting in our shots into the offline edit so the VFX supervisor and lead can review the work in context of the whole. The problem I am running into is the different frame rates.
I was told to convert the offline edit to HD @ 24fps, but I am not sure what is the best workflow for this. I am working on G5 Power Macs running Shake 4.0, FCS2. The main editing station has a Kona 2 card. We have HDCAM and DigiBeta decks. These are the tools available to me. (I have been capturing the DVCAM on my personal deck at home, since we don't have one here).
I have been thinking of asking for the offline to be delivered on DigiBeta, at the very least and using the Kona 2 to do an upconversion but AFAIK that doesn't do any framerate conversion, correct? (I asked for HDCAM, but was then told to do what I outlined above...)
Any thoughts?

Shane Ross wrote:
They are delivering 24fps, but offlining at 29.97? Sounds odd to me.
Yeah, I don't get it either. AFAIK, they are doing the online at "24?", but since this is for broadcast, in the end it is going to be 29.97. Where in the process they plan to do that is not known to me (or currently being made known... whatever).
Their mess.
My headache.
Use Compressor. You can convert their stuff using Compressor. But...29.97 DV...is this film or? How can you remove the pulldown?
I'll give that a try. I have never messed around with doing this kind (frame rate) of conversion; does this simply slow down the playback a little? All these cuts are around a lot of action, but then again this is just for previewing in context so I suppose it wouldn't matter that much if it isn't very noticable.
It can't be any worse than what I am dealing with now.
Whatever...not my mess. You can use Compressor to upconvert after you capture the DV footage...since this is offline. An HD capture card would get the footage into HD, but not convert the frame rate, so that would be a waste. And this is temp only. COMPRESSOR.
Many thanks, Shane. You're always a big help!

Need advise on dual systems to use fcp and logic

i just got a imac 27" i7, 12Gb ram, 1TB HD and 1GB vRam.
i was using a imac 20" Core 2 duo 2.33Ghz, 1TB HD for video,
On this machine i ran FCP studio, FCP refuses to boot on the same machine with some of my 3rd party plugs in Logic.
So i then went to the macbook pro17 2006 2.33 GHZ with a 500GB HD for audio.
On this machine i ran pro tools, logic etc
now i wonder what the best solution is with the imac, like if i can somehow install one of these as a virtual machine or dual booth partition, i would rather run them at the same time since i switch between often., if the imac is fast enough to i hope., anyone have ideas? will vnware or parralel work out well?
any advise appreciated, seriously
Cheers

It is not advisable to relocate the sounds that came with LP to an external drive. LP uses a certain hierarchy in the order it looks for sounds. LP "expects" certain sounds to reside in a certain place.
You should move all your Akai, EMU and other sounds that are visible to you, to your external drive. Use aliases in the original folders on your internal HD. You can also do this with your user-created Apple Loops.
Try to keep around 20% of your internal HD space free.
After you moved your files, use Project Manager to scan all your drives and organize your files and directories.
Under LP > Preferences > Global > Project Manager, check "Load Project Manager database on program launch" and select "Search files using: Project Manager database", or "Search files using: Project Manager database and Search Engine".
Your EXS24 files will load like a charm.
sonther

Disk configuration and workflow help needed for lab video workstation

Hi All,
Setting up a video editing workstation for a research lab that will use Premeire to edit AVCHD Progressive clips (sometimes with 2 streams side-by-side, but usually single-camera) and export them to .mp4 for later viewing by video coders. We won't be using AfterEffects or adding anything to the videos other than some text (titles, maybe sub-titles).
The other purpose of this workstation is to act as a file server and backup system for other machines in the lab. Coders will be viewing the exported videos via other networked machines and working with Microsoft Office files that will be stored on the workstation's other HDDs. I'll have a physical backup drive and cloud backup via CrashPlan.
I've built a machine that is probably overkill, but the client (my wife) wanted it to be "fast," and the purpose of the machine might change in the future:
i7-4770K (overclocked a bit)
16GB RAM
Asus Z87-Pro
GeForce GTX 660
I have the OS (W7) and programs on a 256 GB Samsung 840 Pro SSD and currently have two 1TB Velociraptors to use for the Premiere workflow. I'm trying to figure out how to proceed with the purchase of the rest of the drives, and I want to keep the Premiere drives separate from the large storage drives from the lab that are networked and synced to cloud backup.
Following the recommendations for a three-disc configuration I've picked up on these forums, I could set it up like this:
C: (256GB SSD) (OS, programs, pagefile)
D: (1TB HDD) (media, projects)
E: (1TB HDD) (previews, media cache, exports)
F: (4TB HDD) (backups of media, projects, and exports and storage of other research files)*THIS DRIVE WOULD BE SHARED ON THE NETWORK
G: (4TB external HDD) (backup of F & drive that backs up to CrashPlan)
but it seems that would be a waste of the speed of the second 10k velociraptor. If I added another SSD and RAIDed the Velociraptors it would be:
C: (256GB SSD) (OS, programs)
D: (Two 1TB Velociraptors in RAID 0) (media, projects)
E: (256GB SSD) (media cache, pagefile)
but would I then need to add another dedicated HDD for previews and exports, or could I store those on the networked F: from above (which would be previews, exports, backups of media and projects, and storage of other research files) without taking a speed hit?
It seems overkill to have a dedicated drive for exports and previews (let's make that the new F:), then have them copy to the first 4TB drive (now G:), then back that up to the second 4TB drive (now H:), then back that up to CrashPlan. However, people might be accessing that network drive at any time, and I don't want that to slow any part of the video process down.
I appreciate any advice ya'll can give me!

Hi Jim,
Thanks for the encouraging response. I'm leaning toward the non-SSD option at this point.
To make sure I understand, are you suggesting I try using the Velociraptor Raid 0 in the 2 disk configuration suggested by Harm's Guidelines for Disk Usage chart? Like this:
C: (256 GB SSD) (OS, Programs, Pagefile, Media Cache)
D: (1TB x2 in RAID 0) (Media, Projects, Previews, Exports)?
Where I'm still confused there, and in looking at Harm's array suggestions for 5 or more drives, is how performance is affected by having simultaneous read/write operations happening on the same drive, which is what I understood was the reason for spreading out the files on multiple drives. Maybe I don't understand how Premiere's file operations work in practice, or maybe I don't understand RAID 0 well enough.
In the type of editing we'll be doing (minimal) aren't there still times when Premiere will be trying to read and write from the D: drive at the same time, for example during export? Wouldn't the increased speed benefits of RAID 0 for either read or write alone be defeated by asking the array to do both simultaneously?
Maybe the reason the Media Cache is on the SSD in the above configuration is because that is what will be read while writing to something like Exports? But that wouldn't make sense given Harm's chart, which has the Media Cache also located on the array....
Another question is, given that the final home of the exported videos will be on the big internal drive (4TB) anyway, could I set it up like this:
C: (SSD) (OS, Programs, Pagefile, Media Cache)
D: (2TB RAID 0) (Media, Projects, Previews)
E: (network shared 4TB HDD) (Exports + a bunch of other shared non-video files)
so I don't end up having to copy the exported videos over to the 4TB drive? Do you think it would render significantly faster to the RAID than it would to the 7200 rpm 4TB drive? I'd like to cut out the step of copying exported videos from D: to E: all the time if it wasn't necessary.
Thanks again.

Workflow Question: 24p (Varicam) Masters, 29.97 down converts for offline

I know in part this question has been raised here before, and I know the Cinema Tools method for getting back to 24p... but I would like to discuss briefly the pending workflow on a project I am about to begin with someone who has tackled this before.
I am cutting a feature, shot on Varicam at 24p. The film has already been rough cut in FCP and I am inheriting the project to re-work the rough cut and "on-line" finish the film. The initial editor did not reverse telecine the clips before cutting, so all the clips and the timeline are in 29.97. I know I could finish the off-line using the DV footage, then reverse telecine the EDL to on-line back to the 24p HD masters, but there are a few other issues.
First, there is over 19 hours of original scenes that currently make up a 2 hr rough cut. This cut needs a pretty extensive re-edit before it's ready for the sound designer to step in, maybe 2-4 weeks of work. The FCP project has not been broken down by scenes, just master clips for each reel (yikes!). I am not confident in the audio that is on these DV tapes and I would prefer to work with the original HD source to finish the job, as the audio editing will fall mostly to me to accomplish. This project will also need extensive color timing as well. From a general workflow standpoint, I feel that if I had all the HD loaded, and re-organized by scene that I could work more efficiently to finish all the aspect of this film.
So the nuts and bolts of my question is this. Can I convert both the timeline AND the already logged master clips to 24p so that I can load in the HD as whole reel clips as they currently are logged and refer back to the timeline? I want to work from the existing timeline, but also have ALL the footage loaded in as HD 24p so I can sub clip by scene and rework the cut.
Thanks in advance.

HD isn't as simple as SD...not by a long shot. With SD, we captured offline at 29.97, and then onlined at 29.97. The biggest thing to worry about was that our shoot masters were 29.97 NDF but stock footage was 29.97DF, and that tended to mess up EDLs for the online.
But then comes HD. 720p...1080i...1080p. 23.98, 24, 29.97, 59.94. So many options...things got really complex. Now with HD you really need to know what your deliverable is...even before you shoot. Because everything is geared toward getting that final master. You CAN proceed without knowing that, but then getting the proper master will require more hoop jumping. So, at this point, you need to figure out what you want to deliver and work towards that. 1080 23.98psf HDCAM? 720p 59.94 D5? 1080i 29.97 HDCAM? You have to figure this out.
Editing 24p footage from the Varicam (which translates to 23.98) at 29.97 DV was a poor choice. DVCPRO HD 720p24 isn't even twice the file size of DV. DV is 3.6MB/s, and DVCPRO HD 720p24 is 5.4MB/s...so editing native would have been the wise choice. But that is moot. Moving on.
When I edited a 16mm film...shot on 16mm, telecined to HDCAM at 23.98...I captured DV downconverts that ran at 29.97. I asked the post facility doing the online if I should do it at 29.97, or should I reverse telecine to 23.98...they said stick with 29.97, so I did. Then we changed post facilities and they said I really should have been editing at 23.98...because I have now made the online rather tricky. But this is what they had me do. Export an EDL of the 29.97 timeline. Use Cinema Tools to convert that from a 30fps EDL to a 24fps EDL. Then give them this and the final project. They were able to rebuild the cut, with some issues where I had speed changes, but they did it.
So what you need to do now, is find the place that will be doing the online, and get someone there to get this thing where it needs to be. It isn't as simple as recapturing at 29.97 or 59.94. The footage was shot at 59.94, but with flags set to make it 23.98 when captured. If you had a Kona or Decklink capture card, you could capture it at 59.94, but that format won't match up with the 29.97 EDL...different time base. And you cannot capture 59.94 as 29.97...not unless the footag was flagged in the camera as 720p30.
This is a very complex situation and I have barely scratched the surface. THis is why you need help from an HD expert, preferrably someone from the post facility where you will be doing the online.
Shane

Sharpening export workflow question

I have a sharpening workflow question. Say I have pictures from a portrait session I just finished. I have to send 10 pictures the client ordered to a print lab and I also will make some small facebook sized pictures and upload them to my business facebook page. The level of sharpening needed for large prints (I upload to print lab as RGB JPEGS) and sharpening needed for the very small sRGB facebook-sized pictures is different. In Lightroom I have the option to set the sharpening on export and have a bunch of presets that alter the export size, color space, sharpening, etc(WHCC print lab, facebook, Client CD, etc). I don't see how to do that in Aperture. I see they have the option if you have a printer, but not on normal export.
For those of you that have to export batches of pictures in multiple different sizes (with different levels of sharpening), what is your workflow? I could use some photoshop droplets/actions after Aperture export but I was hoping there was a way to avoid the extra step. Am I overlooking an export feature? The BorderFX plug-in looks like the only other option.
Thank you in advance for time and help!
Scott

Frank Scallo Jr wrote:
The thing is guys - Once a file is sized down it WILL lose sharpening - what we are doing is sharpening the full size RAW file or rather what the full size output would be like. Once we export a version sized down it will lose some of the 'bite'. LR has sharpening options on 'output' which is not only smart but a necessity. Adobe realizes that output for screen needs another sharpen. Apple either doesn't know or didn't bother. It makes ANY output for screen less than best.
Bear in mind that there seem to be two separate issues going on here - sharpening adjustments not being applied on export, and resizing.
As far as resizing is concerned, Aperture appears to use something roughly equivalent to Photoshop's Bicubic Sharper setting. Because of this I've never had much problem with Aperture's exports when used for the web, but obviously everyone's taste for sharpening differs which is why an option for output sharpening would be good.
Sharpening adjustments not being applied on export is a separate issue and should be reported via the feedback form ASAP by everyone who is experiencing the bug.
Now printing is another animal - I wouldn't print directly from RAW in aperture either if I'm printing small. Again, LR beats Aperture here as well since they include output sharpening for print.
Aperture has had output sharpening for printing since 2.0 came out (unless it in was 1.5). In A3 you need to turn on 'More Options' and scroll down, I can't remember where it is in A2. I don't know how effective it is as I print via a lab, but it's there and it's been there for a long time...
Ian

RAW workflow question

I have begun using the RAW format on my Canon dRebel and I am having some difficulties in figuring out what my workflow should be. I found the post below in this discussion group, but I am not sure I completely understand the process around converting RAW files in an external program.
This is what I have tried to do:
1. in Photoshop Elements 3 I click Open and navigate to the folder containing the RAW files (if I control-click the RAW file in iPhoto and select Edit in External Editor it opens a JPG version of the file in PSE3 bypassing the Camera RAW application)
2. I make the necessary adjustments and convert the file to JPG at which point I "replace" the JPG in the iPhoto Library
This does not seem to be working as I am either unable to read the file after or iPhoto will not reflect the new version.
Any help would be appreciated.
Michel
PS: Bonus question: I copied all my old jpg files to the picture directory before launching iPhoto for the first time and importing them into the library. Do I now have duplicates of all files that were on the harddrive before doing the import? Can I delete these to free up space?
Jan,
I should have been more clear. Importing from the camera or a reader is the same. If the camera is not supported, it won't work from either as its the RAW file format that determines compatibility. If the RAW files imported into iPhoto the format is supported and you will now have an iPhoto generated JPEG for each RAW file imported.
If you double click on a thumbnail, it will open in edit mode (or an external editor if configured to do so) in its JPEG form.
To edit the RAW file you need to drag the thumbnail into your favorite RAW editor and save that converted file in your choice of format outside of the iPhoto library.
If you double click an image and then want your RAW file back to drop into a RAW editor, you need to select the thumbnail, right/control click, and select "Revert to Original".
Also, I believe the E1's RAW format is supported since the 10.4.3 update.
Hope this helped!
Sam

Hi Michel,
I don't do RAW but I can point you to an Apple article. Is RAW supported for your camera? Meaning does iPhoto import the RAW files and put them in an Originals folder in the iPhoto Library folder in the Finder?
Supported RAW cameras
iPhoto 5 Frequently Asked Questions (FAQ): Working with RAW images
Working with RAW in iPhoto 5
For the bonus question. You can delete the jpg files you have in the Pictures folder as they were copied into iPhoto's database (the iPhoto Library folder in the Finder) when they were imported into iPhoto.
Lori

Premier Pro Workflow question

Hi,
I am wondering, from an industry standard point of view, what the reccomended workflow would be for the following situation (I know that each project brings its own special requirements, but I was hoping that some of you on the forum have worked with this type of project before, and can give some advice)
We are producing several, roughly 20 minute episodes of a childrens show. The episode has several scenes, and each scene is comprised of several shots. Our characters are hand operated miniature figures, and they are filmed against either a blue/green screen, or in miniature scale sets. The footage is first brought into Premier, where rough keying and compositing is done, to achieve each rough shot. These are then edited into their respective scenes. Once the rough editing is done, the project is handed over to Afer Effects, where the footage is replaced with the originals (As low res proxies are used in the edits), proper keying and compositing is done, and effects are added. This is then rendered as a DI, imported back into Premier as a video layer and then rendered out in the final delivery codec.
My question is as follows:
Is it better to create one project, with multiple sequences, one for each scene and then a sequence for the episode (Master sequence) - or is it more advisable to create several seperate premier projects, one per scene and then import these into a new master Episode project? I guess it might be a matter of "What you prefer", but I was wondering if there is a suggested industry standard as to how this is normally approached.
Thank you for any advice,
Pierre Devereux

Hi Guys,
Thank you all for your input - it really is helpfull.
On the two topics my question created:
One VS Two Projects - We have decided to go for the approach of several projects per episode, each containing its own sequence of several shots. These will be dynamically linked back to AE for the duration of the work on that scene to make back and forth work better. Each project will be imported in a main episode project, and final edits will be done there. This will also help us, beacuse as mentioned, we have several people working on a project at the same time - we will be able to work easier accross mulitple PC's this way.
DI VS Dynamic link, or direct AE export - We do daily renders of our AE projects (there are a few reasons for this, one being the fact that our hardware is not up to scratch, so working woth 4K layers just doesnt work on the editing system) into proxy and intermediate codecs as Fuzzy stated. As a result, we have these files, and placing them into the premier timeline allows us to do any last minute edits quickly (transitions, small cuts etc) and then a much quicker final render to delivery codec. There are also other tracks added before the final render, sound layers being one fo them.
I am aware that there are always several ways to complete any project, and workflows are fluid things, able to change as needed, but for now, this seems to be the one that suits us best.
Steven,
Thank you for your input, and your questions, it gives me a chance to re-evaluate our workflow and look for improvements - something I do often!
Fuzzy,
As always, thank you for your input and support! - your comments are worth gold!
Jim,
thank you for your comment - I must admit, in the ideal world, I would also love one single project, coming from a Server administrator background, I miss the order!
Pierre Devereux

RED Workflow questions with Mac Pro (including third party plugins)

Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
Editing all footage off 96TB Raid 6 mini-sas server (getting about 1100mbs read/write rate according to AJA system test) which is faster than any Thunderbolt/TB2 drive array I have.
Media I work with is footage from the RED Epic (normally 5K) as well as DSLR footage from the 5d.
Software:
-PrPro CC 2014 (8.1)
-Magic Bullet Looks 2.5.2
My question(s) pertains to RED post-pro workflow in combination with third party plug-ins and the different approaches to make it more efficient.
Right now, majority of the clients need a 1080p HD master, and they are generally anywhere from 2-8 minutes (usually). So my sequence settings are as follows:
Video:
Editing Mode: RED Cinema
Size: 1920 x 1080
Audio: 48Hz
Video Previews
Preview File Format: I-Frame Only MPEG
Codec: MPEG I-Frame
1920x1080
Maximum Bit Depth unchecked
Maximum Render Quality unchecked
Composite in Linear Color checked
Export Settings
H.264
1920x1080
VBR 1 pass
Target Bitrate 12mbs
Max bitrate 12mbs
Maximum render quality/depth/previews unchecked
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
Would using offline editing help at all?
Do you place your effects on adjustment layers?
Is there anyway to improve export settings when using an array of filters?
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?

Hi This Is Ironclad,
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
The biggest issue is that most people have is that updating OS X causes certain folders to be set to Read Only. See this blog post: Premiere Pro CC, CC 2014, or 2014.1 freezing on startup or crashing while working (Mac OS X 10.9, and later).
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
It's a nice base system. How about an additional speedy disk for media cache files. You also did not mention which version of OS X you are running.
thisisironclad wrote:
Software:
-Magic Bullet Looks 2.5.2
The Red Giant website does not indicate that this software is yet updated to work with Premiere Pro CC 2014.1 (8.1). Proceed with caution here.
thisisironclad wrote:
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
I would not use this plug-in until you get the OK from the manufacturer.
thisisironclad wrote:
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
Again, I suspect your plug-in.
Keep in mind that exports are largely CPU based but you can make sure that GPU acceleration is enabled for AME at the bottom of the Queue panel.
thisisironclad wrote:
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
It's OK.
thisisironclad wrote:
Would using offline editing help at all?
No need when you should be able to edit natively. Relinking might also be an issue.
thisisironclad wrote:
Do you place your effects on adjustment layers?
That's one way you can do it with the benefit of being more organized.
thisisironclad wrote:
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
I do. Of course, that's a preference.
thisisironclad wrote:
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Try the following:
Sign out from Creative Cloud, restart Premiere Pro, then sign in
Update any GPU drivers
Trash preferences
Ensure Adobe preference files are set to read/write(Hopefully you checked this out already)
Delete media cache
Remove plug-ins
If you have AMD GPUs, make sure CUDA is not installed
Repair permissions
Disconnect any third party hardware
If you have a CUDA GPU, ensure that the Mercury Playback Engine is set to CUDA, not OpenCLYou have AMD GPUs.
Disable App Nap
Reboot
thisisironclad wrote:
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?
I really shouldn't answer that question.
Hope this helps.
Thanks,
Kevin

LR2:DNG - PSCS3:'Smart Object' workflow question

Hello, I've just started working with DNG files exported as Smart Object from LR2 to PSCS3 and I would appreciate some feedback on my experiences thus far.
Let us assume that I've made basic corrections to _DSC1190.dng within LR2. I then want to apply a filter to a particular region of the DNG file with all of my LR2 adjustments applied.
1. Here are the steps I currently follow:
1.1. Right-click on the DNG file and select 'Edit In'->'Open as Smart Object in Photoshop...'. This results (I believe) in the DNG file with all of my LR2 changes being embedded within a smart object and the resulting temporary file being opened within PSCS3.
1.2. I perform my edits in PSCS3 and save the file as a PSD (i.e. _DSC1190.psd). As long as I was smart about things, I can now go back at any time and alter any of the changes I made in PSCS3, as well as access the DNG file within the smart object to make and ACR changes I desire.
1.3. If I want the new PSD file to be added to my LR2 catalog, I then need to navigate to where it was saved and manually add it.
1.4. If I want to make any exposure adjustments, or really, any adjustments that I'd normally make within LR2 or ACR to _DSC1190.psd, I need to open the file within PSCS3, double click on the smart object to get the ACR dialog, make my changes, and voila!, the PSD composite now reflects those changes.
1.5. If I make any changes within LR2 to the original DNG file (i.e. _DSC1190.dng), those changes are *not* reflected within the PSD file.
1.6. Questions
1.6.1. Is what I've described the expected behavior?
1.6.2. Although it might seem silly to some, and may present a technical challenge not worth the trouble, it seems it would be beneficial to have the smart object exported from within LR2 to PSCS3, contain a link to the original DNG file, and not now have two separate DNG files, one visible to the file system, and the other embedded within the smart object saved as presumably a PSD. I'm sure there are a lot of corner cases to consider, but it just seems very strange to now have two files wherein if you want to change something you would normally do through LR2 or ACR, you now have to do it in two different programs to two different files. Is this a problem Adobe has considered, i.e. any discussion about supporting this perhaps in an update to LR2 along with PSCS3/4?
Thanks much for any help/insight,
Matt

I haven't tried doing what you are in CS but do you have the embed xmp into file enabled or are you updating the xmp by saving it out of LR CTRL-s? Do you have ACR set to read the xmp data? I don't have access to LR at the moment but will have a play l8r and get back to you if no one else does.

Yet Another Workflow Question

Ok I too, like many others here, am new to the Mac (thanks to Apple's I'm a Mac, I'm a PC ads that my wife couldn't get enough of). I have done some searching around and I see that there are quite a few iMovie workflow questions out there. I have not quite found what I am looking for however, so I thought I would make my first post tonight. So here it goes...
I have 3 different ways I capture video:
1. Canon Vixia HF10 (HD)
2. Canon Powershot (SD)
3. Blackberry Storm (SD...I know it isn't a good phone)
I record everything to SD cards. I am wanting to know the best way to store my raw video for editing at any time. Do I copy the AVCHD file structure (for the Vixia) and .avi files (for the other non HD) to my hdd, or do I just import into iMovie '09 and let it reside there, or both? I noticed that iMovie had an archival option (which appears to just copy the AVCHD structure to my hdd), which is why I ask. I want to always keep my raw video in case I decide to go back later and create a new video.
After I have the raw video archived, I would like to know the best way to use iMovie. Depending on where I end up storing the raw video, should I keep the imported video in iMovie once I am finished with a project, and then reimport it at a later date if need be? Or, do I leave it in iMovie as events? I guess this all rely depends on the first question...where do I store the raw video for archival purposes...
Finally, when exporting my iMovie project, should I store that in more of a, pardon the Windows reference, "My Videos" folder with a original size, web optimized size, and ipod optimized size? Thus, keeping the actual exported version of the project separate from the raw video?
I hope I have asked the right questions here. I appreciate any and all help I can get!
Ron

Welcome Ron to the  iMovie boards..
very interesting : 'switchers' care sooo much for 'storage strategies' ..
the by Apple intended workflow/concept for iApps is:
any 'photocam' related material (still or movin') comes-in via iPhoto, and is stored in an iP Library (=you can tell iP to create 2/many Libs, if you prefer to organize manually....)
any 'camcorder' related material HAS to be imported by iM - why? because, iM has some internal routines to make such material editable (codecs, thumnails, stuff....). the same material as 'file by Finder' does not import.. in most cases!
storage..
iP stores in its Library (local/internal HDD and/or ext. HDD)
iM stores in Events (local/internal HDD and/or ext. HDD)
to make Projects/Albums accessible to any iApp, you should keep your fingers off that structure.
Erasing Events 'kills' projects.
allthough, once 'shared to media browser' there's a 'copy' of your project WITHIN the project file. (= the socalled Media Browser is no single Folder somewhere hidden in the system)
there's this Spacesaver feature to erase any Event content which is not in use in any project to keep Events lean.
use the Archive feature from within iM to keep things easy and convenient.. if you miss a single file of the SDcard file-structure, the whole card's content is kaputt ..
summary:
• use iApps as intended.
• use iP for cameras, it stores 'raws' (the avi too)
• use iM for camcorders, use Archive to store raws..
• purchase a dozend of HDDs to store your material..

Quick Edit Adjustments not working PSE 13

In PSE 13, I use quick edits Adjustments. While putting the cursor over the options (ex. Smart Fix at 87) it shows on the image but if you click it to say apply, it doesn't apply. You can't hit "auto" or toggle the switches; the adjustment just never applies. Please help.

Can you clarify what you meant by "The css file didn't even changed"? Do you mean when you type on the keyboard, the code in the inline editor doesn't actually change? Or do you mean the changes are visible in Brackets, but when you look at the file on disk (using a different editor) the changes are missing? Or is the file saved to disk correctly, but the Live Preview isn't updated to reflect the changes?
If it seems like the file is not getting saved to disk after hitting Save in Edge Code, please let us know the answers to these questions:
Does the dot icon (indicating unsaved changes) disappear when you hit Save, or does it remain visible?
Have you tried both the keyboard shortcut (Cmd+S) and the menu item (File > Save) -- do they both have the same problem?
Have you installed any extensions in Edge Code? If so, try disabling them -- choose Help > Show Extensions Folder, rename the "user" folder to something else, then quit & restart Edge Code. Does that fix the issue?
- Peter

Criteria workflow questions

OK, so by my previous postings it is probably obvious that I am fairly new to UCM and Records Managment. I have a new challenge and feel stumped.
So, there are three custom metadata fields. One is called 'Reminder Expiration Date' the others are called 'Record Keeper' and 'Record Keeper Email'.
When checking in a new record, all of these custom fields are required.
The purpose of these fields is to notify the record keeper via their email on the reminder expiration date.
So I did a lot of reading and think that I need to create a criteria workflow. I went through the process of creating a template and the criteria, but I know I am misisng some significant informaiton. Can anyone give me a little more help here on how I would create a workflow that is triggered off of the 'reminder expiration date' and gets sent to the 'record keeper email'?
ok, just wanted to add in a little more.... so I am thinking that in the step event script I would enter something like this in order to notify the record keeper..
<$wfNotify(wfGet(xRecordKeeper),"user")$>
As always, your help is greatly appreciated!
Edited by: Pattigo on Apr 9, 2009 1:03 PM
Edited by: Pattigo on Apr 9, 2009 1:15 PM

Criteria Workflow: I'll assume you already get how content joins the workflow (via simple metadata criteria).
You made the three fields in question required, which is great. Now we can always assume they are present. You might want to work on some custom validation for them to ensure cleaner data, but that's another story for another day. Workflows have something called entry, update and exit "steps". The update step executes roughly once each hour. In that step you can write iDocScript. You will have access to the metadata about the document (including your three fields). You could check to see if the current date exceeds the date in the metadata field. If so, you could send an email, perhaps with the wfNotify iDocScript function. Then, maybe you could blank out the expiration field? Not sure. You would need some way to say "Hey, this has been sent alreadY" because that update cycle is going to keep kicking off each hour after that.

Re: Beginner needs help using a array of class objects, and quick

Dear Cynthiaw,
I just read your Beginner needs help using a array of class objects, and quick of Dec 7, 2006 9:25 PM . I really like your nice example.
I also want to put a question on the forum and display the source code of my classe in a pretty way as you did : with colors, indentation, ... But how ? In html, I assume. How did you generate the html code of your three classes ? By help of your IDE ? NetBeans ? References ?
I already posted my question with six source code classes ... in text mode --> Awful : See "Polymorphism did you say ?"
Is there a way to discard and replace a post (with html source code) in the Sun forum ?
Thanks for your help.
Chavada

chavada wrote:
Dear Cynthiaw,
I just read your Beginner needs help using a array of class objects, and quick of Dec 7, 2006 9:25 PM . I really like your nice example.You think she's still around almost a year later?
I also want to put a question on the forum and display the source code of my classe in a pretty way as you did : with colors, indentation, ... But how ?Just use [code] and [/code] around it, or use the CODE button
[code]
public class Foo() {
* This is the bar method
public void bar() {
// do stuff
}[/code]

FCP - Color Workflow Question

I have DVCPRO HD sequences in FCP that I have applied Smoothcam filter to in many instances (one 10 minute sequence probably has Smoothcam applied to at least 15 of the clips). With over 4 hours of footage and Smoothcam applied often it would seem very labor intensive to have to create individual Quicktime movies for each of the clips where Smoothcam is applied and then drop those into the FCP timeline before sending to Color (especially as I will likely have to tweak the Color settings multiple times before getting the perfect outcome).
My sense is that I may be able to minimize the workload by:
1) creating one Quicktime movie of say an entire sequence with multiple instances of the Smoothcam fliter applied (instead of creating individual Quicktime movies of each clip where Smoothcam is applied)
2) sending that Quicktime movie to Color for grading
My question under the scenario directly above is how do you then split the Quicktime movie into the individual clips in Color so that each clip can be graded individually?
The only other alternative I can see is to:
1) remove all of the Smoothcam filters (and sharpening filters) in the FCP timeline
2) send sequence to Color for grading
3) roundtrip to FCP
4) apply Smoothcam filter (and sharpening filters) to all of the individual clips again after color grading is totally complete
I am a little daunted by the thought of this with over 4 hours of DVCPRO HD footage. Your suggestions regarding the best and most efficient workflow would be greatly appreciated.

Not quite six of one and half a case of the other, but you are in for some effort either way. Thomas Edison had an observation about "opportunity" arriving dressed in coveralls, but most people take a pass on it because it looks like "too much work".
If you elect the "bake out one big QT file" workflow, there is some efficiency to bringing the new QT onto a copy of the originating timeline and using that as a cutting guide to "razor in" the event boundaries, and then send that to COLOR. It will save a significant amount of re-rendering time.
If you remove the Smoothcam and other filters and send the raw source media to COLOR, that would be a normal workflow. I'd imagine there will be a significant amount of "attribute" copying after the fact, and of course all the smoothcams will have to go through "re-analysis". (I'd send a duplicate sequence, so the original filtered sequence can act as a source.)
The smoothcam filter will probably yield a different rendition on the COLOR-graded media, since the Boolean re-scaling (to keep the image within the active picture area) may not exhibit the same behaviour -- since you will only be dealing with the selected footage, rather than the entire source clip.
Sending the clips with an attached Smoothcam filter would probably result in massive render times, since FCP requires the entire intact source media to compute the stabilizing script, similar to sending a clip with a speed adjustment.
jPo

Workflow question - need to do quick speed adjustments in fcp and maintain

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