Workflow question - versions in jpg

Hello
I am figuring out how Aperture works. Am not quite getting it yet. I have been using Bridge 4 (came with PS Elements 8) and I quite like that program to sort through my photos, but it is getting a bit slow....
So, I thought perhaps try Aperture 3.
But I am stuck on this one.
If I want to edit a photo (my work is usually jpg) I can right-click and 'edit with photoshop' and then within PSE I can 'save'. I end up with huge tiff or psd files. Now, I have nothing against tiffs or psd (I often use those formats for my masters) but I usually edit my masters in order to create small jpg's for the web. So if I want to create a cropped jpg from my master file I'd have to edit in PSE and then import?
there must be an easier way.
In Bridge I am used to just double clicking, PSE opens, I edit, and 'save as'. job done.
Is there an easy way in Bridge? My versions need to be small jpgs, not huge psd files. I keep that format for the masters...How do I create jpgs in Aperture?
Thanks!!

ploeg wrote:
LOL, I certainly do not get what Aperture does. That's what I am trying to find out. I only recently got it and am finding my way, finding out if this is for me or not.
Corky - if you think of Aperture as a Bridge / Adobe Camera Raw combination, you would be more in line with what it is designed to do. Aperture adds export options including expansive preset options which are used to export your image with applied adjustments included for use outside of Aperture.
I use 'free transform' a lot, so I skew, bend and rotate images. Also colour casts, replace color etc etc. My photos are often photos of paintings so they need to be straightened and corrected for colour.
Corky - other than rotate, there is no tool in Aperture that replicates the Transform tool options. You can fix color casts as well as straighten and crop in Aperture.
It seems like I perhaps should stick to bridge or just finder and try to speed things up by moving my stuff to an external drive or something.
Corky - if you are running out of space on your hard drive, then any program will start to slow down (even Finder). Moving the files to an external for storage combined with purging the Bridge cache would certainly help Bridge if space is limited on the internal hard drive. Note - purging the Bridge cache will mean needing to let Bridge rebuild previews which could take some time.
I would suggest viewing the various Aperture tutorials on the Apple site to try and understand just what adjustments Aperture can do that you now perform in PSE and see if that would work for you.
I will add the link below as a possible replacement for Bridge, but it is currently $199 and may be more than you need (as well as being a new release by Phase One of a program that used to be called iView):
http://www.phaseone.com/media-pro
Hope this helps.

Similar Messages

Workflow question- psd - tiff- jpg

Here are the submission rules I need to follow:
* Convert your image into a 8 bit Tiff file (save as, Tiff)
* In an image editing program such as Photoshop, upsize the image to a minimum of 48MB. (If you make your longest side 5200 pixels and keep it in proportion to the shortest size, this should give you a file size of just over 50MB)
* Make any alterations as needed, inspect the image carefully at 100%
* At the very last step save your image as a Jpeg and send us that Jpeg. Remember, the Jpeg is the compressed size so this will typically be between 3MB-15M
Here is what I am doing, starting with .raw to 16 bit .psd :
Flatten finsihed final psd
Change image size to approximately 2x original to 96-104 Mb (5200 = 51.6Mb) using bi-cubic smoother
Change mode to 8 bit color (reduces file by 1/2)
Save as tiff
Save tiff as jpg highest quality
My question:
Is this the best flow to use or should I be editing the tiff, or going 8 bit at a different point in time? Should I be using something other than bi-cubic smoother? Or...?
Thanks for the help.

Actually sound like you are following some really out of date advice for up sizing for
Alamy or some other agency with a minimum file size requirement.
With the LR Beta 3 this can be done easily enough directly from the export dialogue. With LR 2 it is best done using LR/Mogrify in the export dialogue. The setting for LR/Mogrify to up size with size and quality that will be acceptable by them are
File Settings TIFF, no compression, 16 bit sRGB
Image sizing, and sharpening off
Mogrify Image Processing Options resize to fit total number of pixels 16.1 automatic algorithm
Mogrify Format Options change format to JPEG, quality 95%
The jpg so outputted will meet the requirements of Almay in terms of size and quality every time.
There is also the Alamy plug in which you may want to use, that makes this even easier if it is specifically Alamy you are uploading to

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

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..

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

Inherit workflow and versioning to subfolders

does anyone know if there is a possibility to inherit workflow and versioning settings from a parent folder to its subfolders? in standard-configuration we have to set these both settings for every new subfolder we create (permissions are inherited).
thanks!

Hi again,
SAP has introduced now with KMC SPS 14 the "Inheritance of the Versioning Settings When Creating New Folders", see http://help.sap.com/saphelp_nw04/helpdata/en/3a/d60a15803111d5992f00508b6b8b11/frameset.htm for details.
Advantage: It is implemented now
Disadvantage: It is not customizable in any way; still, ApprovalWorkflow, ManualOrdering and TimeDependentPublishing inheritance are not supported.
Hope it helps
Detlev

Workflow Question - Recently moved from PC to Mac

So, let me say that I'm a die hard Windows user -- in fact, in my "day job" I own a software development company and we're a "Microsoft shop". But, my side business is Photography and I'm making the switch to the Mac & Aperture. So, what I'm hoping to get from this post is a "yes, you can do that" or a "no, you can't do that" with Aperture. I'm happy to figure out how -- I just need someone to tell me if it's possible.
Here's my current workflow (coming from the PC - which required several applications to accomplish these steps):
1) Import images and rename "IMG_1234.CR2" to "1234.CR2" -- essentially dropping the "IMG_" from the name. Is this possible w/ Aperture?
2) Do all of the processing on the images (No questions here yet -- got that pretty well figured out in Aperture).
3) Create a black & white version of each image. Currently doing this by making a duplicate version in Aperture. But, I would like it to be named "1234-BW.CR2" rather than just have "version 2" tacked on the end. Is this possible in Aperture?
4) "Develop" the pics into jpg's. Again, the final image names should be "1234.jpg" and "1234-BW.jpg" respectively. Again, the question has to do with renaming the original & duplicate version of the image.
5) Choose all of the color versions of the photos and then selectively pick some of the b/w versions and export them to a "Web" size along w/ Thumbnail versions that will be posted on my web site. (Again, this should be easy if I can name things like I want them to be named in question 3 & 4.)
So, right now I'm the biggest thing that I'm having a problem with in naming the images -- how flexible is Aperture with this? I've tried to customize the naming but can't see to figure out how to simply remove the "IMG_" when importing and then how to tack on "-BW" when creating a duplicate version.
So far I really like Aperture -- it will ultimately save me from having to use 5 different applications on the PC and thus greatly improve the efficiency of my workflow. There are some things I've noticed that would be nice -- for example, on the PC I used a program called Bibble Pro to "develop" my Canon RAW files. Bibble is a little smoother (read faster) when making some adjustments. For example, when I'm in full screen mode and adjust the exposure, contrast or sharpening Aperture is not as smooth and "real-time" as Bibble. (And, the Mac I have is the top of the line iMac made today w/ 2GB of RAM. So, I would assume that processor speed is not an issue.)
Anyway, if you have any insight into this post please let me know. Thanks in advance for any help you can provide... If you want to see my web site to understand what I'm doing the URL is http://www.level3photography.com/proofs.aspx
Thanks again!
TK Herman
[email protected]
iMac Mac OS X (10.4.8)

...the Mac I have is the
top of the line iMac made today w/ 2GB of RAM. So, I
would assume that processor speed is not an issue...
Many folks from other disciplines think that applications should, well, just run on any computer. Not so with graphics apps. Photoshop, for instance, slows if not provided a second physical hard drive for scratch disk; Aperture craves GPU hardware; both gobble RAM; etc. Existing PSCS2 Photoshop performance improves up to 8 GB RAM, and we have not yet empirically determined the max amount of RAM Aperture will benefit from but it certainly is more than 2 GB.
iMacs are consumer machines, not pro graphics boxes, even though many folks successfully use them as such. And, "top of the line iMac made today" would include not the 7300 GT graphics but the 7600 GT graphics card and 3 GB of RAM rather than 2 GB.
All that said, your iMac should run Aperture well if you keep the box well maintained. Just don't be surprised if you do see some hardware imposed limitations.
-Allen Wicks

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.

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

A Few Workflow Questions

I shoot Raw or Raw plus jpg and I am not yet clear on how to include Lens Correction in my workflow. In the past, I have typically opened in LightRoom and set white point, exposure and black level to start. Occasionally a crop and straighten might be required. Then I'd typically reduce noise and sharpen the image. In this new era, where exactly do I use Lens Profile Correction?
A another question is that there seems to be a lack of richness in the ACR 6.1 version of lens correction, I therefore, much prefer to us CS5 Filter to make those corrections. From LR this would require an Export to CS5; when and how should this be done?

The lens correction happens at very early stage of the raw processing pipeline. The subsequent raw processing steps are all made "lens correction" aware so that you can combine them anyway you want. Precisely because ACR/LR is able to handle the lens correction at such an early stage, they are the best place to do lens correction (for vignetting for example), compared with the LC filter in PS CS5. When processing raw, the LC is also more predictable and subject less to what the user might have done to the image in the past, such as cropping, scaling, color transform, on-camera LC etc.
The LC in ACR/LR emphasizes the auto/batch operation for its target users; The LC filter in PS CS5 gives more controls to the user. Overtime, I would expect the two take the best of each other.

D3 export versions as JPG to folder--random images fail to export

When trying to export a folder of versions as full-size jpgs (to a holding folder for burning on a DVD), I will get a random number of failures. For example, the export will complete and then list 48 of 218 that didn't export. The number of bad exports appears to vary and no particular image is affected. I have some success individually exporting the ones that failed, but this is a pain and isn't really an acceptable workflow option.
I don't have any export problems with D2x or D2Hs files.
Any ideas? I'm using Tiger and Aperture 2.01.
Thanks,
Gordon

Interesting.
This isn't the first D3 issue I have come across...
See this thread here and let me know if you are having this issue as well:
http://discussions.apple.com/thread.jspa?threadID=1400823&tstart=0
I was using 10.4.11 with AP2 for about 3 days and never had any problems exporting. I wasn't able to really exercise the program though either. Though I guess I wasn't exporting that much anyway because all the D3 images looked bad.
I would say it is definitely something to do with 10.4 and AP2 with D3 files.
Submit some feedback to the black hole...

After Effects - Premiere Pro workflow question...

Hi,
I have a basic question about workflow between AE and PP.
I'm editing an acting reel for a client which deals with a lot of different footage and bits and pieces here and there.
We already converted all the footage to DV-AVI - tweaking, color correction and effects are done in AE.
Here's the question that I'm thinking about:
Should I work on all my footage in AE first and then import it into PP for editing OR should I edit everything the way I wanna have it and then import it into AE for the tweaking.
Advantages for both options that come to my (newbie) mind:
AE first then PP
1. Final editing is done in PP which gives me flexibility if I wanna change things later editing wise
2. PP exporting options are huge - don't know if AE can compare to that
3. could import to PP via Dynamic link which saves me the hassle of exporting each little clip from AE to a lossless format - as mentioned we have lot's of different footage and little bits and pieces here and there
PP first the AE
1. if u apply a lot of effects, Dynamic link is a pain to scrub through the footage in PP because it takes so much time to render through the link - with exporting a final edited version from PP and then importing into AE would make things go a little bit smoother
2. I would have more flexiblity if I wanna change any effects in AE
What would u suggest ?
Thanx for your help in advance !!
Mike

Mylenium,
thanx again for your input.
Reading your posts - and PLEASE correct me if I'm wrong - it seems like the workflow would be:
1. PP for rough cut, then
2. AE for tweaking
3. back to PP for the final cut, export etc., since AE does not have the editing tools needed (transitions etc.)
But, as I did some testing the last two hours it is almost impossible getting PP projects into AE.
I read the manual and tried the following:
a. importing a PP project file into AE via the Import --> File dialog.
I specified only one PP sequence to be imported - it did import all of the footage of the PP project (including the footage that is not needed) and it imported 3 (not one) sequences, including the one I specified.
Besides that, the sequence is unusable - the in & out points of the footage are totally wrong - the transition I applied (dip-to-black) was unavailable.
I re-tried it without transitions but the in & out points of the footage are absolutely wrong.
The sequence deals with two different clips - both used 3 times in the sequence - and the first clip is okay in AE, but the second clip always (at all three points) starts from the start of the original footage.
b. I tried to copy & paste footage from the PP timeline to the AE timeline - which did not work.
As described in the manual, I did save that AE project and I did select the timeline in AE. I tried it through Edit --> Paste (which was unavailable), as well as through Ctrl+V. Did not work.
It seems to me like Dynamic Link is a One-Way-Street, it does work from AE to PP but not the other way around, at least not usable.
I had a thread about this a couple of weeks ago and other users experienced the same results.
I'm thinking about doing the rough cut in AE, the limited editing tools from AE should be okay...
Mike

Colour Space / Workflow question.

Hi,
I have been seconded to take photos at an up and coming family wedding.
I will be using a Canon 300D Digital SLR, shooting in RAW, and performing post processing on a Mac using Aperture (yet to be purchased).
I have established that my print lab works in the Adobe 1998 colour space. So, please let me know if I have the this right:
As long as my screen is calibrated, and I work in and save my images as Adobe 1998, my prints should accurately resemble what was present on my screen?
Is there a preference for which format (jpg, tiff, etc.) the images should be saved in for ensuring accurate print output from a pro lab ? They charge per print for RAW conversion, so I'm looking at saving finals as TIFF as the logical alternative.
Also - can someone tell me if I should necessarily set the camera parameters to any particular colour space ? On the Canon, I have the option to set Adobe RGB, or a number of Canon pre-sets, or in fact set my own pre-sets for tone, colour saturation etc. Does this even matter if I'm shooting in RAW ?
Any other advice on how I can ensure consistency in this workflow for this and future projects ?
Sorry for all the questions, but many thanks,
Paul
MacBook Pro Mac OS X (10.4.7) 23" Cinema Display

I took your advice and sought more info from my lab.
They have provided me with a calibration image on CD
as well as a print of the same to do some side by
side comarison with my monitor. They also provided a
colour settings file for Photoshop. Armed with all of
this I seem to be getting closer to understanding the
necessary adjustments (although I temporarily
confused things by introducing my home printer into
the equation, until I realised that this thing also
has it's own colour settings).
To me, it sounds like the color settings file for Photoshop is most likely the color profile data I was talking about - does it end in .icc? What are the instructions for installation?
After you install it you can check the "Proofing Profile" dropdown in Aperture to see if you see anything like it - you'll need to restart Aperture after you install the icc profile (I think).
You can import the image from teh CD into Aperture and try using the proofing with the color profile sent to see how close it looks.
Basically the idea of the proofing and the profile is that by turning on on-screen proofng, you are taking the colors you have and seeing how the smaller range of color availaible in the printer will reflect what you have.. this gives you the ability to alter tones until the image you have better fits into the range of colors the printer can produce.
I haven't purchased Aperture yet, but I presume there
will be a way to invoke settings similar to the
colour settings in Photoshop so that what I'm seeing
in Aperture will be consistent ?
Yes, sorry for the above then which will be of little use until you get Aperture - basically there is a "Proofing Profile" dropdown and a command to enable or disable "Onscreen Proofing" (which is just like CS2's "Proof Colors").
Aperture makes use of any color profile defined in the system, so hopefully the installation instructions are for general OS X color profile installation. If it's an icc file you can install it for use with all of OS X.
Correct me if I'm wrong, but from what you're saying
it actually makes no difference what parameters I
specify in my camera if I'm shooting in RAW ? This is
good to know, as the Adobe RGB setting in the Canon
is actually quite 'washed out' - and I'd prefer to
keep it in one of the sRGB settings for my 'snaphot /
home printing' needs wheh shooting jpegs. So,
provided I export in Aperture to Adobe RGB (my lab's
preference) and work with a calibrated screen I
should be okay ?
Yes, all true. I just want to make sure to note that the choice of color profile does make a difference shooting JPG as it will affect the colors that are defined in the file (and the viewing of them in a browser), but from your comment above it seems you understood that aspect.
I calibrated my current monitor (using software only
at this stage). Does it particulary matter which
colour space I choose to start from, if I'm modifying
brightness, gamma, temperature etc. to save as a
custom profile ?
I'm not sure here what you mean by "color space you choose to start from".
Also for profiling even a cheap device like the Huey would probably be a lot better than the software profiling - I went that route at first as well but the hardware stuff is worth it.
One last, slightly dumb, question. Are "Adobe RGB
1998" and "Adobe RGB" the same thing ?
Yep, pretty much the same thing by slightly different names.

UCM Workflow Questions

Use Case:
We are implementing UCM document management with Webcenter Spaces. There is an extensive use of UCM workflows and during a demonstration we were asked these questions:
1. When a document (like MS Word document) is checked in and it goes through workflow. What is the best practice to collect reviews from the reviewers/approvers of document.
Currently, customer is not using any document management and are used to using MS word's Track Changes feature. For them, UCM Workflow's Reject screen doesn't seem to be the best to describe a change in particular paragraph of document.
2. When a step has multiple approvers, is there a way to prevent one approver blocking the document when he is making changes (adding review comments in MS word doc) to it. There could be other approvers who wish to put in their comments at the same time. Is there a way to have multiple approvers work on document simultaneously without having to wait for each other to undo checkout or wait for them to checkin.
3. If multiple approvers are able to provide their comments in document and reject the document, is there an option to merge the comments (within the document) made by different approvers.
We are not talking about making different versions of the document.
Would like to know different options to go about it. Client is interested in user friendliness (which is a key feature in one of the competing products :) ). Has anyone implemented similar solutions before?
Thanks
Ajitabh

1)For workflow is there a way to search for items not yet released, if not could someone maybe point me to a way customize the "Active Workflows" page to change the column.You can search all items in the Release Manager applet. Could you specify what items you would like to search for? (use-case?) Note that OOTB only reviewers and/or admins should see the item in a certain workflow step.
You can certainly customize workflow pages to modify columns (add/remove/rename, etc.). It's an iDocScript customization of few includes (I can send you names, if you will.). But what is the link between these two requirements?
2)While migrating some tables for drop down selection I noticed the table transfered but not the data in the table. I was using the Confid Migration Admin tool to do this and I was wondering if I'm missing something.
Could you specifically describe what was your config in CMA and what table you intended to migrate? In general, I'd believe you need to use the Archiver, not CMA - see http://docs.oracle.com/cd/E23943_01/doc.1111/e10792/c08_migration.htm#CHDJAABJ (read the whole chapter for further details)

Workflow question - which codec to use?

Starting a project and want to get a quick check before I possibly do something really dumb:
• Shooting on Canon t2i, importing footage off cards via Image Capture
• Taking the resulting .mov (h264) and converting it in compressor to Apple Intermediate Codec (AIC)
• Edit AIC files in Final Cut Pro 6
• Once editing complete, make all clips Offline and reconnect original H264 files
• Render out Final project to self-contained file
• Final color correction in Color
I'm a bit rusty in the video production arena and this is my first project shooting on a t2i. I am a bit unsure about the codec situation and finishing editing with the smallest amount of transcoding. I tested a few codecs and I found AIC to be the fastest and easiest to edit with minimal file size, but I have never used it before. Should I just convert the footage to ProRes and be done with it? I'm expecting a high shooting ratio on this project, so I would like to utilize an offline workflow if possible without crating a bunch of headaches down the road, though with drive prices what they are now, it's not a big deal anymore. I'm really just want to edit as quick as possible (minial rendering utilizing RT) while maintianing good quality (I know the client will be worried if I presented them a 50% quality Jpeg version of the current edit).
Mac Pro 8-core 2.26 w/ 24GB RAM and 3 drive 3TB Internal RAID

Thanks Mr. Ross and Mishmumken for the advice, will definetly do the ProRes route. A few final questions though:
1. I watched the tutorial link a few times which was helpful, but am still fuzzy as to why I need to ingest via FCP. Is there anything wrong with importing from Image Capture and using Compressor to get the footage into ProRes? I see the positives about it, logging the clips, trimming the fat, having it all in the program, avoiding compressor, but does my original method cause any degradation?
2. Can you elaborate a bit, not sure what you mean by Roundtrip and what do I need to prep?
mishmumken wrote:
Just roundtrip your timeline but make sure you prep it before sending to Color: there are limitations ....
Thanks again guys, you have been extremely helpful and probibly saved me a lot of future problems!

Workflow question - versions in jpg

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