export of HDD to STC?

Similar Questions

• "export to HDD' added to history

  I just realized that, whenever I have export one or more images, the notice "export to disk (or e-mail, etc.)" is added to my list of history. This part of the activity of LR or is it caused by a plug-in that I might have, without knowing it.

  I use imac i7, 8GB and 4.1 LR 10.7.5,

  Thank you

  Vince

  Post edited by: vinsolo

  No, this isn't the result of a plugin, this is normal behavior in Lr. You should also find a historic event for the import, print, metadata reading etc. Some have been made since the story was first court in Lr while others are more recent additions (usually at the request of the user).

• CAN´t export to HDD

  Hello, I apologize for this stupid question, but I can´t export my photos to any folder on the hard disk.

  Export work, but there is a 'original file export' announcement and the exported files are, unsurprisingly, the original images, without changes, I did. I have "saved metadata to the files', tried all the possibilities I could think of, to no avail.

  I even tried to "burn the JPEG full-size", which opens the dialog "burn to CD". Burned pictures are OK - changes are made.

  So, how could export my photos on the hard drive AND save my changes?

  (I downloaded the free trial (LR 3, version 3.0) version)

  In the export dialog box, select a different element of 'the original' in Format, the settings in the file.

  You probably want to JPEG or TIFF.

• DCP export fails

  Hello!

  I can't export with the new STC Wraptor plugin, for what I saw am not alone, but I have seen no response on the subject after a lot of research, so I post here:

  Since the beginning of the SOUL export fails:

  "A low-level exception occurred in: Wraptor DCP (Export).

  Error during export

  Video compilation error.

  Unknown error. "

  So I'm a little lost, such error encrypted can not help me find the source of the problem

  my video is 4 ' 43, so I don't think there is a time limit.

  It is square pixels 1080p25, 48 kHz stereo sound

  For my setup: 4790K i7 CPU; RAM16Go 1.6 Ghz; 256 GB SSD HARD DRIVE. Win7 64-bit. First CC

  Thanks to you all!

  Tom

  If you are lining up at the SOUL of the Organization, please try to disable the option "Import sequences in native mode" in the preferences of the SOUL before queuing your project.

  Also, I hear some reports that STC fails over a period of time.  If you change the duration of your export, do you still see the problem?  Or you can try some different sources for code to see if this problem is specific to a given substance?

• Pipeline of color SpeedGrade, need help

  I am currently stationed at the color grade a short film using a system composed of HW and SW following:

  HP Z820, nVidia Quadro 4000, Windows 7 x 64 Adobe Speedgrade CS6 and a Dell U3011 10-bit display connected via Displayport (made not have LUT HW capacity)

  I have trouble understanding my color pipeline and how to manage it. In particular, Speedgrade CS6 is run not a color app (although Premiere Pro CS6, is) and therefore does not use the ICC profiles loaded on my system. I can create a LUT of my ICC profiles and load in Speedgrade as "calibration" LUTs, but I'm still not clear where this fits in the pipeline. I want to understand how ICC profiles created by i1Profiler xrite are used in this particular situation, that is, in my Nikon D810 (flat) H.264 in Pr acquisition, cut and exit like DPX (or not), interfere in Sg as DPX (or native MOV), classified, exit to create FADS for festivals.

  I know that my particular monitor and use of ICC profiles is not the preferred option, I have already said on the various forums of d-cinema, but unfortunately, this is what I have and what I need to use for this project. I'm trying to understand the pipeline of color in THIS particular system to make the best decisions possible obtain the best possible result.

  Specifically, is there any part of the ICC (monitor calibration/profiling) profile that can / will serve as Speedgrade? For example, I think that there is a matrix (for example, vcgt) or READ any loaded in the HW of the Quadro 4000 at startup by the loader profile xRite (or windows, whatever the case may be), but is then affect all applications, both managed and unmanaged color? Or is - it too, managed by the Windows CMS? If the first, then what part of the ICC will be used by Speedgrade and whose part won't (regarding the adaptation of the color, transform, gamma, etc., i.e., what did the LUT in the Quadro do for me and no color y managed apps)?

  My goal is to import video data from Rec709 (which I guess now my Nikon product) in Speedgrade (which I believe works natively in XYZ space) and be able to see a representation of Rec709 on my monitor, but also to be able to vary the gamma of my screen (e.g., 2, 3(2), 6) to see what my video would look like DCI 3 p in a theater. I understand there are MANY other considerations as surround it, the ambient light levels, etc., but I'll try to manage those better I can too. In addition, this short film is a horror of day and night, so it will be overall dark and mono-chrome (ish), but I don't want to do a theater and see nothing else that black with a small movement here or there. I don't mean to the reproduction of color perfect; I'm more concerned with good reproduction of gamma and black levels.

  No indication on how the monitor profile ICC I create with spectro i1Profiler and i1Pro is used by Speedgrade (and Pr) in my work flow would be greatly appreciated. In addition, all understand how (and when / if) to use the calibration of Speedgrade lut to facilitate this process would be useful. I can also use Photoshop to check the Sg TIFFs with different profiles for final check - anyone done this before?

  Thank you

  Shane

  Patrick J. Palmer

  Shane Taylor wrote:

  I intend to calibrate my screen using xRite i1Profiler and i1Pro spectrometer to Rec709. In this case, the operating system must load the lut in the Quadro 4000 and, if I understand what you said above, as long as Sg and Pr display RGB 709 data, I should be fine, right? But then, I have the following question:

  You will be ok with respect to the list Rec.709 data correctly on a screen that conform to this standard. Indeed, it does not cover your data management.

  1. given that Pr and Sg are not aware, color if I bring in a file in a different color space, it will be not displayed correctly, right (as Sg will not be using Windows CMM color space transformation)? However, if I have a LUT to transform different Rec709 color space, I could load a LUT of calibration in the Assembly / installation / calibration and display correct, correct?

  They are aware of coloor - both are designed to bring in pipelines Rec.709 (true for the CS6 version). SpeedGrade can also be used in other scenarios, but for simplicity of your facility, consider two applications being colour managed - it's 709 through and through (with the exception of internal transformation in SG color - making using a much wider RGB 32-bit floating point pipeline to avoid any artifacts).

  What I have is pretty simple, but there are a few pieces that I did not yet understand to manage at best. Initially, I brought all my images in my Nikon D810 Pr, cut it and locked the picture. In this scenario of Pr, I have images of evoke, others to 23.976 and some to 59.97 (for slow-mo) use. I have also several comps Ae included natively in the form of title sequences, a model of VFX Ae where I composed a photo in a clip, an element above the same clip but slightly shifted a couple of images to create a feeling of dizziness and a model of EI where I sped up a clip that was shot too slowly and finally a credit rolling Pr generated at the end. In addition, I have a couple of fades in/out/from black, hold the few images created by using the key on the original film frames. I have a temporary rank in adjustment layers in Pr currently as a quick overview of temp. After the locking of the photo, I coded the image and it imported in AU, where I just finished a synchronization of soundtrack in 5.1 surround to the image. I'm now trying to take the final step, rank in the Official Journal and export and convert to the STC.

  There are several issues I have been struggling with, for which you might be able to offer the future. They are:

  2. What is the best way to get the images in Sg? I tested both export to the option of Sg in Pr using DPX and an EDL export and load native images of MOV among camera options (though, as I have explained above, not all my images on a single video track in Pr, which complicates an EDL export). The h.262 native seems to be a bit slower on the first run in the Official Journal, but once rendered/updated cache, it is real time on my machine. I like the idea of using the original footage, but do not know which option is preferable. A question I have is that the model of EI where I sped up the images, even if it plays properly as a model of Ae on the chronology of the Pr, includes artifacts (i.e., flashing) when exporting of Pr in this way. If I encode in Ae and import that new second gen footage in the Pr, it encodes without the artifacts of PR. would prefer to avoid second gen images if possible, since I'm already starting with h.264 4:2:0.

  Some general thoughts:

  convert your videos for a better standard such as RGB DPX 444 is not really diminish your quality and has little to do with generational loss (I personally would only talk about generational issues when using any type of compression or reduce the color gamut or bit depth).

  In this perspective, will DPX completely once you have run the creative tasks base in various applications makes most things - except for storage needs. I would like to do the math for how much storage you need for the entire project and I would check also this performance of reading on DPX is here - HD, looking to 170 MB/s in trhoughput, and at 24 fps your system will have to endure a time of access by file as ms 42/chassis. On any SSD that will deliver you (but capacity could be a problem), most hard drives will have enough capacity to 90 minutes these days, but performance may be a problem (a small RAID could be the solution here).

  2B. also, I know people do not bring titles, rolling credits, etc. in note final and this in their application of finishing (for example, Pr), but is always the best approach? Are there benefits to be? Would it not preferable (and realistic) to render all the comps to DPX Ae title, pull those and the original film in Sg with EDL, rank and for DPX and re export - import in Pr to add titles, credits and export to TIFF for STC? Or would it be OK just to export the entire chronology of Pr to DPX, including titles, credits and comps Ae as a single series DPX and draw than in Sg and end there? The audio will be added separately as part of the process of creation of the DCP in any case. If I use Ae separately encode any part, what do I need to worry when you export the files, color space, etc., to ensure consistency between them and native images in Sg (Ae being aware of color)?

  There will be other people with more experience in day-to-day practice advice on one of the two approaches.

  I always prefer to keep things very simple - I then push everything through the same pipe and use a trust format.

  With respect to EI, the production should be 709, too.

  BTW, I hope that your film D810 is also Rec.709 - if it is Adobe RGB, there is additional work to come.

  3. how Sg supports RGB data internally? If I insert the Rec708 RGB data, Sg converts to XYZ to perform any processing and then back to Rec709 for Sg monitor? If this is the case, how does he know the original source color space if I didn't say it (to convert)? Or, Sg ignores color space altogether if the calibration is not used, or until you make and apply a LUT, and the work on whatever data RGB is there anyway (that is, the numbers are a few numbers)? It seems that Sg may not care what are RGB data, which is why we use LUTS with abandon (which themselves define the source and target color spaces), unlike the ICC using the mid-range PCS for transformations of all (most) and some information must be known (or suspected).

  SG is transparent - are simply numbers. This means that your AE 709 output and body will look just the same, and it will work fine with a monitor calibrated to 709.

  4. can you explain the purpose and use of the color tab space by default in Sg? I think I have watched all of your videos teaching and cannot recall having seen all the details that helped me to better understand how make us of it (assuming that I need in my particular case). I don't know that it touches in the Official Journal or how to use it best.

  I hope that I will get to write something about this more later this week. As expected, it is a little more complicated - and things have changed since the CS6.

  5. oh, Yes, the conversion of 23.976 in 24 hours! For the best compatibility with festivals, I intend to create my DCP to 24,000 IPS, not 23.976 native of the original images. Do you have a recommendation on WHERE I need to do this transformation? My calendar of current Pr sequence is 23.976. I would like to copy and past the cut into a sequence of nine 24,000 timeline, just convert on export DPX, or leave at 23.976 until exporting of Sg, or...? I created the soundtrack of export 23.976, unfortunately, but I can fix it in AU to adapt to 24,000. I know just as SOUL, Pr, Ae, and Sg all have slight differences, advantages and disadvantages, in their rendering engines and don't really know what is the best to use in my situation. Any ideas on that?

  Yet once, others hopefully have tips that are a little more generated by being in the thick of things - I this post separately on the forum of the SOUL.

  In my humble OPINION, any temporal conversion is troubled. Most players DCP accept on any fps lately, and so I would leave it alone.

  If you do not need to convert, it should be done as part of the final output and as an alternative to the original (you are eliminating the possibility to leave it blank by converting in advance).

  Oh, regarding the thing Qt already mentioned: If you can, avoid using all Quicktimes in CS6 workflow.

  I try whenever I can ;-) BTW, do you know if this flaw affect the use of the Avid DNxHD codec under the aegis of the QT?

  Yes, it's certainly wrong. Some applications decode DNxHD natively, others allow the engine to QT. The latter showed a wide variety of results in gamma, saturation, estimated - according to the version of QT you have and the DNxHD plugin version.

  These days, not a big problem with the CC package - we went to unified and native decoding for applications later.

  CS6 is not really an ideal environment for the use of this codec, so I would start not looking for various workaround solutions that you will find on the internet. There is always something that will make you difficulty, yet one thing at the end (and compromise, you don't want to).

  See you soon,.

  Patrick

• Rendering in Adobe Premiere Pro CS6 DCP

  Hello

  I had a short 15 min and qualified for a film festival. They require the file be STC. Given that the first does not have this option, what are the chances that I can export the file under STC? There is a software called CuteDCP, but the trial version will export only 300 pictures or something.

  I don't mean a free software, but can you recommend me something around 50 to $100? Can I convert it me free?

  Thank you!

  You can export the JPEG 2000 directly from PrPro sequence through plug-in free j2k by fnord and do everything through free package of OpenDCP .

• Video files pasted/exported on USB or HDD twice?

  Hey all,.

  When I download a video or export some of my own and put them on a USB Flash drive to connect to my Samsung Smart curved TV, rather than a single video that works on the USB port, there are two files. Who says: "unable to read the selected format" and another who plays very well.

  It's frustrating, because instead of only 40 videos on my USB key, I have 80. And half do not work, which is difficult to navigate as it shows only 8 videos through the screen of the TV.

  This problem is not moved when the Flash DRIVE has been formatted for WINDOWS ONLY, he started since I erased and reset it as MS-DOS FAT *.

  Thank you!

  These files are not additional video files, are Mac system files, they are hidden on a disk as Mac OS X, but are visible when the drive is formatted under DOS.

  I delete these files before sending video on USB memory drives customers using an application called own ejection, it is free software and is available for download here: own ejection

• How to export a short video clip to the timeline of EP 13 on my HDD to be used elsewhere?

  I would like to copy and export a short video clip from a video on the timeline of the elements first 13 full length so that I can use it in a different video. Any advice would be appreciated.

  Brian Sweeney

  "Work area bars" are circled.  Him are normally stationed at the beginning and at the end of the timeline.  Drag them there where you want, and then check out.

  Largarath codec is not included in the pre, it is heavy, and you have to install it yourself.  Treatment of H.264 is usually more than "good enough" unless you have pictures very critical.

  

• How to burn a Blu - ray export Blu - ray to hard drive?

  I have about a two-hour project that is 21 GB as a blu - ray export drive to the hard drive (I chose not to export to my burner blu - ray, thinking that it would be faster and the desire to burn it later if I wanted to). Now, I have the 21 GB exported to a file .img file, but I have no idea how burn it. Compressor does not open the file and no "burn" which does no DVDs anyway. Just to clarify, then export the project on Blu - ray, I chose HDD as my output over my blu - ray burner, who was also an option.  Any help would save me probably 6 hours or re-export and would be greatly appreciated! Thanks, Paul

  If you are using El Capitan: control - click on the image file in the Finder, choose burn.

  For previous versions of OS, open with disk utility and click on the burn button.

• Favorites of transfer without exporting to HTML

  A laptop computer that I was running was hopelessly disconnected from the motherboard power connector. I have the HDD running in an external enclosure and can access all my files, but I can't launch firefox on that hard drive. I would like to know if there is a way to transfer my favorites since I can't run firefox to export bookmarks to HTML.

  You can copy the places.sqlite in Firefox profile on this hard drive file in the profile folder you are currently using.

  • C:\Users\ < user > < profile > \AppData\Roaming\Mozilla\Firefox\Profiles\.

  Note that the folder "AppData" in Windows Vista and later versions of window 7 + and the folder "Application Data" in XP/Win2K are hidden folders.

  • http://KB.mozillazine.org/Show_hidden_files_and_folders

  You can use this button to go to the current Firefox profile folder:

  • Help > troubleshooting information > profile directory: see file (Linux: open the directory;) Mac: View in the Finder)

• How to export graphics FCPX captions in a text file?

  Hello world
  After months, I finished a long documentary of 60 min. Then I sent it to an installation of the STC Conversion. Unfortunately, there is a problem with subtitles. I made them with the help of the tool of titles in FCPX. So basically they're spelling.
  For many reasons, the STC guy wants in text format. For me, it will be too difficult to copy & paste all submarines in a text file. So my question is: there is a way (even using a plug-in or a third-party software) to export all submarines

  Thanks in advance for your help

  Nico

  II did not do this, but it should work. Copy / paste the title into an empty project.  Export an XML file. Open it in a text editor and cut everything except the title text.

• After you export a photo library of backup, how to delete the photos in the photo library of the system

  Hi, I use the pictures 1.2

  Each year, I export my library on a backup drive and give it the name of the given year. My next task was to remove unwanted pictures (about 10 K photos) from that same year, then keep those 'important' for me (stuff of family, work and other landscapes and al. stuff: about 2 000 pictures.) I don't remember how I used to do with iPhotos, but it seemed obvious. Now, with Photos, I see only two choices: either watch the complete list of the photos, then click on those that I don't have anymore (I do not see me scroll 12 000 photos and videos) opening of the events at the time and the option click all photos to delete (and not just remove them from the event).

  Deleting events without opening it won't because I get a message telling me (for good or bad reasons) that the photos are always going to be there. But then, imagine that I could remove the same with content pictures, I have about 300 events to remove, and they can be deleted one at a time.

  So my question is (and I already put it as a feature request to apple, just in case) how I mass delete unwanted items and their photos, or better yet, how can we keep all the photos that I like (Favorites, for example, or photos with celebrities...) and delete the rest?

  My library contains more than 200 GB on my MacBook Pro 500 GB HDD. I can't let it grow to 150 GB each year. and I guess I'm not the only one with this problem. In addition, I travel a lot in many countries with bad Internet connections, so I won't use iCloud.

  Thank you!

  How are 'export' your photo of the backup library?  You create a copy of your current photo on the backup disk library or using "file > export" to export the photos? Just to be sure, that your photos are safe.

  My next task was to remove unwanted pictures (about 10 K photos) from that same year, then keep those 'important' for me (stuff of family, work and other landscapes and al. stuff: about 2 000 pictures.) I don't remember how I used to do with iPhotos, but it seemed obvious.

  You can quickly find the photos to delete by creating a smart album with the rule "the Photo is not favorite" and "Date is in the range...". »

  File > new Smart Album:

  

  You can add a rule "keyword is not 5 stars", if you have added the side star as well.

  Then, select a range of photos in this smart album and enter the ⌘⌫ (command + delete) key combination.

  This will completely clear photos of the library.

  You can use the same combination of keys to remove the photos from iPhoto event albums in the Album section.  If you simply enter the delete key, the photo will be deleted only from the album, but remain in the library.

• Cannot export files on a DVD/CD with Lightroom 6.6

  I have a problem that I can not export any of my photos from Adobe Lightroom 6.6 for my CDE/DVD Burner.  LR goes through the motions of asking me what burner and what speed to burn and then prepares to burn that try to run the disc and then immediately to 20 percent complete but there is no activity of my writer what so ever.  I know the burner works cause I also have a separate burner program that I use regularly for other tasks.  I tried to export the files in a separate Directory on my HDD and LR has no questions and runs the task perfectly.  I also uninstalled my software writer thought there was a conflict restarted my machine and LR has always the same question, exporting to the DVD/CD burner.  Current running Windows 7 64-bit, 16 GB of ram.  Any help would be appreciated.

  I deleted the driver CD/DVD rebooted the computer Win 7 installed automatically the pilot again tried to export the files I tried to do for several days and it works perfectly.  I'm assuming that there was a file corruption problem that has been fixed with reinstalling the driver.

• Project will not export, I keep getting errors in software rendering

  I just finished a project and I made her completely, including all nested sequences, but it will not be exported. I keep getting "Errors of software rendering" any format that I use. I used the H.264 format that did not work, and I also tried AVI uncompressed, which did not work.

  I am running first on your desktop with Windows 10 with an Intel i7 4797 3.6 GHz, with 20 GB of RAM. I have an EVGA Nvidia GTX 960 with 4 GB of video RAM.

  Windows and first settled on a 240 GB SSD, which is slightly more than 3/4 of the full path. All my media is stored on an internal 2 TB HDD which is somewhat more than 3/4 full as well. I moved my cache to disk to USB 3 500 GB white but it doesn't seem like first is to use it and it is still almost empty.

  In fact, go back to version 2015.3 fixed all the issues I had. I hope that Adobe releases a fix for 2015.4 soon.

• JPEG 2000 4 k Digital Cinema Export Settings grey and 2 k bitrate used

  Hello!

  For the creation of a FAD, I need to export a sequence of 4 k JPEG 2000.

  With version 2 k it worked correctly, but I need a high 4 k data rate.

  Using Premiere Pro SOUL JPEG 2000 export digital cinema export settings are grayed out and limited to the k transmission speed 2 (125 MB/s).

  JPEG 2000 settings-> method: Digital Cinema.

  There is a profile of DCI (in the advanced parameters of JPEG 2000 tab) for 2 k and 4 k cinema that can not be activated (settings are grayed out).

  Y at - it a trick to change the settings to 4 k?

  I'm on first Pro CC 2015.0.2 (version 9.0.2) on Win 8.1.

  The STC should be flat 4 k 3996 x 2160 (1: 1.85) so j2c 12 bit files for coding are required.

  Anyone having the same observation or a solution?

  Kind regards

  Marcus

  Hello world!

  Looks like Premiere Pro older systems recognized j2k so I thought export is part of the Adobe standard JPEG2000.

  The v2.7 j2k plugin has been updated and solved the problem. J2K

  Mentioned on the blog of fnord software but not on the Web site to download and install again to see the difference.

  Now it works as expected in 2015 CC as well.

  4 k DCI standard 12-bit JPEG2000 export files in the correct color space with mb/s data rate 250 for the use of the DCP right out of first Pro CC 2015...

  Kind regards

  Marcus