FCPx to still workflow? s

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• workflow still loading values, savings possible

  Hi all

  We run an update from vCO4.21 to 5.1. He worked for a few days, now still workflows 'in loading.
  

  Also if I save a workflow, it still be save and nothing happens.

  The CPU load is very low on the server of vCO and also on the DB server.

  Removal of all the workflow runs and restarting the server is generally any workflow setting of loading issues.

  What happens exactly?

  Have you checked the server logs after restarting the server?

• Photoshop CS5 & El Capitan

  Hello

  I often use PS CS5, usually when using pictures in FCPX. Still, I Yosemite and have heard that el Capitan is problematic with CS5.

  What did you hear/experience?

  Are there updates to El Capitan, which may have solved these problems?

  The best

  Elmer

  Some got to work or fail under the same conditions

  Clean install, not from rest of an upgrade, and then install java 2015 Apple.

  Java for OS X 2015-001

  Second support neither Apple or Adobe CS5 if it breaks is so go fix the code, ever. You will need to downgrade in such cases.

• "Workflow" for FCPX AIC

  I have a client with a video in the Apple Intermediate Codec. I need to change the audio and video of return in AIC. Video original AIC seems to edit natively in FCPX, but I need to export out of FCPX and then convert back to AIC for editing in Final Cut Express. Is there a reasonable and realistic workflow to achieve? Can I keep the 1920 X 1080 resolution? I am using FCPX 10.2.3 and OS X 10.11.3.

  Thoughts?

  Thank you

  You can export the AIC in NICU compressor settings. Final Cut Pro x: Supported export formats

  RUss

• I deleted all THE files of rendering but have still 1.5 TB of unidentifiable used disk space. I don't have FCPX libraries on my 3 TB drive. Total area of libraries: 650 GB still Get Info says I use 2 100 GB! Any ideas? Thank you.

  I have deleted all THE files in my libraries FCPX rendering but have still 1.5 TB of unidentifiable used disk space. I don't have FCPX libraries on my 3 TB external drive. The total size of my libraries is 650 GB (when I add up the individual), but when I click on read the information for the reader, it says that I use 2 100 GB! It does not show that everything is on the disk. I went in each library individually in FCPX and deleted all THE files of rendering.  Reducing the total size of several concerts, but there are still almost 1 500 GB difference.

  I tried to copy all libraries on another drive and they occupy only 650 GB (with no unidentifiable used disk space). I'm a bit confused.  Someone at - it ideas?  I would like to release 1.5 TB that starting to use the new hard disk with only 650 GB and reformat the drive, but if there is some kind of hidden, important files on the original drive as FCPX needs to work properly I won't ruin the hundreds of hours I spent on editing. I hope that all makes sense. Thank you in advance.

  I use an iMac 27 "with 3.4 GHz Intel Core i7, 8 GB of memory, NVIDIA GeForce 1024 MB graphics, OS X Yosemite 10.10.5, FCPX 10.2.2 3 TB Seagate USB 3.0 external hard drive designed for Mac and format Mac OS extended (Journal)

  That doesn't sound right. The sound of back numbers compared to what could happen.

• If you customize workflows, oracle support still will support you to his subject?

  Hello!

  We have a few scenarios in which the fastest solution is to customize the workflow.  If we do this, oracle support still will support us if we encounter a problem with this customization?

  Thank you.

  Hello

  Please read the policy of Oracle Workflow customizations DOC ID 578466.1 Oracle Workflow Customization Policy Clarification

  concerning

  Mihai

• GoPro on a Workflow FCPX

  Hello - I found a lot of conflicting answers about this so was hoping I could get this confirmed: is imported directly from GoPro FCPX is going to give you the same quality as in GoPro studio first, import export until. MOV and then use it in FCPX?

  Some answers that I say because of the conversion will be GoPro Studio will result in a higher quality file but other answers I've seen suggest import images directly from GoPro and selecting "Optimized" is just as good.

  I would be interested to know what everyone uses to achieve the best video quality GoPro and FCPX.

  Thank you

  ITI will be the same. There is a huge amount of outdated information on the web, much of it without no date stamp.

• Difficulty Lightroom Mobile to ch, Workflow Mix STILL broken

  Hello

  A number of weeks, as I have pointed out that no matter what image from the film on iPad Pro in mobile and then sent LR mix or difficulty via "open in" or "change in" any other motorhomes/Editing resulted in a picture not exceeding 2048px along the longest being transferred.

  I posted on this Forum about it and had my post again displayed my staff member Adobe everywhere on the Forum of difficulty of the PS (see thread here Mobile from Lightroom to Photoshop and back issue difficulty) with a fairly low (and incorrect) answer, Adobe replied that it was due to a limitation of the iPad/IOS. It is obviously absurd.

  This isn't a limitation of the IOS - Pixelmator (now my go-to image app on iPad) allows me to process and record 16, edge images Long 000px on my iPad.

  
  

  It is not a matter of difficulty PS - it's a matter of LR Mobile.

  
  

  Another confirmation of this is that I can transfer images to the size of Snapseed or Google Photos on my iPad to PS Mix/Fix - process and then their parachute to my iMac at full resolution!

  I understand that LR Mobile is mainly used for the synchronization of the images in a catalog LR Desktop to the cloud, smart preview edition sync and send all changes to the Office from LR. However, LR Mobile also acts as a way to send captured images or imported on an IOS device, edited in LR Mobile to your LR catalog of office.

  So why allow a PS Mix/Fix to include in the LR Mobile workflow when the following images are paved by a limitation of pixels from the edge Long 2040?

  I use Lightroom, Photoshop, InDesign and Illustrator professionally in the design and production of books in large-format high range. More and more, I use my iPad Pro to engage with customers to design in photo selection/modifications and comping layouts using Adobe Comp (a brilliant mobile app). As mobile devices become more capable, I see that a lot of the work done on the desktop computer can be done in mobile. Adobe mobile apps must be perfectly integrated in a workflow of professional creative cloud. I really want to use these mobile applications - for now I can not.

  Sorry for the lengthy post.

  All the best.

  It is now a design within the application Mobile of Lr limitation and we are working to improve this. -Guido

• Workflow: Keynote-> AE-> still

  Hi people,

  I created a few presentations on historical topics which include quite a few animations. I want to export Keynote animations in the form of files QuickTime of After Effects, tweak the animations and voice-overs and then export video in still files to produce DVDs and BluRay discs.

  I have been out of the digital video loop for a while and am not currently with the best practices of codec. I hope that some Holy staff offer some specifications based on the following data:

  Of Apple Keynote QuickTime export options:

  (1) 1024 x 768 (with no other explanation. "I guess it's a lossless animation codec?)

  (2) 720 p (with no other explanation. This sounds like a bad idea because I want to save as much resolution as possible and let Adobe Media Encoder regardless of the compression is required downstream).

  (3) 1080 p (better than 720 p, but I feel I should not compress at that level, but rather in the SOUL).

  (4) 'custom' more precisely:

  (a) H.264 (no parameter)

  b) Apple ProRes 422 (no parameters).   If I had to guess on the last two, I guess they all have the wreck I would need for DVD and BluRay out of AE in yet, but is there an advantage to using either?

  My goal is to build production in AE, and then export MPEG-2 video files to create a DVD in Encore. What I did before. I also want to create a BluRay version is great and I want to show with a decent resolution, but I do not know what codec BluRay love.

  As you have probably guessed, I'm mainly a type of graphic and animation, and my knowledge of the aspects of this video is quite fragile. Any suggestions greatly appreciated.

  Richard Hurley

  Grass Valley MultiMedia

  The Adobe Media encoder has presets for BluRay, if you want a pre-made or you can pre-made any codec production and send it to still build a BluRay disc. The best option for the size of the image and the frame rate is 29.97 FPS, progressive and 1920 X 1080. DO NOT restore a h.264 video and use for your main source for the generation of BluRay. Personally, I always restore a master of production with the help of a good production as Quicktime JPEG 2000 codec or various other encodings of depth even more high, then just build everything in Encore for BluRay. Done a great job to add the project to the SOUL for rendering. First to create a disk image, and then burn your discs.

  All other formats you mentioned will be converted to fit the standard of 1080 X 1920 for BluRay unless you letterbox them and can live with the black bars on the screen.

• Problems of workflow - first Pro in still - chapters

  In export PPro CS6 Encore CS3, several questions were raised:

  (1) the chapters still do not carry the measure indicated - they seem to start a little earlier, at the end of the video before. I create them using the arrow down to find the end of the previous sequence, then adding a marker

  (2) again chapters in SEQUENCES are not transmitted via when I NEST sequences

  (3) if I change the length of a sequence, all the chapter points, then turns off.

  (4) if I, instead of a long wedding video, sequences of 6-10 in the Agency and introduced these as separate a CALENDAR - perhaps this avoids the "drift" of chapter points when changes that affect the video length?

  (5) if I used a separate calendar for each sequence, they will play flawless, if I connect at the end of a video for the start of the next?

  (6) how can I have the possibility to take a sequence at a time for a 'ENTIREVIDEO' button, yet to play a single sequence when a CHAPTER button is used?

  (1) the chapters still do not carry the measure indicated - they seem to start a little earlier, at the end of the video before. I create them using the arrow down to find the end of the previous sequence, then adding a marker

  In PR, zoom up to the level of the frame to see if they are correctly defined. It should be on the first image of the sequence, right?

  (2) again chapters in SEQUENCES are not transmitted via when I NEST sequences

  This is how it works; You must place the marker again in the sequence you export actually.

  (3) if I change the length of a sequence, all the chapter points, then turns off.

  Yes, this is how it works. Try to get the final before placing markers, but if you make changes that affect the markers, just know that they will have to be fixed.

  (4) if I, instead of a long wedding video, sequences of 6-10 in the Agency and introduced these as separate a CALENDAR - perhaps this avoids the "drift" of chapter points when changes that affect the video length?

  Yes.

  (5) if I used a separate calendar for each sequence, they will play flawless, if I connect at the end of a video for the start of the next?

  Transparently, not necessarily. It depends on several factors. It's one of the reasons can publishers use a fade or another transition break between chapters, but they are structured (separate or a single sequence in PR). But rather than to their affair, try a Playlist.

  (6) how can I have the possibility to take a sequence at a time for a 'ENTIREVIDEO' button, yet to play a single sequence when a CHAPTER button is used?

  The play all button links to the reading list. The link of chapter to each editing buttons.

• Untitled library STILL opens or is created at the opening of FCPX

  Every time this happens and it is extremely annoying and frustrating because I have to go and delete every time. Why Final Cut continue to create this library Untitled empty and how can I stop doing that.

  PS GIVE US COLOR CURVES! FCP IS NOT EVEN A SUITE OF PRO EDITION MORE.

  Thank you

  Eric.

  There is something wrong with your Setup. An untitled project is created only when the preferences are reset. It seems that if preferences are not saved. This is incorrect behavior OS, I can't explain.

  Do not delete the Untitled project. Just leave it in the folder sequences. Whenever the preferences are reset to zero, it will simply open the existing library without a title.

  FCP IS NOT EVEN A SUITE OF PRO EDITION MORE.

  This my man. No version of FCP had already curves of colors since 1999. Plugins have added curves at the FCC in past as they do now.

• Reduction of noise in CS5 workflow: still possible to do it on an adjustable layer?

  In CS5 that it seems to be him better, more than perform noise reduction is recommended in ACR before editing the picture.

  The problem is, once you do this, it seems that the setting is "locked", ie you can not go back and change after you make your changes to the PS as a healing brush, levels and other effects settings, right?

  Is it possible to adjust the noise the same mode of action in ACR on an adjustment layer as well as after all your changes are made, you can go back and tweak it?

  Or do you need to use another plugin or filter to change the noise if you want to have the flexibility to modify the intensity of the effect more later?

  Good Photoshop offers the filter filter - noise - noise reduction, and it is actually pretty good.

  There are also a large number of 3rd noise reduction tools, in the form of plug-ins based on and actions, that can do the job.

  The extent of mixing creatively effects, there are fairly simple ways...  For example, it could duplicate your image as a second layer, reduce noise, then set the opacity of the layer, or the same mask to the top layer in selective noise reduction of effect parts.

  You could even superimpose the Photoshop filter reduce noise in as a dynamic filter, although the dynamic filters can kill Photoshop interactive performance.

  -Christmas

• Workflow ACES thread

  First of all a big hello to everyone

  Today I received my new sony F55 and I feel very comfortable with the camera, of course a few things that are missing sill, as the HFR and exposure tools, but that's another thread. Here, I want to discuss, as says the subject, ACES workflow with raw F55.

  And to be honest, I want to keep it as simple as possible.

  Lets start with the basic things:

  0 configuration double shooting (SxS and FIRST):

  1 eat them both

  2 use the SxS equipment for editing in Adobe Premiere

  3. send an EDL "Davinci Resolve"

  -> 4. Relink raw

  0R?

  --> 4.1. Convert materials first with Sony RawViewer DPX sequence (Workingspace ACE, stay with the meta settings, Export DPX)

  --> 5.1. Link again to sequence DPX

  Standings:

  6. start ranking primary, secondary

  Export

  ---> 7. The part the more delicate that I must apply luts limiting to conform to the user end monitors, projectors...

  ---> 8. Good format, if I chose DPX format to ingest the rank with, how to export a single file like Mov H264.

  For example, when I use ranking Speedgrade a DPX sequence and then want to restore a file H264, I will eventually get the sequence just like unique dpx popular with extention mov, but not a single file.

  Maybe we can bring light into the big advantage of the F55 and ACES )

  Bravo and thank you very much.

  thebird wrote:

  First of all a big hello to everyone

  Today I received my new sony F55 and I feel very comfortable with the camera, of course a few things that are missing sill, as the HFR and exposure tools, but that's another thread. Here, I want to discuss, as says the subject, ACES workflow with raw F55.

  And to be honest, I want to keep it as simple as possible.

  Lets start with the basic things:

  0 configuration double shooting (SxS and FIRST):

  1 eat them both

  2 use the SxS equipment for editing in Adobe Premiere

  3. send an EDL "Davinci Resolve"

  -> 4. Relink raw

  This first method you suggest is go to work. I already did with FCPX, it's quick and painless. Shooting MPEG50 to SxS, raw to the AXS. Ingested MPEG to FCPX, then by solving related to the MPEG initially, but the difference between determination and NLE more is that it expects users to connect new media to and makes it completely painless and quick.

  I don't mess with DPX except if you need to share with VFX shots, in this case it is the standard.

  Even then, frankly, I would still make the first method MPEG offline and just do DPX for people who need them, as appropriate.

  #7 & 8 points

  7 - ACES uses an output module to target what is available that you will. So if for HD video, select you the ODT (output to a display Transform) to Rec 708. For the web, you could choose Rec 709 or a sRGB ODT.

  8 - resolve can create quite a few outings, including video MPEG4 (although VERY high speed).

  Will is not always the right tool, but it seems he got cevered to your needs, even the Lite version free.

• FCPX library-media

  Not new to editing, but fairly new to FCPX, I turned on about a dozen projects and try to develop the best workflow for my type of work.  I shoot two types of videos, 1 camera and camera 2-3, on 50-50.  I learned that unlike FCP7 I can link media or bring media in the project through the 'copy' instead of link selection.

  QUESTION 1: After I imported media (and he therefore copied the media to the folder of file FCP project 4 balls, and then remove the media player where the original media was?)

  QUESTION 2: If I use the method of the link, after I close the project and open a different project, whose media are on yet a third disk, delete the original media player as long as I'm not opening this original project?

  QUESTION 3: Is there a way to have this kind of configuration...

  • OS DRIVE (SSD) hosts the library for all projects and all projects, photos, media files, etc. is on DRIVE 1
  • DISC 1 (USB3 SSD) includes all media of these projects, photos, videos, and other media, etc.
  • DISC 2 (USB3 SSD) has all the files rendering of the above

  If the highest possible, how we implemented in FCPX and will that make the 4 small ball library file, or will it still be fat?

  QUESTION 4: If I use the section "copying" to all media files and imported media and had started to edit and made all the tasks are complete, close a library folder of projects within FCPX and then after the closure of FCPX, can move the file to another HD (say a SSD), which has a directory of FCPX LIBRARY with the same name on the original drive and then open the project and start working on it and then move the file back to the original disc LIBRAY and continue editing.  This allows the project to be edited by different people on different computers.  In other words, some libraries projects are located in a folder and move from machine to machine via external portable drives to SSD USB3.

  QUESTION 5: What is the best time to implement 'proxy files' in FCPX to media Import or after the media has been imported from the top menu bar?

  Thanks in advance for all those who wish to take the time to help a pro acting as an amateur, while trying to learn FCPX.

  1 should work.

  2. you keep saying project, but I think you mean library. I hope you mean library. If so, then Yes.

  3. Yes. I don't know what you mean by the 4 ball library file. If you mean the library on DISK OS, then Yes, it remains relatively low. Don't know what you get you're looking to put the files of rendering in DRIVE 2.

  4 depends on where you copied media. If it is inside the library and you pass the library back, it will work, but the copy process will be very long if you have a large number of media. The usual procedure is to have two identical systems with the same name of library and media stored in a file on each system. To move updated information back a transfer library is used. It is a library containing all of the project (using this in the terminology of the FCP) and is used to transmit the information to the other system. Once it is passed to the other person, they integrate it in their library and throw transfer library.

  5. no difference. Create a proxy support when you need it. If you know you'll need, you can create when importing, just make sure that the process of copying and transcoding is complete.

• Problems with still images

  Hi all!

  Since upgrading to FCP 10.2.3, 80% of my images still in the movies and work, the other 20% weird color lines to this topic, see the image below.

  

  I tried to re - register and again add the media to the event, etc. and also deleted the files generated rendering library that did nothing.

  Thank you

  This means that your gpu is unable to manage these photos. Try to use the smallest size photos if possible. If you don't need to zoom in on them there is no need to use photos that are much larger than the size of the image. Tell us your details specific mac and os and fcpx version.