Best workflow (PAL) to convert interlaced to progressive DV HDV?

Similar Questions

• Images interlaced to progressive with AE/PP!

  
  

  Hey everybody,

  
  

  I record with a HCD-SD300 Panasonic avchd format. I thought that this camcorder records

  progressiv mode, but every time I import a PP/AE file it says 25 fps and interlaced (top).

  When I contacted panasonic, they said that the camcorder records in 50i and with cinema

  active mode the chip reads the 50i to be like 25 p, I don't understand what he says still 25 fps

  and interlaced in AE/PP.

  
  

  So what is the function AE/pp can I use to convert my avchd progressive video? What is the format

  is recommended to convert with media encoder?

  
  

  I know AE interprets my images and that, in my composition, interlaced line disappeared.

  But after making it back to the film. So, what can I do, what I can do to get the best is it?

  
  

  I would be very pleased with the response!

  
  

  Best,

  Alex

  Alex: AE (and organization) understand as interlaced/progressive things using a database (stored in a text file called 'Rules of interpretation') which allows guess application these things to a number of factors. It is just in the majority of cases, but it may not correctly interpret in some cases which are not typical of specific things. And that's why AE allows you to interpret the film manually.

  I don't know whether or not this camera records progressive video. But one thing you can do is select a clip in the project Panel, and then click the interpret footage (the button in the lower left corner of the project in AE CS4 Panel). In the dialog box IF the value of the separate fields 'Off '. Does this look specific clip right in the Panel of the model after you have done this? It is possible that progressive is sequences.  You can then change the interpretation to all the other clips in this way: in the project Panel, select the footage item you already performed manually, do a right click on it and go to interpret footage > interpretation to remember. Then select all the other clips (those you haven't changed again), right click and go to interpret footage > interpretation apply.

  If it turns out that your movie is indeed interlaced, you can use a plug-in like kit Reelsmart Fields to apply adaptive deinterlacing to it. I don't know there are other techniques that can suggest other users, in particular techniques that don't require third-party plug-ins.

• Where can I find the best free software to convert files audio .wma files .mp3 to my player?

  I have a MP3 player that I want to use to read audio books and that he cannot find a conversion program easy, good to convert .wma to .mp3 and then files files transfer to my MP3 player.  Help, please.

  Hello

  Welcome to the Microsoft community!

  I suggest you to search online using your favorite search engine to see what is the best free software to convert files audio .wma MP3 files for your MP3 player.

  THIRD PARTY LINK WARNING

  WARNING: Using third-party software, including hardware drivers can cause serious problems that may prevent your computer from starting properly. Microsoft cannot guarantee that problems resulting from the use of third-party software can be solved. Software using third party is at your own risk.

  Hope this information is useful.

  If you need more help on this question or if you have questions about Windows let us know.

  We would be happy to help you!

• Best "workflow" for Sony A7sii and GH4 - Res Pro or DNxHD?

  Hi all

  I'm filming a documentary of 90 minutes on a Sony A7sii like Cam 1 and a Panasonic GH4 camera 2. 23.97fps to 3840 x 2160. We need to have 4 k options for future use. We will very likely use a certain amount of purchased both action sequences. I am currently working on what happens to be the best workflow with final export to the spirit. I need to export the final movie in Res Pro Apple or DNxHD - and I'm trying to figure who is going to be the best from start to finish.

  I'll be transcoding footage in function in order to make the workflow on the timeline as fluid and less tax on the processor as possible but also ensure final best made possible. I found that editing in the formats of native files (4 k) of each camera - even when the parameter/scaling to the size of the image - is very heavy on the processor and he staggers scouring or reading. So should I choose HQ or DNxHD pro.

  Also - on this basis, should what sequence settings I use? Creating a sequence of the clip with a Res Pro first clip gives me preset film Arri. Seems the timeline without effort on playback and scrub.

  Thanks in advance!

  ProRes 'was' standard in the Apple world, so became very common. DNxHD/R/HQ options are really become as well or better for most uses, it is just newer. On my PC, DNxHD cut almost as quickly as Cineform and a little faster than ProRes. They are sorta close... and is the guarantee of a your mileage MAY vary!

  So do a few quick tests. A few hours transcoding in two or three choices, then to the same projects, applying the same effects (while taking note of reading), then export on and schedule exports will give you an answer for you.

  Neil

• Calendar beat for clip - best workflow practices?

  Hi all

  I am currently working on a short video that must be programmed to music. Of course, in some ways, a tool like Final Cut or Prime Minister would be more suited to the task in a certain way, but for reasons of the technical specification of the production, it must be done in After Effects.

  

  So I try to nail a good workflow to time the various elements of the project to the beat of the music. I've done so far is, I developed the waveform of the original tape so I can get some raw visuals on where obvious changes occur. See the screenshot to the left. I placed a marker on the right framework where arrives the drum call, where I don't want to do something cool with the video.

  It is obviously of limited use, because even if the rhythm coincides with one of the peaks of the waveform, it does not look at who it would be. Also, it is not possible to determine the exact framework on which the beat happens using this method, because each peak is several frames long, and includes several elements of the audio.

  The next thing I tried was so simply to listen to the track with RAM Preview and pressing on the * key to place markers on the soundtrack to the beat. Some of you are perhaps better to the rhythm games that I could hope to be, but I find that while this allows asking a large number of markers quickly, it is very inaccurate.

  Which is very good, expect - I couldn't get all the markers on the right framework for the first time, but I can go back and drag some images, right? But the problem here is with Visual and audio scrubbing with the playhead. When you RAM Preview, the playhead does not refresh on all images - it updates every seven or eight images or so. Which means that if I look at the calendar to see if my markers are in the right place, I can't say when the playhead passes over it.

  So instead, I hold down the Ctrl key and rub. This kinda works, but the audio is quite rough and discontinuous. As such it is difficult to get an idea of each framework as part of the song and even if I do hear a heartbeat, it is difficult to recognize as such (this technique works best in Final Cut somehow, for some reason, he manages to rub while sounding less discontinuous). So what I do is I have a picture, I think that could possibly be the rhythm, and I hold Ctrl and left click on the playback head, which makes a loop a short (five images?) segment of the audio. Then I do the same thing for a few images before and after, just to ensure that I targeted the right frame. Now, finally, I have the marker in the right place for a single beat.

  There must be a better way.

  I wonder if anyone has faced this problem found a workflow more efficient? I think that it might be a sheet of I could use a software that allows me to go through the audio and place markers better - and then I can somehow export marker data in After Effects? Or maybe another workflow I didn't think.

  Your thoughts?

  Cut with precision to the beats music is usually a simple matter of math. Most of the music, especially the music with a strong beat, turns to a certain number of beats per minute. It is generally easy to understand. There are moments where you have a tempo change or a Fermata, ACC., or retirement or a change, they are usually for a short period and easy enough to fix. Understand the tempo and you about 90%.

  Another tool that I use quite often is Sound Keys of Trapcode. It is much more versatile that use bed convert audio to keyframes.

  If I have a fairly long segment that has a bunch of beats fast beats I will sometimes create a solid small, add the hue and saturation to the solid game to colorize, add this expression to colorize hue - index * 140, cut the length of the layer to the length of time, then duplicate the layer for bat as much as I want to cover , the layers in sequence and then use this sequence of layer as a guide. The configuration looks like this:

  

  You can also use an expression loopOut on rotation to rotate a small layer SAY 45 degrees on each beat. By example, if you had a heartbeat every 20 frames together 3 hold keyframes, one on the first image of 0º, the frame of 20 to 40 ° then put a 40 chord to 0º and simply add the expression loopOut("cycle") of rotation. Now the small cube could give way to a different angle on each beat.

  These tips will help you with some quick cuts just the pace but let me give you some tips on cutting to music I've learned 42 years ago (Yes, I'm an old man) when I was learning to edit music to my first job in the film. My mentor had been in business since 1952, had worked as an editor on a ton of feature films and a bunch of advertisements. He told me that if you simulate with precision the rate, which was pretty easy to find and mark with a pencil on stock mag, wax your cuts will look out of sync. The problem with this precision, is that the eye and the ear are not precisely synchronized. The time advance or delay depends on the shooting, where shooting takes your eye, where the Cup move your eye and creates the atmosphere of the music. The best technique is to listen to music and place markers that you type on the beat. In the old days, I did it by tapping a pencil of wax on the mag stock as he crossed the Steenbeck or Moviola, today I do by tapping the * key, then I cut and adjust the cutoff point for shooting dictate when the music and the rhythm line up with emotion. You will get a better result, and your work will go much quicker that fussing around trying to harmonize the beat with each cut. I changed my cuts as much as 4 or 5 images forward or back to fight for the sequence feel.

  I use two techniques that I listed above for cutting short segments of very tight cuts and help to save time, but his definition of the resolution of your car model and the Zoom factor of your computer at 25%, the ram preview for "today", and simply cut the pace by usability will give you a much more pleasant and emotional response to your sequence as precisely and mathematically exactly matching the beat. The last piece of advice I can give you on the music of Cup is to make the first cut, then walk away at least a half hour, then come back and look what you did. You'll instantly see where you have to make adjustments and it will take less than half of the time to cut your sequence.

• Best workflow between Photos and Lightroom

  I visited the issue of the digital workflow many times over the years and opening was probably the best answer, alas. Now that we're stuck with much smaller pictures, I have to balance the desire to snap on my iPhone and take serious pictures, usually on my travels. So I designed a workflow to integrate the two activities and use my iPhone/iPad as my tools 'display '. The problem is that it is rather bulky. So I share below in the hope that others will comment and perhaps offer a best... Here we go:

  1. Import maps memory on computer, rename the shoot/import in Lightroom 6
  2. Do a quick reform of the iPhone photos (say for a given trip), then import them into Photos then export to the desktop, then import them into Lightroom 6
  3. Do all the editing and key-wording in Lightroom
  4. Select 'gatekeepers', mark them for export. Select photos from the iPhone that have not been edited (i.e. just renamed/key-wording) and preparing to export separately in the originals because that Lightroom creates much larger than the original jpg
  5. Export files jpg on computer to the majority or the photos + original iPhone photos (they will have names new, metadata, etc.).
  6. Delete the originals of Photos
  7. Import all of the Photos
  8. Run facial recognition
  9. Normally synch to iPhone/iPad

  Any idea on how simplify/improve on it?

  Thank you!

  Yes! It's my life too. And what a life! Thanks for viewing, and to verbalize the problem/process. Apparently not understood by Apple/Adobe. Missing something?

• Best workflow - iPhone 6s + film Pro + first Pro CC

  I need advice: a few images on a 6 s iPhone using the filmic Pro application. Need to import it into Adobe first Pro CC; looking for the best "sequence presets." And is it still important?

  
  

  In addition, advice for an entire workflow (including export settings). I know it's findable probably somewhere in the forum, but I'm new here and enjoy the links/departure. Thank you guys!
  

  I found the solution!

  We came back from shooting with the same problem. Fine once in quicktime format, but will not import into first or transcode in the SOUL.

  The problem seems to be that film Pro natively by default to record audio aiff 48 kHz. This play very well with the mp4 stream produced by the app (don't know why!). However, if you assign the audio in pro recording pcm 44.1 khz stream lats (in the audio settings), everything is solved and the audio comes in fine.

  Obviously, this is no good if you have already shot the material. We had to export the audio separately and re-synchronization in first pro to the image to solve for this one. But the following should now work correctly.

  Good luck!

• What is the best (fastest) way to convert Apple folios (iPhone and iPad), Android (phone and tablet)?

  We have an app for Apple devices multifolio and we will include an Android version.

  How is the best and fastest way to do it?

  Do I have to copy all my source files (* _v.indd) in another folio folder set and run through them, scaling to adapt to the direction of Android, i.e. to convert form 1024 x 768px to 2560 x 1600. (I know it leaves a black band, I can always fill it up).

  And something similar for versions of phone?

  THX.

  That would be the best way. Are made, IMO, a waste of time and effort.

• Best workflow for updating of interactive forms initially created in InDesign

  Abdoulaye

  Using InDesign CS6 and Acrobat X (10.1.4)

  I created an interactive form 2 page with InDesign exported as an interactive PDF Acrobat applied fields scroll, names twisted the color of the text and fonts, etc.

  But now, I'm not sure of the best way for the form to have some updates that actually change the layout a bit, I think I have to work from the original InDesign file once again, but how to avoid having to recreate all the fields I added in Acrobat.

  Just trying to create an efficient workflow, start from scratch does not seem the best option.

  I made the spaces that contain the fields in the form of white rounded corners and shadows on a color background in order to consolidate the brand image, however all this in InDesign and I now "you wonder if it's a good idea.

  So now demand additional two drop-down lists and a medium additional field I have to adjust the design layout, I don't think that can be achieved in Acrobat.

  You can copy text from one PDf to another fields and retain all properties? Suppose so I set the background and copy the fields in place.

  Any help appreciated.

  Thank you

  Replacing the old pages with the new, it is how this situation is most commonly treated. It preserves not only the fields, but also other interactive elements that you have such as bookmarks and links. Any code at the level of the document, you add and document actions remain as well.

  Fields can be copied a page at a time, but before 11 Acrobat, are not glued in place, so you may need to do some repositioning. This generally results in the smallest file size, but can be tedious.

  Regarding everything in InDesign, CS6 can be implemented in the fields, but there are a number of limitations and bugs that reduces the usefulness of this feature. For example, to set the font for a field or add JavaScript actions.

• Best workflow of Mac to Pc (and back)

  Hello

  I intend to move to a workstation pc due to lack of updates by Apple to its pro range.

  Thanks to some suggestions here on the forums, I understood that are improving the components to run CS6 on windows.

  I don't have any recent experience with windows (the last time I had a pc was like 12 years ago), so here's my question: which is the workflow better done post-production on a PC and then return to edit away on a Mac?

  
  In my case, most of the time I'm working with an editor that uses the first (and FCP7 for old projects) on a Mac, and we have a complete ProRes422 workflow from start to finish. We found good for size/performance/quality and we can stick to a single codec (without rendering) until we're done. Usually, it offers all the post production videos in prores422. Then, from After Effects (actually, I'm on a Mac Pro), I visited the sequences png or tiff for titles/graphic (usually with alpha) and prores422 for classified/composite shots.

  I think I can continue to work with image sequences for the graph of the query or titles on a PC, but what format should I export when it comes to video (classified/composite images)?

  If I understand what I've been reading around, I can import prores in windows but encodes out.

  Work with Mac and Pc for production? If so, what is your workflow to edit post/finish between the two "worlds"?

  Thank you

  We have abandoned the Macs a long time ago (Finally, when Avid gave them the boot to be precise), but at least I can talk a little about the past experience file formats. The issue critical only I see is Gamma and color profile potential problems, you may need to unify between your Mac and your PC. Yet, even then, QT on PC is different from Mac. Here, I would avoid Quicktime when possible. At best, I would use the PNG or Animation CoDecs, but PNG sucks a bit on PC. If you use the lut and color profiles, TIFF sequences can be more effective - they can integrate color profiles and guaranteed consistent handling at both ends, if you use the CM formats. Desp profiels support are of course PSD or JPEG. PNG is so-so. It's okay as long as you don't use it on PC or Mac, but as soon as jump you from platforms, it will show color changes, depending on where it is used. It must be correct and consistent within the Adobe applications, however.

  Mylenium

• What is the best workflow?

  Hi, I'm an amateur videographer and editor, Im loving cs5.5 master collection. I continue to back and forth with ideas for modification of workflow, I can't seem to find what works best, maybe this isn't the right forum to post, but I'll apreciate any help or suggestion. I use the first, after effects and audition for most and then again. It is easier to explain with an example, I have pictures from a wedding I did and im taking excerpts from this and put together a short video clip. Ive been using first for the Cup and organize clips and thanks to the dynamic link for audition, audio and effects to clean up the image. Audition without problem but when I clean video with sequelae and return for a glimpse at first, its way too rough. IM wondering if its recommended to clean video with legacy first and then export and set first and then cut and organize? If anyone has the entries or Advisor, thanks and sorry for the silly question. I'd like know how the pro. Thank you

  I agree with Joe.  Do what you can in PP, don't send the AE when you can't do it in PP.  And then just make the comps related for smooth playback.  (You do not have really need of a smooth playback, by the way.  Your export will come out very well even if the real-time playback stutters.)

• So what better or best & less inexpensive to convert a vector image in a font?

  My client gave me a bunch of vector graphics that another agency that has been given to them for a font they use for amounts of money to their new brand. They gave me vector graphics 0-9, a "$", a "."and a ",

  I tried already know what the real police, but I had no success. My next option is to convert the vectors in a new font.

  So now, I need to find a program to do the conversion. What programs work best according to your experience.

  THX in advance for your suggestions.

  Zak.
  

  You don't mention what you are on, the platform which sometimes questions, but that's.

  First, you could try harder to identify the font. I know you tried here, and use WhatTheFont, but failing those, "police ID" forum on Typophile.com is your best bet. This is where I go when I can't identify a font myself (which doesn't happen often, but from time to time).

  If you can not ID the police and really want to make a new... Well, two concerns:

  (1) with effect with vectors of a another font may well violate copyright (depending on the software) of the original font. Leastways, that's how I read the decision of the judge Whyte in summary judgment since Adobe vs. SSI. But I am not a lawyer, just warning you that there could be a question of law.

  (2) unless your time is not worth much, probably the most cost-effective way to do this would be to simply pay some geek of the police to do it for you. Research, installation of software and learning what to see and do things no doubt will take four hours or more, and then you've probably still not optimal work and it will not be rendered as if someone had it right at a time. I would probably $80 for a job like this, if it was me work, and EPS files or some format, I can easily open and convert. (I hope there are people who would charge less, btw.) I have a great day job and so I only take parallel projects that really interest me and/or pay my usual rate of consultation, usually both.)

  That being said, if you want to rebuild a police force with just these 14 glyphs in there, by yourself and want to know what are your software options:

  First of all, you know that any given program has an itinerary for you to get these vector graphics in and do it while keeping the consistent scale. If I had to, I would probably open them all in Illustrator or something like that and stick them in there in FontLab. If you don't have Illustrator, you may need to find another route, or it could mean to experiment and discover what works for your particular software combination...

  Something like 90% of the development of professional fonts today through FontLab Studio 5. But it costs $649 and has so many features that it is more than a little intimidating for a new user. I like it, but would hesitate to recommend you or anyone else learn to use it for such a small task, unless you expect to more fonts design or production work in the future.

  Fontographer (also owned by FontLab Ltd.) is a lot easier to use option, and the bells and whistles, it lacks certainly does not matter for this purpose. It costs $399.

  TypeTool is also made by FontLab Ltd. and costs $99. It is pretty easy to use, too. Probably the healthier option of mind, I think that, if you do it yourself.

  FontForge is an alternative open source, which means FREE, hurrah! BUT... unless you are in Linux it does not use a standard UI on your computer, but instead runs in Unix (X - 11 on Mac) or a shell Unix-like (CygWin under Windows). Side Windows which is to install an additional environment on top of Windows. It is just as powerful and complicated to use as FontLab, after you go through the hassle of the he get up and running.

  There are also HighLogic FontCreator under Windows, I don't know enough about to have an opinion on. It is hardly on the radar of the developers of professional fonts, most of the time. $199 for editing professional and $79 for the home edition (who said it's "not for commercial purposes").

• What is the best "workflow" for sharpening Ultimate w PSE 8?

  I shoot a lot of flowers near upward and also birds. Both have lots of details, feathers or Stamen, so I rely heavily on the sharpening. With birds, sometimes they are flying or remote or both, which makes it difficult to get sharp photos. Recently, I learned a lot about sharpening and now I am suffering, "I know, more I know that I don't know." In addition, some of my information is based on rumor and I appreciate all the advice. What would you say if I discuss my work flow and ask a few questions here and there.

  I shoot RAW with a Canon 7 d and I almost always reduce my photos to nnnn x 1080 for that conversation, lets assume that I always do this downsizing. I heard that reduced pictures should never be sharpened up to the once they are reduced. Is this true? Should I set all sliders sharpening in ACR to zero? Should I also keep the low clarity slider in ACR or is it more your contrast medium and less sharpening? Is there another way to improve the clarity in PSE, ACR not?

  When I finished with the cab and open in the elements, the first thing I do is crop and resize using Image, resize, bicubic sharper. Then I correct the imperfections. Then, I select on the subject (s) and adjust the curves of colors and then light sharpening, which seems to give me the best results that Enhance-setting sharpness. (After two years of use of items I found this bright sharpness and it's so good. I wish I would have notice this Brundage in the earlier book. I did ask me what I'm missing.) After light sharpening should I try high-pass sharpening more or any other type of sharpening? Is there empirical rules on what kind of sharpening works best in which application? For example, I heard another rumor that sharpening of the strong or the shadows just increases noise. Is there a good way to handle these situations, as select out them, or use a special blending mode?

  After I'm done with the subject, I usually reverse in the background and noise and/or blurr and Desaturate to puncture the subject.

  Is Photoshop complete necessary to get the best sharpening tools or sharpening similar and other aspects are more powerful? I use so little of 8 items that I guess and hope that Photoshop or Lightroom would be overkill at this stage.

  Thank you very much for this review! If you can think of anyway I could improve, I would really appreciate any comments.

  Doug

  I'm a little worried about it:

  Using Image, resize, Bicubic Sharper

  Is there a special reason why resampling belongs to your basic workflow? It is generally not something you want to do until you have to.

• Workflow recommended to convert from .avi in .m4v

  I would like to take an edited .avi file and prepare it for play on two iPods and iTunes/QuickTime. I downloaded the trial version of PE7 to see if I could use it for that. From what I understand and have tried, I can create a file .mp4 h.264 (MPEG-4 part 10) PE7. What is the best way to convert this .m4v format? My OS is Windows Vista Ultimate Edition. I tried to use iTunes to convert, but the resulting file does not play smoothly. I also tried to download MPEG Streamclip and found that I couldn't play the .mp4 file smoothly.

  I'm sacrificing quality starting with a tool that cannot export to the formats .m4v, namely PE7?

  You can certainly change and then export your video under PE7, DV - AVI and then "publish it" with QuickTime Pro. See this link which details the difference between QuickTime and QuickTime Pro and explains that he can do.

  http://support.Apple.com/kb/TA37346?viewlocale=en_US

• Best way to deal with interlaced video

  I'm shooting a "talking head" video for part of a Flash movie, and unfortunately I have only a good quality consumer dv camera, which seems to record everything as interlaced. I also only have final cut express, which also seems to export all as interlaced. I hear that's not optimal for the video that will be streamed on the Web, in other words, if you want sharp.
  
  I wonder if anyone knows the best way to make my sharper image. If I import, manipulate and export it in final cut express greater than necessary, and then scale it down significantly in the Flash 8 video encoder, will be the downward revision to the fact the interlacing less noticeable, similar to the downward revision to one image low fixed resolution may make it sharper?
  
  I heard elsewhere in this forum that the use of any just deinterlace filter makes it worse.
  
  Thank you.

  PS - I certainly would not say that the use of any deinterlacing filter makes
  worse... it depends on the video for one. For a talking head, I think that it
  could work perfectly. For a very quick movement, it may not work too
  good though. You have to try it and see - these filters exist for a reason.

  --
  Dave-
  Developer leader
  www.blurredistinction.com
  Adobe Community Expert
  http://www.Adobe.com/communities/experts/