Workflow suggestions HDV to DV edit

I'm not sure if there is better way to do this so I'll ask here. Shot a show recently in HD (Sony Z1U) and brought it into my system through the Sony HVR M10U downconverting through the deck for DV.
What capture settings are optimal and what project settings should I be using? This is going to be ouput to DVD.
Shot a few weeks ago in SD 16:9 and had no issues. There seems to be a difference in the screen real estate used.
Thanks

I've just completed a project with pretty much that same issues: HDV on a Sony V1U with the eventual target DVD (SD, anamorphic widescreen). My computer is a G5 Quad running FCS 2 and OS X 10.4.9.
I captured in HDV using HDV60i preset and edited that way; I have no "green screen" type of editing to do: mostly cuts, opacity ramps, and some very minor color and "brightness" corrections. I then "rendered" which was mostly conforming (about 1.5 times real time on my computer), then exported "reference." I used compressor to do the down-rezzing to SD using mpeg2 4.5-7.0 "best quality, two pass" and AC3 2.0 (stereo). The result looks better than on older project using a Sony PDX10 DV.
I had some issues using ProRes422HD: jaggies. Maybe it was my work flow since I used Quicktime to do the conversions on some test footage, but they looked TERRIBLE. Maybe compressor would do better, or setting up a ProRes422 sequence. But the cost is LOTS of disk space compared to HDV.
I have tried the Bonzai solution in the past with FCS 1 and it did help; with FCS 2, it seems that compressor has solved it's little problem with resolution transcoding. I like to avoid converting to DV either in the computer or using the camera because you drop to 4:1:1 color space and that really hurts the video quality. Staying with HDV (or DVCPRO HD or DVCPRO50 or ProRes 422 are supposed to be even better) keeps the color space at 4:2:0 for less vertical banding.
But try some test footage especially with high contrast diagonal edges in the video, and especially with RED to (other) sharp edges. See what works for you and report back here...please.
Ed

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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

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>

Ideal export format for hdv source movie edited in motion

Until recently, pretty much all completed projects I've done have been exported to NTSC-DV, but now I'm editing in HDV.
My most recent project was done with 1920X1080 HDV source footage editing on a 1280X720 canvas in Motion.
I like to export a web version and then a version of the project for posterity -- ie. the final best-quality (within reasonable final size) version of the movie that I can keep on hand for future uses as yet unknown.
So, my question then is: what's a good final format to export to? Is there any reason to export to HDV just because I've started with HDV?
Thanks.

I use h.264 for a review copy. It will give you a much smaller file size. I think Pro Res is intended to be used as a lossless format to take footage between applications, correct me if I'm wrong. If all you need is a copy to show people, h.264 can give you excellent quality (it's used on Blu-ray discs).

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

Why don't iMovie support native HDV capture and editing?

i would like to see iMovie HD 6 to support native HDV capture and edit. is it possible?

no, FCE-HD (what an abreviation!) uses the same trick as iM-HD, converting HiDef into AIC....
native HD is really more for the pros... yet! I think, the basic problem to be solved first is -r media, meaning, any HD/blue-ray-DVD-r disks, which make it possible for the average user to store his/her products.... but as far as I follow the discussion, right now the industry is caring more for commercial disks, and that HDMI "problem" (broadcasting can include a copyprotection, so no use of any HD/DVD HiDef recorders...!)... finally, we can record only our selfmade movies... maybe that's a little less joy...
actually, converting finished HDmovies into h264 with a high bitrate and storing that onto hd is the only realistic option........

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...

Destructive editting workflow suggestions, please.

Like many, am converting dozens of VHS to digital, but would like to intensely edit them down. Would like to do the final editing with FCE, but its non-destructive editing will clog my HD's with hours of useless footage.
Which app/apps do I use to import from VHS, edit destructively, then export keepers to FCE for final production? I've got the horsepower and would like the final quality to be as good as possible.
Much obliged.

The choice is actually a compromise between your time and how much hard drive space you can afford. And I think you're doubling your work or more if you capture in some other app first if you really intend to use FCE for editing. Personally, I think hard drive space is a lot cheaper than my time.
To import VHS you will need an analog-digital converter (another subject if you need help there). The converters are non-controllable devices which means you have to capture using Capture Now. While you could conceivably jog your tapes back & forth enough to capture individual clips (theoretically saving hard drive space) you will spend an enormous amount of time capturing clip by clip.
It is much much faster, and easier, to capture the entire tape at once (or, say, half a tape ... 60 mins at at time) and then in FCE pick & choose which segments you actually want. Then, if you really want to, you can export your selected clips to QT Movie 1 by 1 (as self-contained QT movies) thereby giving yourself individual clip files of only the material you really want to keep.
There are other apps like Foottrack and iDive that will enable you to capture video but you face the same time issues as you would capturing with FCE or iMovie.

Question? Best Workflow HD/HDV and Reframing/Scaling to Export to both HD and SD when working in an HD Timeline?

Just wondering, what is the best method for working with HD Footage both HDV 1440x1080 and HD 1920x1080
Not long been using Adobe Premiere Pro CC, just switched over from Grass Valley EDIUS 6.08 and atempting my first Stage Show Multi Camera.
Source is 5 HDV PAL and 1x1920x180 60fps MP4 file from a Sanyo Handy Cam.
Final delivery is going to be DVD.
Have done a few smaller projects prior to and normally have edited in HDV 1440x1080 50i PAL and exported to whatever format I need.
Slightly different this time, I need to I need to crop/reframe some video from a couple of the Static locked off cameras. I know what to do but at moment though, I'm very much undecided which method to use for best results.
Doing some testing I notice that if I import the footage and edit in my usual HD Timeline as said above, then I go into Motion and Scale and reframe to suit, then the picture still
looks better still Full Screen on my 2nd Monitor in the HD Timeline than if I switch the Sequence Settings to SD DV PAL.
I am wondering how the scaler works when exporting. Say I go with the original HD Sequence, scale the Locked off Shots as I want them, then export to SD DV PAL then does the Adobe Media Encoder take into account that I am working in a HD Sequence (HDV 1440x1080 50i PAL) and then Scale to suit or does upscaling go in an HD Timeline then Exporting to SD make things worse, I am asking this as I still like to have the option to output an HD file for the Web and possible Bluray or Mobile Device later on.
I also still prefer working in an HD Timeline as for the other Camera Angles, then it is easier to judge focus since the image is sharper, as apposed to working in an SD Sequence.
I guess the other option I suppose is to edit in HD and then switch the Sequence Settings later on to SD before Export, but not sure that would work with the scaling? Or is that the same as working in an HD Timeline anyway and then selecting an SD Preset in the Adobe Media Encoder anyway?
I guess what I am saying is, if I say for example, Scale a HDV source to 130% or then export to SD in the AME then, is the AME upscalling the original HDV Source to 130% Loosing Quality firstly (making less pixels that to begin with), then downscaling back again to 100% SD Resolution, loosing quality once more, or does it see that the source is HD and has more pixels to use and take that into account? If you get what I am saying. Obviously if I am exporting to any HD Format then, I understand that where will be some quality lose with any amount of HD scale.
I also read that it is less CPU resource full working in the native resolution of the media when editing, especially on an older system.
The other option is to work in an 720 Preset possiblely?
At the moment I don't have a proper Preview device and am making do with the 2nd Display on my Graphics Card GTX 760.
I was looking at getting a Blackmagic Device for preview, or possible one of the Matrox.
It is a shame really, since I already have the Canopus HD Storm in the PC, which I was using with EDIUS for a lovely full screen preview to a 32" TV, since looked great, so since switthcing to Premiere, I can't use it and am having to make do with the GTX 760. Which isn't as good.
Maybe there is some setting I can alter to get a better Playback Image?
Anyway, I notice that the Full Screen Image from the GTX 760 is not as clear as it should be when editing, especially whilst playing back the image is slightly soft and more so when in the Multicam Mode it is even softer.
I am not sure if this is because my computer is not quiet fast enough? Maybe I should post this in a seperate thread in the Hardware forum, but I thought it was worth mentioned in this post aswell.
SYSTEM SPECS
Gigabyte EP45-UD3LR (Socket 775) Motherboard
8GB DDR PC-800 RAM (4x2 Sticks)
Intel Core2 Quad CPU Q9650 @ 3.00GHz
60GB OCZ SSD (FM-25S2S-60GBP2 ATA Device)
2 TB 7200 Sata 300 Hard Drive - For Video (Hitachi HDS722020ALA330 ATA Device)
Windows 7 SP1 x64
So in short At the moment I am undecided which method is best to use

Your Creative camera is not the best one could wish for. Open a 1280 x 720 sequence, import some Creative footage, use motion scale to fit it in and judge the quality for yourself. My guess is you will be disappointed in the quality. Then when outputting to DVD you will reduce the resolution and quality again, making it even worse.
So, my suggestion is, don't follow that route.
Ultimately you will end up with 720 x 576 material for your DVD. You already need to upscale your Creative footage, and change the PAR and take serious quality hits, do not increase your problems by upscaling and then downscaling again.

Drive setup suggestion for multiple users editing simultaneously?

At work here, a city college, not a professional company or broadcast studio, so resources are limited, we often have three people editing HDV content simultaneously in Final Cut Pro.
Keeping the content on our multiple backup servers, there's simply too much network traffic to do this smoothly.
Instead of keeping projects locally spread across multiple machines, I would like one centralized place for everything, for the Macs to access directly over gigabit or something else.
So, what kind of setup do you guys suggest for this?
The machines here are two quad-core G5s (no RAID or fiber-channel right now), and a Core2Duo iMac, F400 only.
Again, it'd need to be able to handle three HDV projects going on simultaneously without skipping due to having to seek back and forth all over the drive.
Thanks.

Yes, an XSan system would perfectly fit the bill for what you want to do, but an XSAN is not a cheap solution. When it is all said and done, it will cost you tens of thousands of dollars.
The best, cheap solution would be to use Firewire drives. I would not duplicate a project onto three drives, because you will then always be trying to figure out which version is the most current. Instead, keep all of your project, capture scratch and render files on the firewire drives. Then move the drive to whichever computer you want to do the editing on.
Properly log & capture all your footage, then archive all your project files, because Firewire hard drives will fail over time, loosing all the info on the discs. I did say this was the cheap solution. "Cheap" does have its costs…

Correct workflow for HDV to anamorphic SD DVD?

My current workflow amounts to building HD videos in Final Cut Express 4 (FCE), exporting HD MOV files for use in Encore CS3 to create standard DVDs.
To be clear (correct my verbiage if I'm wrong) when I say HD this is what I'm working with:
1920 x 1080
Interlaced
29.97 fps
Originally, before I got an HDTV, I would simply drop the finished HD timeline into an SD timeline in FCE, and create the DVD using these movie files. On a typical CRT 4:3 television, this actually works okay. But once I got my HDTV and watched how the 4:3 picture was simply placed in the middle of the screen, I realized I was doing this the wrong way.
Ultimately, I want to create the DVD so the video adjusts to the width of the screen, where the black bars you see aren't actually embedded in the video itself. Is this called an "anamorphic" DVD?
I've done my best to do this on my own, but any movement in the final videos on the DVDs contain horrible jaggedness, as if you were watching interlaced video on a computer monitor, even if I'm watching it on a CRT 4:3 television.
Here is what I'm doing:
Export 1920x1080 MOV
Import MOV into Encore CS3 project
Transcode Settings:
Format: MPEG2-DVD
Pixel Aspect Ratio: Widescreen 16:9 (1.200)
When I'm in the transcode settings panel, in the output preview window, I can see the jaggedness and can't get rid of it by changing any settings. If I change the PAR selection to "Standard 4.3 (0.900)" it gets better, but again I don't think this is what I want to do.
Can anyone see the problem in my workflow? Should I be exporting something different from FCE?
Thanks in advance.

Ann -- Thank you for the response. After digging a bit deeper into this forum, I found the HDV --> SD DVD Workflow? thread and it gave me this idea as well.
I created a project using "DV - NTSC > Widescreen 48 kHz" as the timeline preset. I was able to drag the final HD 1920x1080 MOV that I created in Final Cut Express onto that timeline. Then, I used the Adobe Media Encoder to export MPEG-2 files, which gave me many more options that the same step in Encore.
A while back, Apple removed the ability for Quicktime to export MPEG-2 files, for some reason, and I was never happy with that. I'm excited to see that Premiere Pro is able to do this, so I might start migrating over to Premiere Pro now. I just needed the right kick in the butt to get around to it, I guess.
I'd still like to hear any other suggestions, though. Thanks.

HDV mixed format editing and mastering for broadcast TV

Hi
I have HDV blues with regards mixed format and multi time base.
Any help advice will be greatly appreciated.
I have never handled HDV in multiformat and multiple timebase to Mater and output for Broadcast television.
I am hoping to master to DVD directly on the configuration ( details provided below ) to deliver to NTSC and PAL market for DVD retail.
However I would need to take to a post house, one or more quicktime file to Output to Digital Betacam for television broadcast for both NTSC and PAL formats.
with regards
problems I am facing are on two fronts:
1) I am unsure of best quality and workflow to output master on Digital Betacam tape for broadcast TV in NTSC and PAL both formats.
2) With sequence set at HDV 1080 50i, and export setting as current setting, upon render and export of self contained quicktime direct from FCP timeline I face few troubling symptoms;
- that the quicktime exports 3mins to 35 minutes of qt clip but not the whole program of 90 minutes as one clip. System crashes and I have to reboot.
- Another symptom is that by doing above my time line shows aduio as out of sync to video. here i see that Audio tracks A1,A2 as being torn apart at cut edit points and have gap of 1 frame at random ( but not on all edit points ).
A3, A4 and other music and sound fx tracks have slipped off sync by few frames , again at random and also other places the edit comes back in sync with audio.
- Of course I am having to re- render this sequence timeline a zillion times even though the previously rendered files still exist in relevant folder.
Program duration: 90 minutes
current sequence : 1440 x 1080 at 50i
edit sequence time-line consists following source material directly ingested from tape via firewire in native HDV and DV:
VIDEO
-HDV footage of 1440 x 1080, 50i
-HDV footage of 1440 x 1080, 60i
-PAL footage standard and widescreen
-NTSC footage standard and widescreen
- still images
AUDIO
-AUDIO is 16 bits , 48Khz
- Voice Over is 24 bit , 48 Khz
Software: Final Cut Pro version 6
QT: 7.4.1
System configuration:
1) Mackbook pro: OS 10.4.11
graphics/ display card: GeForce 8600M GT
Hardware Overview:
Model Name: MacBook Pro
monitor: one apple cinema display 23 inch
Model Identifier: MacBookPro3,1
Processor Name: Intel Core 2 Duo
Processor Speed: 2.4 GHz
Number Of Processors: 1
Total Number Of Cores: 2
L2 Cache (per processor): 4 MB
Memory: 4 GB
Bus Speed: 800 MHz
2) Mac pro: dual core, 2.3 ghz, 3GB RAM
two apple cinema display 23 inch
All project media residing in 1TB Lacie 800 firewire external disk.

Hi guys, thanks for getting back to me. My client has now changed her mind and so I'm just mixing XDCAM and HDV 16:9 footage which is absolutely fine. Awesome. Thanks for your help!
I have one issue - some of the XDCAM footage she has given me is .MP4 video (actually each clip is a folder with 5 files in it (.MP4, .SMI, .PPN, .XML, .BIM). Do I have to convert the .MP4 into .MOV via Compressor to work with it (presumably this will compress it somewhat) or can I convert it simply and losslessly somehow (perhaps using sony XDCAM software?)
Thanks again for any help!
Oliver

Workflow Questions HDV to DVCPro HD to SD DVD?

As the subject says, I have several plays I shot in with 720p and 1080i for the second camera. So I was thinking of converting the HDV to DVCPro HD in their respective size formats to get the i-frame benefits for transitions, color correction, etc. Then ultimately the final delivery will be SD DVD disk. So my question is, to go from HDV to DVCPro HD, compressor has some presets to convert HDV to DVCPro HD and it then makes it non square so the footage viewed in QT looks scrunched but is fine in Final Cut as it compensates. So the deal is since the final delivery is SD DVD is it fine to let compressor move it to non-square or should I try to keep the conversion square? Will it make a difference? I just did a test taking the 720p HDV to 720p DVCPro HD, non-square, then dragged that clip to compressor and output as 16:9 SD mpeg2 and it looks great...just lower resolution. So any input is appreciated on my suggested workflow? Thanks!

The way it looks in your sequence is the way it will come out in the SD DVD... so if it's OK there, it's good to go all the way to a SD MPEG file and burn to a DVD.
Jerry

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

Workflow suggestions HDV to DV edit

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