Workflow Suggestion

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

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

Similar Messages

Looking for some RAW + JPEG Workflow suggestions

I'm looking for some suggestions on how best to organize my workflow now that I've started shooting with RAW +JPEG. I previously shot only in RAW, but the time spent in post-production was killing me. I've realized that for 95% of my shots that already have the correct exposure, white balance, etc, a JPEG photo is really all I need and saves me a ton of time. I've become convinced that editing every single photo from a shoot in RAW is overkill. I want to have the RAW versions, however, to rescue that occasional great shot where I unfortunately miffed the settings.
Through reading other posts here and experimenting, I've found that Aperture basically defulats to showing me only the imported RAW photos and that I need to click "New Version from Master JPEG" to see the JPEG version. This seems counterintuitive to the workflow I'd like to establish though. (i.e. I'm thinking it would be nice to see only the JPEG versions, and then only bring up the RAW version when the photo needs some serious correction).
I suppose I could highlight the entire batch of imported photos and select "New Version from Master JPEG" and then sort through each RAW/JPEG stack, but I'm still hoping there's a less cumbersome way. Anyone out there have any good workflow suggestions for this issue? I'm curious how other people out there deal with this issue in their workflow.
Thanks in advance!
Message was edited by: Nate Cannon

Try this - I do this as a matter of course:
-select all of the photos after importing them into a project
-create a new album from selection/call it JPG
-with all of the images still selected create new version from master JPEG. all of these should now be the album pick
-close all stacks, the JPEG will be the one showing up on top for that album.
RB
More here: [Aperture RAW+JPG|http://photo.rwboyer.com/2009/01/14/aperture-2-quick-tip-shooting-rawjp g>

Looking for Pre-Rendered Editing / Color Grading Workflow suggestions.

Looking for Pre-Rendered Editing / Color Grading Workflow suggestions.
All my material is rendered via RenderMan, our resolution is 1280x544, and our format is generally .exr in 32 bit space.
Our editor has been converting over to 32-bit tiffs, and using Apple Intermediate Codec for editing, mostly for speed concerns.
We need to re-vamp our workflow so that we can edit our footage, and then do color grading of the edit head to tail to smooth the look between scenes. We want to do this in Color, being fed by Final Cut Pro's timeline.
We want to keep our bit depth as high as possible when coming into Color.
My question is, does anyone here have any workflow suggestions for doing what I am talking about.
I wasn't sure if we should just export and EDL from FCP and try to get Color to load our single frames from that. Or if there is a special Quicktime wrapper we should be using, or converting our 32-bit .exr files into some other format more readily available for using in Color?
Any thoughts would be great, thanks in advance!

You're not going to get anywhere beyond 10-bit. That's it.
Try encoding to 10-bit LOG dpx if you need upscale RGB.
jPo

Songwriting workflow suggestions needed!

Hi,
I am a beginning/intermediate Logic user. Am writing songs/tunes... and am experimenting all over the place. This is leading to an Arrange page nightmare.
For instance, I usually sing a melody over chord changes... so there's my A section let's say. Then I reharmonize the chords a few times before I find just the right combination, then I sometimes fiddle with the melody, then I come up with a few possible B sections... then I have a few arrangement ideas - one bassline.. perhaps a different one... maybe I'll transpose a B section...
Anyway - you get the idea. My arrange page is a MESS. And I mute parts and then listen back - and really end up wanting a little from this take, and this one... and ...
I get confused.
Who has workflow suggestions?
Thanks in advance!

What you need to do is comp your takes to one master track, this applies to the bass, the guitar, the flute - whatever. Once you have taken all of the best bits and put them on to a master track, you can put all of the unused bits into a folder, label it "bass takes" for example. Then - very important - change the track from being a folder to being "no output". This way you are assured of not accidentally unmuting things you don't want to hear.
I find that color-coding various takes helps to keep them straight. I usually use red for my first take and move through the color chart for each later take.
So, read the manual about packing folders, coloring objects, changing the track type (from audio to audio instrument to midi to folder to no output).
Organization is crucial. While you are at it, read about saving as a project. You at least want all of the audio files relating to a song/project in one folder. Don't worry so much about having the samples in the project folder unless it is a project you will be moving to another studio.
It also helps to choose the option "name audio files after audio object" on the page that assigns the record path. You can then name the object according to the instrument you are recording. If the object is named "Bass", the takes will be named "Bass#01" and so on.
You have some reading to do!
HL

Workflow Suggestions Please - Adjust Colour, White Balance, Levels, Resize

Hi,
I have a number of photographs which I need to present in a consistent fashion - each is slightly different from the next in terms of exposure, levels, white balance etc, but they should all be the same. Because each is different, I can't simply define a preset in each of these and apply across the board: each needs to be consistent....
So Can anyone suggest an efficient workflow to:
- Adjust the colour so that each is consistent across the group?
- Adjust the levels so that each is consistent across the group?
- Straighten, Crop and resize so that each is an identical size?
Any advice much appreciated. I'm working with CS3 on a Mac.
D

Image: Adjustments: Match Color? I have never found this useful but maybe it's what you need. I would use it on a duplicate layer because as far as I know it's not available as an Adjustment Layer.
As far as canvas size, as long as you don't have any background layers, you can make all canvas sizes match and it's non destructive (think of the canvas as a window)
When you do end up scaling the image contents consider using Smart Objects so the sizing is non-destructive.

Workflow suggestions for CS4, Sony XR520 (HD) & TRV18 (SD-MiniDV)?

Hello all,
I'm working on my first video "production" in a long while, and it's my first time delving into the world of HD and mixed formats. So I'm feeling a bit like a fish out of water.
This is the workflow I was USED to:
Connect camera to computer via FireWire(MiniDV-SD-60i)
Launch Premiere 6.5
Use Capture Utility to set In/Out points and bring in as AVI clips
Import those AVI clips into bins and edit directly
Save Timeline out to AVI
Encode to final output format
SO, this is the situation I'm faced with now:
Two cameras. Main camera is Sony HDR-XR520 (AVCHD-1080i). Second camera is Sony DCR-TRV18 (DV - MiniDV - 30fps Interlaced - 60i?) for time lapse shots/filler shots.
My final output is going to be computer/internet playback (I'm assuming I'm going to need to output to a progressive format, 24P or 30P. Am I right on this?)
Any suggestion as to what my workflow needs to be?
My assumptions:
Edit using a 1080i30 (60i) timeline(sequence)
Edit XR520 clips directly
Import TRV18 as avi clips, put in timeline, but only use clips to fill 1/4 of the HD frame (don't try to up res)
Export to AVI, encode to mpeg4 and remove interlace.
Am I going in the right direction here, or am I all wrong on this?

Thanks for the suggestion. Yeah, I guess that's the thing: the final output, while it will be computer/internet playback, doesn't necessarily have to be at full hd. In fact, I'd rather it be 1280x720, since not all laptops (typical of what our sales people will have) will be able to handle playback of HD video. I really just want them to be able to play this video back in PowerPoint or directly through WindowMedia/QuickTime at 100% or fullscreen mode, and still be high quality to the viewer (typically in a conference room/board room, on a projector, an large monitor, or directly on the laptop screen)
I've seen SD internet video that plays back really well in fullscreen mode (on a typical 1280x1024 monitor), but I don't know what export settings will yield those type of results. Any good tutorials on getting SD video to encode and play really well at monitor resolutions?
It'd be nice to be able to use the SD timelapse footage at full size, but I was planning on only using that timelapse footage in multiples (2-3 clips playing at SD size on an HD timeline). As far as PAR, if I was to manually place black bars on the 4:3 footage, would I be able to export in native 16:9 PAR so I could then edit it in a 16:9 timeline?
So, going along with your suggestion, would I need to convert all my HD clips FIRST to 1280x720, then edit on a 720 timeline, or edit on a 1080 timeline and export to a 720 output?
Also, am I right that since playback is on a monitor/projector, that I'll need the video to be progressive?

Lightroom + CS3 workflow suggestions please

I have been scanning a lot of old photos and slides from my grandparents, some of which are quite badly damaged and require work beyond the capabilities of Lightroom.
I like the Lightroom non-destructive editing capabilities and the fact that I can create many virtual copies of a photo without taking up more disk space for each copy.
However, when editing in CS3, I am forced to write out a new PSD file each time - thus dramatically increasing the amount of disk space used.
I just wanted to hear how other people structure their workflow when editing Lightroom files in CS3? I want to maximise the flexibility of editing (especially when experimenting with edits that I may later want to undo), while minimising the amount of disk space used (some scans are very large).
Suggestions?

Answered my own question
The problem for me is that I was using two monitors.
The second display was set to Grid view and this is where I select the images. If you then press 'B' to send to the Target Collection then only the first image gets sent.
If you have Grid View on the first display and then select the images and press 'B' all the selected images go to the Target Collection.
The same effect happens with Flagging or setting Colour Labels. Only first image on second screen (Grid View) but all selected images if on first screen (Grid View)
Bug or feature!
Colin

LR Workflow Suggestions Needed

Now that I will be processing all my RAW images through LR, I'd like someone to help me with my workflow. My current workflow is a bit complicated, and may have to stay so, even with LR; however, if anyone has a good idea on how to simplify it, I'd appreciate it.
I am a Pet Photographer (www.NYPetShots.com) and I usually shoot around 130 photos in an outdoor session. This is what I do, as of now.
I shoot RAW and JPEG and import them into the computer with Canon Breezebrowser.
I review all of the shots, in Breezebrowser, and eliminate both the RAW and JPEG duplicate shots which I feel are absolute losers.
I rename and renumber the RAW and JPEGS in Photoshop Elements 3.0, so that they are consecutively numbered and the RAW corresponds to the JPGS; so, Steven107 is the same in RAW and JPG, and so on, and so there are no gaps in the numbers.
I reduce the JPEGS in size around 1/3 in PSE, so I can put them on my SMUGMUG page for the client to review, in a password protected file. I lightly process a few in PSE to include in an email to the client, with the password, so as to give them some idea of what we can do with the finished product.
I import them into the PSE organizer so I can go along with them and the client on the phone. I import the RAW into the LR library.
This seems very cumbersome. What I must do is prepare JPGS in the same naming convention as the RAW, so they can go onto the web for viewing. They must be reduced in size for easy uploading. I have to be able to refer to the exact same named RAW file as the client refers to in the JPG file.
In any event, I'll have to take my finished RAW and export it from LR and finish it in PSE for a quality JPG to send to the printer.
So, does LR give me tools to simplify this? If so, what would you suggest.
Thanks
Steven

Its not a question of what I don't want. I need to eliminate the ones that are simply not presentable and let the client see all the rest, including those which are marginal. So, when the client looks at them on the web, it makes a better presentation if they look at Steven 1 through 120, and don't skip from 87 to 94. Gaps are no good. When they say they like Steven 37, I need to be able to find the exact RAW image to work on.
I guess I can do some experimenting to see what a RAW to JPG shot looks like, without applying any adjustment to the image. I have to present something good but not finished to the client. I can't process 120 shots, when the client is only picking 5 or 6. (BTW: Most of my shoots are outdoors, where lighting and other conditions change frequently and fast. It is very rare that a shot is absolutely perfect right out of the camera, and it is not possible to apply the same changes to a most of the shots at the same time. I can batch process groups of shots taken with the same backdrop or locale)

Looking for FCP - Avid - FCP workflow suggestion

I work with FCP on projects where we capture an entire film (two reels, about 20GB DVPal), then edit this down to 30 or so sec spots and then online at Blackmagic 10bit. Right now we have some freelancers who will be working on their own computers at home using Avid Express HD on Mac laptops, and then delivering us an edl of their cut. I was just wondering if anyone knew of a way where we could capture the film here and then transfer to an external drive for the freelancer to cut the promo that would work in Avid. I gave them a clip captured at DVPal to test, but it took over 5 minutes to convert a clip to OMF?? for use in Avid, and the clip was only 1min30 long, which isn't much use when we will be giving them a 90 min film. I know this seems like an odd way to do it, but we're trying to create the least amount of work at both ends.
I don't know anything about Avid but figured since the workflow begins in FCP, I should post here, and any suggestions would be greatly appreciated.
Oh, and Automatic Duck isn't possible due to cost restraints, not sure if it would help anyway.
Dual 2GHz PowerPC G5 Mac OS X (10.4.5) XRaid Final Cut Studio

Since avid uses the OMFI format then there is no easy direct way to xfer media between the two. You can take the diged files from FCP (which are quicktime) and import them into Avid but they are transcoded to OMFI and I am almost certain (but not 100% - and not at my Avid this month so I can't test) that you loose timecode.
The couple of time I've had to do just this I had the material dubbed to DVCam for capture in Avid. Simple, cheap. Timecode is fine. Capture in Avid, make the edit, export EDL (taking care not to use fx and things that won't transfer), then recapture from originals in FCP. Good luck.

Recording narration on tape - extracting audio only - workflow suggestions?

I have a bunch of students who are recording their narration tracks onto tape via a camcorder.
What is the best workflow to get these clips with audio only into iMovie 08?
Presently, we are capturing all the clips iMovie 08, then using Movie Tools Convert to AIFF droplet, dragging the aiff's into iTunes and accessing them in iMovie from iTunes.
Alternative suggestions? There are lots of narration clips and lots of students working in a noisy computer lab, so direct recording is really not a good choice here.
Don't have QTPro on the computers.
If I'm doing the CMD+Shift drag technique correctly, you must drop the clip ONTO an existing clip to get the audio separated from the video.
There is no way to extract the audio any other way in iMovie 08?
Is the better workflow to install iMovie 06 and use it's Extract Audio feature?
There would still be several steps to getting the extracted tracks into iMovie 08.
thanks for any suggestions or pointers

the 'Export with Quicktime..' option allows you to choose 'Aiff' as option.. that exports the audio-only of any project..
so, one option of workflow is: import camcorder-narrations into an Event, create Project, Export As Aiff, (process in Garageband), and the usage of iTunes is in my opinion a very clever way.. (using Playlist to organize audio before usage in iM) ..
another way is, to do all audio work in Garageband.. which is the intended workflow in iLife08.. edit in iM08, 'share', and do all audio in GB ..
consider to install iMHD6 on one computer as 'audio workstation': import tapes into an iMHD6 project, Export as Aiff, share those audio files to other Macs (LAN, usb sticks) - a good naming scheme is of paramount importance
.. There would still be several steps to getting the extracted tracks into iMovie 08.
basicly: yes.

HDV Workflow Suggestions

Hi, could anyone suggest a workflow for editing HDV material for me. I am working with a Mac G5, OS 10.4.9 and FCP 5.0.4
I have shot my material with my Sony Z1 in the HDV format but don't like editing in that format because of long render times. I was thinking about doing an off line edit and downconverting the footage (in camera) to SD DV and editing that way, then recapturing at HDV. Would this work? I want to be able to deliver a SD DVD to my client now and then be able to print to tape the HDV version so I could deliver that at a later time.
I am just looking for the best possible solution.

Tim,
Here's a popular HDV workflow...not exactly what you're looking for, but a great option:
http://www3.telus.net/bonsai/Step-by-Step.html
Here's another thread from today:
http://discussions.apple.com/thread.jspa?messageID=4627255?
Z1User chime in...

Subtitles, still not possible? Workflow suggestions please.

Hi all,
I have a client who wants to have (burned in) subtitles under an excisting piece of video.
I was thinking "He... No problem in PPro", but to my surprise this isn't really possible. I've been searching the web, and besides the same question going back to !!2006!! there's no real solution.
The only suggestions I found are about doing this in Encore. But the problem there is that Encore cannot export to .mp4 or Flash video. Or export the video and have the subs burned in for convenience sake.
I could treat all subs as titles in PPro, but this would take a lot longer. I cannot understand this basic functionality isn't available for PPro.
We don't all have Encore installed just for the sake of adding subtitles to a video.
If anyone has a good workflow for stuff like this, I really like to hear it. Preferably without resorting to installing all kinds of exotic apps and weird file shuffles.
Thanks!!
Rob

OE = PEBKAC I guess.......
I'll ask the admin to install Encore as well, as it might be handy to have installed next to PPro. Didin't know it comes bundled with it. Never had the need for it...
In the meantime I found an interesting script for AE called "pt_ImportSubTitles", that will import a Encore subs .txt file with all the timecode intact. From there you can go back to into PPro and import the AE comp as overlay on the videotrack.
Still a bit cumbersome, but workable for now and a lot faster than adding it one by one in PPro. Also the subs are still editable in AE, so it's a bit more fluid while working with it.
It would be very handy to have something similar in a future version of PPro, as subs don't always have to be on a DVD only.
rob

Stack mode and rating images-WORKFLOW SUGGESTIONS PLEASE

I have a couple of issues when working in stack mode.
The first is that although I can rate the image that is bordered in white I don't see an easy way to rate the image with the yellow border?
The second thing that gives me fits is how when I am in stack mode the up and down arrow keys skip over unstacked images while editing.
My workflow now is to take two passes through a set of images. The first in stack mode to get the stack picks and alternates set. The second pass which I do in Primary mode is to rate the images. This has the disadvantage of not rating the stacked images which are not the 'pick'.
Anyone got some suggestions from their own workflows?

Sailor,
The problem with the opt + return item is that it kicks you out of 'Stack view' into 'Primary' and if you want to return to 'Stack view' then you have to do 'opt + t' and you have lost your place in the stack. (i.e. in a stack of 7 if you were looking at items 1 and 4 when you return to 'Stack view' you are back to looking at 1 and 2 again)
CONFUSION POINTS: I was using the keyboard shorcut card that came in my v1.0 Aperture box, some of those shortcuts are no longer correct. I have also found that not all of the shortcuts on the current PDF Quick Reference are working as expected.
I recalled that you can use 'opt =' or 'opt -" to increse the rating on the yellow bordered item. This might lead you to expect that opt 1-5 would assign ratings to the yellow border image but those shortcuts assign metadata.
I think a part of my problem is that I have been working with much too large stacks. Stacks work better for me if they are smaller and contain images that are visually equivalent but differ in minor details that need magnification to resolve. See: http://discussions.apple.com/thread.jspa?threadID=831108&tstart=0

Workflow suggestions

I've pretty much accepted that I'm going to have to wait until I've flattened my image to use the clone tool or healing brush tool. I can't use them now. In order from bottom to top I have a locked background layer, a noise reduction layer and two copy and paste layers. I have tried to clone or spot heal by duplication a layer by 1. duplicating the background layer, right clicking it and then choosing Duplicate Layer. I have also tried getting a layer to clone on by 2. doing Layer>New>Layer Via Copy. I notice that these choices produce different-looking boxes. Th first has Background Copy in the layer and the second Layer 1. What's the difference between these two ways of getting a layer and does it affect ability to clone or spot heal in any way? Also, I plan to make Levels one of my last adjustments. Any thoughts about that? I have noticed and have been told that where Levels is in the stack can affect the image. Why is that? I have done research and it seems that found out that any noise reduction should be done first and that any sharpening should be done last. Any other advice and cautions about workflow?

If the object is to clone non-destructively, after flattening and re-saving your image, it’s possible to add a blank layer above the background. You do that by clicking the new document icon at the bottom left of the layers pallet.
Then make sure layer 1 is active, select the clone tool and make sure sample all layers is checked. You can then clone directly on to the blank layer without changing the background layer.

Workflow suggestions, please - Folder to Collection?

I need some suggestions please of how to efficiently get images from Folders to Collections. Within each folder I need to select images and place them in the same collection.
What I'm currently doing is to set the required Collection as Target Collection. However, when I select the images in the folder - either all (Ctrl+A) or random (Ctrl + L.click) and then press B, only the first image gets placed in the Target Collection.
Is this a bug or feature?
I can work around this by dragging the selected images to the collection but then have to keep switching between the Folders and Collection view.
Any help would be gratefully received.
Thxs
Colin

Answered my own question
The problem for me is that I was using two monitors.
The second display was set to Grid view and this is where I select the images. If you then press 'B' to send to the Target Collection then only the first image gets sent.
If you have Grid View on the first display and then select the images and press 'B' all the selected images go to the Target Collection.
The same effect happens with Flagging or setting Colour Labels. Only first image on second screen (Grid View) but all selected images if on first screen (Grid View)
Bug or feature!
Colin

Workflow Suggestion

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