Workflow question re: Livetype and Soundtrack

I'm trying to organize myself for a project and I don't know whether to add/mix my music in FCE or Soundtrack, or, should I bother with titling and text effects in FCE or do it all in Livetype.
Is there a right way to do this?
Rory

Just words for thought:
FCE Title 3D is a very good titler. Livetype gives you the ability to animate titles, use backgrounds, more titling effects etc. My projects combine both; if I just need straightforward titles and title rolls (I dont like the LT scroll) I use Title 3D. If I need titles that are more customized and dynamic, I use LT
I do most of my audio in FCE; mixing various tracks together, common EQing, etc. If I get some real funky audio that needs heavy correcting, I use SoundTrack. If I need some original BG music, I use ST
Personally, I find LT easier to use from within FCE, I like the integration better. Create the title in LT, save the LT project, open that in FCE and if I need to make changes, use the Open in Editor function
I find ST a little clunkier to use but I don't employ it as often, so I am sure I am not taking full advantage of its integration

Similar Messages

Two workflow questions, (1) importing and (2) saving/exporting

Apologies if the below questions are too elementary. I've just started using Lightroom. I've been trying out various editing/organizing programs and I haven't yet found the perfect one. Can someone tell me if Lightroom is capable of the following:
1. I shoot in Raw+Jpeg format. When I copy images from my camera to my computer, I always create a new folder that represents my event and put the jpegs in \Pictures\[Event]\ and the raw images in \Pictures\[Event]\Raw\. Is there a way to instruct Lightroom to perform this function through the import module, i.e. have a single import event that copies jpegs in an \...\[Event]\ folder while copying dng to \...\[Event]\Raw\ and importing only the dng files into my Lightroom catalog. Is this possible?
2. Also, can someone explain how Lightroom handles edits? Say I've edited a dng in my library. Is the dng file changed on my computer itself? How about the jpeg (remember, I copy jpeg+dng to my computer)? Is there a way to instruct Lightroom to automatically (i.e. default behavior) overwrite the jpg file when any changes are made to the dng file, but prevent the dng file from being overwritten? What about instances where I also want to overwrite the dng - how do I accomplish this?
Thanks.
=|

theNE0one wrote:
I completely understand and appreciate how Lightroom treats raw images. However, if I shoot Raw+jpg, what difference does it make whether or not the jpg file changes? If my raw file is untouched, I don't also need to make sure that the jpg remains in its virgin state...even if the majority of users prefer to keep both untouched, at least allow the option for people that want a different method of handling their files!
Lightroom has no feature to overwrite your JPGs automatically.
Might I suggest a workflow change ... shoot raw only, when you need a .jpg, have Lightroom export one for you.
If Lightroom handled Face/Places/Sharing well, I wouldn't need to mess with a second program (i.e. Picasa), but right now it doesn't look like it can handle what I want. I understand that I can use Metadata/Keyword tags to identify People and Places, and that there are plug-ins to upload to Picasa web albums, but these options aren't executed well enough in LR3 for me to give up Picasa. The plug-in doesn't work nearly as cleanly as the native Google program, and "Faces" is a chore in Lightroom. Picasa can automatically detect faces and makes tagging/organizing/working with images much easier. While I'm on the topic, can anyone explain why such a useful feature (that's available on free and basic image software) is not included in Lightroom? Is there any possibility that it'll be included in the final version of LR3? What about the upcoming Aperture 3? Is it that "Faces" is perceived as a basic consumer feature that isn't used in higher-end software? Will this always be excluded from this "class" of software?
Using LR3 Beta to decide whether the software works the way you want isn't a good idea. I'm guessing, but I don't know for sure, that the uploading to Picasa will work a lot better in the finished product. Hard for me to imagine a program being easier to tag/organize than Lightroom, and while I don't use Picasa, I can't see how it could be easier in tagging and organizing. It is my opinion (and you might think differently) that using two different organizing software programs on your photos is more trouble than it is worth, especially since you have to constantly "synchronize" the two different organizers.
No one here works for Adobe, and even if there was someone here from Adobe, they can't tell you what will be in future releases. We can only guess, and we don't know.
Finally, can you explain xmp? I've done some keyword tagging on my images within Lightroom. If I were to later use another program, would the keywords be picked up? From your explanation it sounds like there are two aspects to a file, the image section and the xmp section. Is the xmp section the part that includes information about the photo? I.e. settings, metadata, etc.??
Keywords that Lightroom writes to xmp should be readable by almost every other photographic application. But please be aware that Lightroom, by default, does not write keywords to the photo files. You have to specifically tell Lightroom to do so, by either turning on an option, or by using Ctrl-S on selected photos. Xmp includes all the metadata, which includes captions, keywords, Lightroom edits, and basically any information supplied by the user rather than by the camera.

Workflow question; planner user and approve?

Hi!
We are testing our planning application and we discovered that a user with a planner role can approve his/her planning unit ??? He/She can choose from promote/approve when changing status of of selected enity (with write access).
Is this a normal feature or has something gone wrong?
Planner users are provisioned in Shared Services with following Planning roles: Planner, mass allocation, offline user. In Planning they have write access to their own entities and read access to some other entities related to their own business areas. They have write access to all accounts, some scenarios and so on. Read access is given to some scenarios and as said to some entities.
Within business rules they have an Interactive user role. Those planners belong to different native groups that have "validate or launch" access to specific Business rules. I suppose Business Rules should not have effect on this..
Somehow I would think that Planner should not have an approve option when changing status of his/her entity (with write access). The approve option should belong to admins (my humble opinion).
kind regards,
user 637777

I believe you may be able to change this behavior, althought unfortunately, I don't have access to a Planning repository right now to confirm.
There are two tables in the repository that define the actions and states of Workflow in Hyperion Planning. They are:
- HSP_PM_ACTIONS
- HSP_PM_STATES
This is where you can modify (or add new) workflow actions and states. I seem to remember a field in these tables that defines who can take a specific action. There's another field that defines who the next potential owners are after a given action. Unfortunately, I'm recalling this from memory, so you'll have to do a little digging. The fields use a code, so you'll have to decifer what those codes mean too.
Remember, after any changes to the repository, you'll need to restart the Planning services.
Hope this helps,
- Jake

Workflow between fcp and soundtrack pro

i am working on getting the workflow between final cut pro and soundtrack pro right for several weeks now, and i have to say, i expected more.
not that all the special gadgets aren't there, they are just not working the way they describe them in their manual or other sources.
am i the only who has made such experiences working with these tools?
for example: if i want to send a single clip from my timeline to soundtrack, there should be the possibility to have in and out points, so that final cut doesn't send the whole clip (even the parts i don't use ) to soundtrack. cool feature if it would work! no matter what you do it always sends the whole clip to soundtrack and therefore saves the whole file with all the changes and effects. and we don't talk about 8 or 9 MB here. a single clip of 1 minute, altered with EQ, takes up to 80 MB to save!!
another problem from my point of view is the exchange of whole sequences. the whole thing heavily depends on the use of markers, because without them someone working with soundtrack doesn't even see were the cuts are, which makes it nearly impossible to synchronise sounds. markers have to be placed at every single cut.
i could go in like this, but first i would like to know if i mist some fundamental thing about the use of these two pieces of software.

It depends on how you are working. If you've sent over something as a Multitrack project then you have to export the mix and edit it back in as it doesn't update in the same way. A STP audio file shoul update upon saving.

Workflow for converting english titles to french in livetype and motion

Hi everyone,
I am about to embark on a french version of a 20 minute video and I'm looking for some advice.
In the english version, I created titles in both motion and livetype. I'm still a bit of a novice with these programs so I admit that I relied on Final Cut Pro to further manipulate the titles in terms of sizing and placement with a touch a slow motion to get the timing right. It was exciting to discover that any text changes in these programs would automatically update in the timeline in Final Cut Pro as long as I didn't change the file name.
So, that got me thinking.... I'd like to change the english titles to a french version and take advantage of the automatic updating in FCP. But how do I protect my english master?
My backup plan is to create new file names for the french titles and try the " copy content" approach but I have some reservations.
As always, I look forward to your feedback.
Cheers and Happy Holidays.
Chris

Hi Everyone,
I want to provide an update on my progress for those who might be interested.
I have some 50 english titles in this project, some motion and some livetype and some boris.
To prepare for the french version, I did a "save project as" to create a french version of the project as suggested. Then, I did a "save as" on each title file, adding "french" to each one and saving the new version in a new file folder for my french stuff.
I've made a duplicate of my english master timeline and here's where it gets interesting.
I'm finding that if I "right click" on the title in the timeline to open it in the Editor to make changes, it opens the original english title, thus putting my english version in jeopardy! I'm guessing because I simply made a copy of the english version.
Here's my plan of action... Control Click each title in the french version timeline and use reconnect media to connect the title to the new version that I've saved in my french stuff file folder. Change the english text to french.. place in oven to bake at 350 degrees for 25 minutes, let stand for 2 and voila - one french version ready for voice over.
Can someone let me know if I'm on the right track?
Cheers,
Chris

Compressor and Soundtrack

I upgraded from 1.0.1 to 4.
I just read a post that says earlier versions had compressor and soundtrack (not v.1).
I guess I obviously missed out with my versions.
Question: Does compressor have any advantages now that iDVD has better compressions or is it virtually the same? What about soundtrack? - what am I missing here?

Brian is correct - Compressor is a Final Cut Pro application and Garageband will double for Soundtrack.
However, what you are really missing are most of the LiveType effects that came with FCE 3.5.
In that version there were some 9GBs of media files but in yours there is only about 500MBs.
Ian.

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

Develop Form and Workflow in SharePoint Online and On-Premise

Hi Expert,
I have the question about Form and Workflow in SharePoint Online vs ShrePoint On-Premise
Current Problem : Customer is implemented Form and Workflow in SharePoint Online but they have a problem some features that didn’t work in SharePoint Online. I will have a meeting to discuss Do and Don’t Form and Workflow in SharePoint Online compare SharePoint
On-Premise.
Please suggestion.
Thank you

Hi MasterBird,
There is no documentation to explain the difference of the custom form and workflow between SharePoint Online and SharePoint On-Premise. For your issue, you can have a look at the following blog:
http://www.techrepublic.com/blog/the-enterprise-cloud/get-infopath-forms-and-sharepoint-online-with-office-365/
https://support.office.com/en-us/article/Office-365-known-issues-6b380978-84ce-49af-be5d-f7cda0fe28f9?ui=en-US&rs=en-US&ad=US#__sharepoint_online_preview
https://support.office.com/en-in/article/Configure-InfoPath-Forms-Services-a8609546-c0d7-4956-81b6-08e93eb4b290?ui=en-US&rs=en-IN&ad=IN
http://blog.sharepointlearn.com/2011/11/03/sharepoint-in-office-365-the-good-the-bad-the-brilliant-and-the-ugly/
Thanks,
Eric
Forum Support
Please remember to mark the replies as answers if they help and unmark them if they provide no help. If you have feedback for TechNet Subscriber Support, contact
[email protected]
Eric Tao
TechNet Community Support

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..

Final Cut Pro 4.5 HD and Soundtrack Pro 1.0.2 and new Intel iMac

I have the both FCP and Soundtrack Pro versions listed above. I'm thinking about picking up a new Intel iMac. Will I have to pay $199 or $99 to upgrade to FCP Studio. I just purchased Soundtrack Pro recently, if I could upgrade for just $99 and get Shake and iDVD that would be a deal...probably still a deal for $199.
I also use CS2, seems Adobe is a little confusing to me. Will I have to pay to get CS2 native for the Intel iMac? Any idea on cost and timeliness.
Separately, how will FCP run on a 20" Intel iMac once upgraded to Universal version, which I'll have to do, since it won't run under Rosetta? I currently only do Mini DV but should I plan on getting the extra video memory now, planning on eventually going into the HD video realm?
Thanks everyone for your thoughts and comments...thinking about getting the Intel iMac via CompUSA with their interest free deals tomorrow.
Dan
Powebook G4 Mac OS X (10.3.9) Happy with Mac...don't want to lose the ease!

well, same situation here, I was about to order a Macbook Pro but then decided to saty with our beloved G platform. the reason is that it will take some time for our Pro Apps to become fully /natively compatible with Intel and I just can't wait that much.
as for your question about using an iMac with FCP, the answer would be a;
"Yes" if you're going to work with DV only footage (using an external HD for your captured media is a must). and a
"No" if you plan to work with HD material in the future. there you've got no choice but a PowerMac G5 with a fast Graphic Card and a special SD/HD card or box to capture the footage.
résumé: if you're a serious FCP user, go for something expandible, go for a Powermac.

Workflow Question: Audio Documentaries

Hello there,
I am trying to figure out the most efficient workflow for 2 types of audio pieces that will end up in a podcast:
1) The first type is one long interview (an hr) that will be extensively edited (e.g., sentences and words rearranged; "ums" deleted, sentences shortened and tightened ) and inserted into a podcast with some narration and sound fx. I'm unsure if I should be marking (so I know what's where) and editing the interview in the waveform or multitrack. In the waveform, marking is easy; I can break the entire clip up into a series of chunks. But then what? Export them all as individual files? OR Export the entire file with the markers into multitrack? The problem with the first solution is that I then have a tons of files that are out of order. The problem with the latter is that any subsequent edits I make in the waveform puts the clips out of sync in the multitrack. Another option is to edit it all in the multitrack, but it seems that there's less ability to use features like zero-crossing and the markers apply to all tracks not individual ones. Suggestions?
2) The second type of piece is similar to the first, except it involves 10 or more different interviews that are going to be edited into one piece.
Any tips? Suggestions? Advice? Workflow resources?
Any and all input is really appreciated.
Best,
David

Steve's speech editing 101:
Long rambling interviews are a huge problem from this POV - if you did the interview yourself, you generally learn pretty rapidly that actually structuring the interview itself whilst recording it is a pretty good idea! So is the concept of getting the interviewee to include the question in the answer - this generally makes editing a whole lot simpler.
De-umming and -erring in waveform view is fine - you won't need to redo any of this, whatever you do next. So you can do this, and save the resulting file as a first pass (always keep the original though - you never know...). At this point, as you've realised, you have options. The only thing I can sensibly do is tell you what I do when presented with this sort of thing; it makes sense to me, and you may just about retain your sanity. And yes, the whole thing revolves around markers. The first thing you do is to identify individual chunks of interview, and mark each end of them. What you do then is turn these into a marker range, and most importantly give this a name that means something. There's more than one way to go about this - if it's really complicated then give the ranges numbers, and have a separate reference list. If you think you can put adequate information in the marker, then do this - but bear in mind that when it's all scrunched up, these aren't always so easy to read. The basic idea here is that, if you can manage it, these are like paragraphs - a short collection of related sentences, preferably based around one idea only. You don't want to keep them too long though - I tend to break longer collected sections into separate sub-numbered sequences.
The most important thing as far as marking is concerned though is to have a structure for it, especially if you have multiple speakers in different interviews. If you keep to a unified scheme, you should easily be able to identify the speaker and the particular point being made easily. And that means that you should be able to assemble a final piece without going completely mad...
Anyway, what you do then is batch process these marker ranges into separate files, using the marker name for the file name. And now, you can import the whole lot into multitrack view, and start to assemble your interview. At this point it should be fairly straightforward; you can reassemble the clips in any order you want relatively easily, and with a bit of luck, you won't have to do too much editing during assembly - although that option is still open to you.
So to sum it up, the key to this is organisation and structure. At first it won't seem like you're doing any 'editing' at all - except that really you are - you're doing the most important bit. This is a conceptual thing; editing isn't about cutting out the bad bits, it's about assembling the bits you want. And when you think about it like this, hopefully the foregoing will make some sense. Hopefully it will also be obvious that this scheme works for either single person or multiple person interviews.

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

Workflow Decision suppress "Objects and attachments "

Hi all,
Is there a way to suppress the "Objects and attachments " message or change the text that reads "No attachments or objects"?
Thanks in advance,
Scott

hi,
first post workflow questions in the SAP Business Workflow
Executing transactions is done by first finding the business object related to the transaction and then see if a method exists for changin in dialog
for instance, BUS1001 methods display, edit, delete
executing transactions who don't belong to a business object from workflow can be done with a task which uses method execute of business object TRDIR, you have to pass the progrm name .
kind regards, Rob dielemans

Camera tracking / workflow question with 3DS Max....

Hi guys,
I have a general question about workflow using After Effects and 3DS Max....
Scenerio:
I have a virtual news set in 3DS Max to composite in the greenscreen footage. The footage has everything needed for tracking - markers and so on. After tracking the footage, I want to use the tracking from the footage, plus incorporate some camera moves from 3DS Max when the talent is 'behind the news desk'. Kinda like doing an 'orbital dolly' move to pan across the set. In After Effects, how would I merge the existing camera tracking from the original footage and then merge the panning camera moves from 3DS Max?
Thanks.
Jason

You will need a 3D track/ matchmove. Once you have, you should not ahve any problems importing teh result in both programs. SynthEyes etc. support a ton of export formats. For everything else a simple 3D export from MAX using relevant scripts/ plug-ins should suffice or you simply could use your keyed footage as a texture in MAX.
Mylenium

FCP and Soundtrack Pro music licensing and music cue sheet procedures

Okay, so we made the movie, and we marketed it and it has been sold in several geographic territories. Now I have to make up a music cue sheet. What do I put on the cue sheet for Apple Loops and FCP and Soundtrack Pro files that I have used for music? I believe they are royalty free, which is great. But I'm supposed to identify the music cues with writer, publisher, and society (ASCAP, BMI, etc.) What does an entry for those resources look like? It's really hard to find this info in the documentation for FCP and SP. Thanks.
G5 Mac OS X (10.5.4)

Interesting question - We don't use attorneys - too expensive, and we never listen to 'em anyway, so the info didn't come from a lawyer, ha ha. But I've seen several examples of music cue sheets, and they all contain the same information, including composer, publisher, society, timing, etc. (After all, that's the purpose of the cue sheet - to see that the artists and producers get paid for their work). You can find one format at:
www.ascap.com/musicbiz/cuesheetcorner/pdf/SampleCue
Of course, if the example comes from ASCAP (as that one does) or another society (BMI, others), they are working to make their job easier, but they are the societies - they are the ones who can object if they don't like it. And they have substantial power to penalize a producer for not doing what they want. But here's the thing: there's huge tradition in Hollywood, and the rule is (and the contracts say) that if you don't provide everything on the distributor's list of deliverables, they hold your money until you do - and one of the things on the list of deliverables is a music cue sheet, and every example I've ever seen (and I've seen at least 20) asks for the same information. So that's the answer as to "who told you that?" Is is possible that I'm being led down the garden path by ASCAP and the movie industry in general? Sure, but every source I consult agrees that this is the reality. I wish I could avoid it, but as I understand the situation, I have to do it, and it has to contain the info, or we'll never see our dough, ha ha. But my question remains the same - how do I get that info for the "royalty-free" music library attached to FCP?

Workflow question re: Livetype and Soundtrack

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