Link workflow

Similar Questions

• link to a workflow of accounting with rules of autoaccounting?

  Hello
  
  Is there a way link workflows generator accounting requisition, purchase order, invoices, etc. for a rule set in projects autoaccounting autoaccounting?
  
  Concerning

  Hello

  There is no direct link between the two tools.
  However, if you use a list of choice located in AA you can see the same search defined by the account Generaor.

  Dina

• No link Speedgrade don't live, WHY?

  No link Speedgrade don't live in June 2016 of first update, WHY? What about Adobe? Subtraction by subtraction. Please let know us where we can hope to see this feature back.  Incredible.

  Hi galactik3,

  No link Speedgrade don't live in June 2016 of first update, WHY? What about Adobe?

  Most of the color work we do that the end has been developed with Lumetri color Panel. You can always use SpeedGrade, it's just that the function of Direct link has been removed. I'm sorry.

  Do not hesitate to create feature requests for panel color of Lumetri here.

  Please let know us where we can hope to see this feature back.

  My comment about the other elements that have been removed from Premiere Pro in the past, is that they usually don't come back. I advise you to do one of the following:

  1. Go forward with color Lumetri for the ranking Panel.
  2. Back to Premiere Pro CC 2015 (9.2) for projects requiring a Direct link workflow.
  3. Continue to use SpeedGrade as a standalone application using the original workflow CS6.

  I hope that one of these options will work for you.

  Thank you

  Kevin

• Direct link to SpeedGrade?

  There is a new command in Premiere Pro: direct link to speedgrade.  What change is signified by the choice of the new wording of "send to" "direct link"?  There is a dynamic link between first and Speedgrade?  I have not seen anything to that effect in "what's new".

  [Title of the corrected thread.]

  Post edited by: Jim Simon

  Hi fomovideo,

  Welcome to the forums.

  Please see the link below wwhich will give you a brief idea about this feature.

  http://helpx.Adobe.com/SpeedGrade/using/direct-link-workflow.html

  Kind regards

  Vinay

• "Place and link" and buttons?

  Hello

  In my effort to simplify my DPS workflow, Ive worked with much linked content and Ive noticed something curious.

  I create an indd file with content that has buttons in it. I connect then to ensure that the content of a folio specifically in a setting indd file floating. My reason for being, when the inevitable changes in the content here, I have no unpacking the frame floating, but rather can make the changes to the linked file and update the content linked in the folio file.

  All content is displayed correctly, but the buttons do not work. I could understand it if they were targeting a State of the object, but they are not connected to a MSO, they just navto: / / to other articles (that is, navto://Contents.)

  IM I doing something wrong or is it just how it is. No work around?

  Thank you

  DW

  I can get the "Place and link" workflow * at work, including the navto: / / buttons, but I really don't like this method. I'd rather select and cut the content frame, pasting it into the editing table, editing and then cut and paste in the container, which stores its settings. You'll want to check your button actions to ensure that they are kept.

  Another approach - which is especially useful for shares of MSO buttons that are lost when pasted - is to add the frame content in a group with two dummy buttons. When you want to change the frame of content, use the layers panel to frame dragging content out of the group, make your changes, then drag it into the group. (You need two dummy in the group pictures because a group needs at least two objects to remain a group).

  

  It is a good topic for a blog post. I'll write and post a link when I get the chance.

  * I have increased the size of the vertical timeline, the content time given in the editing table, set it to auto size, chose to change > Place Link, glued, cut and pasted and then as part of the container. When I change the source image in the editing table, update the target framework works, but I must reject one or two substitute messages. Maybe someone else has found a better method.

• Adobe Media Encoder CC 2015 slow rendering time

  Hello!

  I'm new to video editing in general, but I'm quite intimate with the PC hardware so here.

  Specifications:

  • The stock of 4770K i7, no thermal regulation speed
  • 8 GB 1600 MHz CL9 DDR3 RAM
  • GTX 780 + 170 MHz clock and 110% limit/95 degrees C temp power target
  • Driver 368.39 used
  • 3 x Samsung 840 EVO (no raid)
    • Windows 10 64-bit running off SSD1
      • PE/AE/SOUL installed on this drive
      • Cache / Scratch areas on this drive
      • Images under development
    • SSD 2
      • Games
    • SSD3
      • Games

  I save images using shadowplay NVIDIA from a 75 Hz screen 2560 x 1080. The output file is a 1920 x 1080 60 fps 35Mbps bitrate H.264 MP4 file. (1920 x 810 with black bars).

  I would add that sequences Adobe Premiere elements 14, do any editing that I have to do, and then export it to a file of bitrate MP4 1080 p H.264 12Mbps. The rendering process usually take around 10-12 minutes to 6 minutes video.

  I then add this file to output in Adobe After effects CC 2015, create a composition with drag and create a button, add a few layers of text and export it via Adobe Media Encoder CC 2015 (AE supports native H.264 from what I understand) with the SAME PARAMETERS. But this time, and I estimate that I type here, render times are 40 minutes.

  I ran a few tests and in the course of the first to make the CPU turns to about 80% CPU and the use of 1.8 to 2 GB, as I watch often some youtube in the meantime, so that understandeably not 100%. However, to the course to make AE/SOUL, le CPU CPU remains at about 30% CPU and 1.8 GB ram usage. With the help of the Mercury Playback Engine GPU Acceleration (CUDA) I expect to see more high on my GTX 780 loads, but he is 2-3% of load, so anything.

  Since my render outputs are (to the best of my knowledge) identical between the EP and shall return AE/SOUL, it seems that the use of material by SOUL is in this case. Other posters have suggested that some effects require the previous frame to be returned to pass, but I have not used such effects, are limited to simple text.

  So what's happening? I would appreciate any insight you have on this and I stand ready to provide more information that you need.

  Kind regards

  Corentin Robin wrote:

  First of all, wow. Thank you so much for the depth and quality of your response! If everyone had that kind of mentality, forums would be a very different place...

  No problem! That's why I'm here.

  It is certainly useful that you said your question clearly, with a lot of info and he asked respectfully. Quantity of, "why his does not work u should help me solve this NAOW! 1. 1. ' messages with no information is astounding.

  Corentin Robin wrote:

  I'll try to be to condense my game data on a single disk or both and use the third exclusively for editing. Or I could buy a new one, if the budget allows.

  This would be ideal. In my freelance studio, I have three separate units

  1. OS/software
  2. Footage
  3. Cache (if there are different types of player, it should be faster than you [I know your are currently all the same, it's more for future fans forum])

  It will probably not help much for the rendering speed, but it should help when you're interacting.

  Corentin Robin wrote:

  Before moving on to something else, I want to explain what I'm doing with text. I add text and overlay video, with sometimes a few very basic motion tracking (I can't forget this feature if I need). To the best of my knowledge, PE lets just add a black screen with text over time, like on a Blackboard for example. No text overlays/over-the-video (if it has no meaning...). So respect that, Premiere Pro have these features? If so I could make the switch.

  Certainly, you should stop using the Premiere Elements and start using Premiere Pro. Not only it gives MUCH more flexibility in the work, but you can layer objects of type as much as you want on top of your film.

  He was also transparent enough with AE. By example, if you have a shot that you want to add text, you could cut the part that would have text and simply right-click and choose "replace with After Effects composition. That images will be replaced with a dynamic link to a model of EI that already contains the images that you are handling. You save your AE project and results will be displayed immediately on the first! It's really convenient. If you want to keep this direct link, you can. Or if you are sure you are finished with AE work and wants to read smoothly at first, you can choose to make and replace it. It restores an intermediate file to AE and replaces the model tied first with her. VERY useful feature.

  If you keep track of movement, you probably want to use AE. Although you can make an animation in Premiere Pro, AE is much more suited to do. And if you start to get really fancy, you probably want to do some rotoscoping too.

  Corentin Robin wrote:

  I understand that EI requires much more accurately, and the way you explained it enabled me to understand one of the big question I had with her, which was "why reading in real time is so difficult in AE? You answered that perfectly, cheers!

  There is much more detail in the fact that I could get! Basically, AE must first build a cache, and then he reads. Maybe I should have said that. It is even simpler and shorter!

  Corentin Robin wrote:

  On the issue of compression, I realized that the work of a compressed codec is not ideal. My gross output of Shadowplay file was indeed H.264 because I believe that is the single output file, it allows. I don't think I can do without shadowplay for now because it has unique characteristics which cannot be replaced:

  • For extremely low hardware with Nvidia drivers
  • Ability to retroactively save a video after an interesting "keep-worthy" event, to avoid recording 24/7 in the hope of something interesting

  Those who do not sound like some very useful features. Just make sure that you get quality settings in the codec to achieve a data rate as it allows.

  Corentin Robin wrote:

  Also, to continue on the issue of compression, I got mixed responses regarding this. Some, like you, would say that working with H.264 sacrifices quality and performance, but some say that it is not a problem since the youtube compression will be severely disfigue the file in any case.

  YouTube can recompress, Yes. But if so, it adds ANOTHER layer of compression. That would be an argument even more important to preserve the quality of your side as much as possible.

  Corentin Robin wrote:

  I think my question would be: I would win a much higher quality using Fraps/Dxtory where I can control the settings of the raw images (keeping in mind I lose the comfort of ShadowPlay) even though the compression of Youtube should (I think?) disfigure this film?

  I think that the benefits of ShadowPlay outweigh the concerns that I had about compression in only one step. I still say don't do any other steps in making H.264s again and again that you transmit your project between applications. If you need to make something (you won't have to if you start to use together the Premiere Pro and AE), renders an intermediate codec until you create your deliverable.

  Corentin Robin wrote:

  So, keeping in mind of all of your suggestions and the constraints I have / has chosen to conform to, I should:

  • Have the work files on a separate disk, with areas scratch on this drive or free
  • Replace PE PP to eliminate the need for the AE and have only a single record
  • Since a single rendition is necessary, it is therefore more a real need for an intermediate codec low compression/lossless

  Yes. Although, you can still use AE, you have eliminated the need to make the intermediate files if you use Premiere Pro and AE set.

  In addition the Dynamic Link workflow I mentioned, you can also (once you have finished your editing in Premiere Pro), your Premiere Pro project import into AE. Use import > import Premiere Pro control project. She puts your complete sequence in AE with each cut on its own layer. You really need to do if you started to do really complex with your AE work if.

• Hearing 2015.2

  I would love to see the full list of the new featuers & changes made in this version of the Audition, but I did not find this info anywhere - anyone got any ideas? I'm especially curious to see if the "dynamic link" workflow between Premiere Pro and hearing has been improved.

  see you soon

  Hi Duncan,.

  We have fixed a number of bugs with the first-> hearing DynamicLink workflow (e.g., multiplexing a few clips and track combinations).  Is there anything you particularly interested?  Hearing has also improved its import of MXF and MPEG2 video formats.

  New in this version is a workflow DynamicLink of hearing to Adobe Media Encoder.  So if you're someone who first-> Audition-> first-> export in the SOUL, you can now skip the step where you have to go back to the creation of export your final video.

  If you want to use DynamicLink between first and hearing, you'll want to keep these versions synchronized. Agency CC (9.0) 2015.0, 2015.1 (9.1), 2015.2 (9.2) works with hearing CC 2015.0 (8,0), 2015.1 (8.1).  Considering that new versions of body 2015.3 CC (10.3) and hearing CC 2015.2 (9.2).  I know it's a little confusing, but just wanted to point that out. Note that when the first Pro bumps its internal version 9.x to 10.x, *.prproj project files are no longer backward compatible. So if you update your *.prproj then you will not be able to easily return to Agency 9.x.  I think that's going to be the biggest factor determining if you're in the middle of a project.

• Not able to see the flowtrace of instance to SOA

  Legends of dear,

  I am facing the following error when trying to open an Instance in MS.

  Error 500 - Internal server error

  Of RFC 2068 Hypertext Transfer Protocol - HTTP/1.1: 10.5.1 500 internal Server Error The server encountered an unexpected condition which prevented him from meeting the demand.

  I tried the following solution from the link "workflow trace detail page not available in the console em 11 g" but this has not worked for me.

  Additional log error message is

  [< HTTP > < soadev1.host.com > < AdminServer > < error > < ExecuteThread [ASSETS]: '10' for queue: '(self-adjusting) weblogic.kernel.Default' > < < WLS Kernel > > <>< 8269d793bf7c33c4:3efd4534:144d3f14718:-8000-00000000000002ab > < 1395127288540 > < BEA-101017 > < [ServletContext@1921707448[app:em module: / em path: / em spec-version: 2.5]] Root cause of ServletException.

  java.io.IOException: closed stream

  Other Information: we have Servlet called 'SOAAuthEchoServlet' has been canceled for the last month, but between the two reboots as made, perhaps this might be a reason?

  Thank you

  Knockaert

  

  Hello
  We have known that 'FlowTrace.jspx.xml' file is in format 0 under ' / u01/app/oracle/product //user_projects/domains//sysman/mds/partition1/AI/sca/share/audit/mdssys/customer/user // '.

  I tried to solve the problem by replacing the "FlowTrace.jspx.xml" which is located under ' / u01/app/oracle/product //user_projects/domains//sysman/mds/partition1/AI/sca/share/audit/mdssys/customer/user // ' to our TEST environment. But still, it should be
  1. how and why the file size went to 0?
  2. in the future how to avoid that?

  The MS error logs

  [oracle.sysman.emSDK.view.errPopup.ErrorPopupUtil] [tid: [ASSETS].] [ExecuteThread: '0' for the queue: "(self-adjusting) weblogic.kernel.Default"] [username: weblogic] [ecid: 8269d793bf7c33c4:17104fd5:144d5e434df: - 8000 - 000000000000008 b, 0] [APP: em] closed stream []

  javax.faces.FacesException: java.io.IOException: closed stream

  Thank you

  Knockaert

• First sequence to AE Pro

  When we use the dynamic link of AE import to the sequence of the first PRO CS6, then why can not see the changes and the effects added in the chronology of the AE?

  If we import just EI as a file, then all the effects are simply align underneith each other in a big package.

  What to do to see the effects added in the AE timeline, so that the other effects can be synchronized we them?

  Can anyone help?

  The dynamic link workflow is for taking your raw video into AE for effects processing. Premiere Pro effects and titles are not. They are not compatible.

  The workflow that makes the most sense is to start a sequence in the Organization, select a picture or a few shots, then replace with After Effects Composition. Unless the effects are simple, I usually then make the model of EI and replace the images in the chronology of the organization.

• Related Comp slow down rendering?

  In a video that I'm editing, I have about 30 seonds worth of related compositions (After Effects). Compositions all have Rotoscoping in them also. Everytime I try and make the video it makes up the composition. I also tried to make it in the timeline panel and it's the same thing. I never had much trouble with before related comps, but I got this number in a video before. Any ideas?

  Replace your model dynamically linked by digital intermediate.

  See this thread. Pay attention to Todd comments on the dynamic link workflow.

• Workflow for new question now that the Direct link is gone

  Hello

  Im a little confused as to how it should run a basic workflow classification of images that will go in Premiere Pro.

  Raw footage before a rough cut of grade?

  If you rank images after a rough cut by opening SpeedGrade & selection of images, when recording done this car get ingested in Premiere Pro (this is not the case for me)

  What's confusing me is the fact that Premiere Pro & Speedgrade don't seem to work more closely together through the direct link. (understand that maybe it's better for the pros)

  Thanks in advance

  Todd

  They a big chunk of things with us when the version 10.x of 2015.3 came through... Remove the link Direct process where SpeedGrade could open a project file PrPro. What left us with is either using the Lumetri in PrPro Panel or EDL export out of SpeedGrade, or go with an XML export using say Resolve. When the 'official' processes, at least. There is a 3rd party solution it's much easier, faster and elegant... and I will mention that below.

  -L' workspace from the Lumetri in PrPro panel color is pretty cool... for what it can do. It's a mashup of Lightroom UI and colorist quasi tools under the hood. He can do some nice stuff on sequence by sequence. For smaller projects, this is a solution viable even once you know how to use it. Especially if you are using an external control panel, such as the ripple of tangent, which makes the process much faster and much more intuitive to do.

  However, if you need real shot in scenes, multiple secondary on a certain clips, or have 100 clips to the rank, it breaks down or is just too slow to be profitable. I show you how to create a sort-of-especially for the shooting, but it is much slower and less accurate than shot-caller in SpeedGrade or resolution. Stacking of instances of Lumetri or through the "main" clip or on adjustment layers works to get additional secondary & effects, but... also add much and you severely hammer your playback performance.

  -Release of SpeedGrade of PrPro EDL is a release of 'old' style and requires that you export an EDL (edit decision list file) which is then opened by SpeedGrade and choose one of the two methods of work in SpeedGrade. (There are also several fussy settings that must be correct before importing the file into Sg, or it simply rejects the file/process).

  1. The first creates a file 'flattened' within the PrPro and export of this possibility, and then import this file as well as the EDL in Sg. SpeedGrade uses the EDL to align the points 'cut' between the clips to the sequence of return in PrPro, to allow you to grade and knit to dissolved & such. You may not include securities and the lower third of the flattened file. After classification, you export the SpeedGrade file import into PrPro and then use to replace this track 'flattened' in your project, such that your titles and other effects & such on the other tracks are now properly displayed and used.
  2. The second is to export the EDL PrPro, and then import that, in the Official Journal, use the media in Sg Panel to access import clips/various media project and hope that Sg 'sees' them all properly and can automatically "conform" them in the project. You may need to do some in keeping text books (selection and including files).

  -XML to use a different application of ranking, say Resolve, is to export XML from PrPro, collecting the media in a particular folder for easy consistent within the will, openness, import the XML file, then add the media used in the process of the process in line with determination. Once completed the classification, you export a file off to bring in similar to the above listed export EDL file PrPro and replace your chronology of base with this release.

  Colorists figure indicating an ad with clips from 70 to 100 that will be '' similar '' in an XML file will be from 30 minutes to two hours properly "compliant" within the will. This moment is just considered part of the cost of doing business. Literally. Charged at the time, of course. Better editor work done to prepare the trimmed project within the determination, the less time they pay for the wizard to load & preparation of the project for the colorist.

  This above is the official method we have to work. EDL and XML export process is of course still all heavily used in "industrial" situations, where an editor is in a House after and the colorist in another... or really, even within the same House after. They take time and are a bit complicated especially if you work as a one-man show, where you can spend the time to prepare a project to make your own consistent in the application of classification, then finish the "round-trip" PrPro for final assembly work and export.

  For especially small shops, Direct link was... heavenly.

  There is, however, a way to always use the "shape" of the process of link Direct with most of the projects, and it's a very small 3rd party app created by another user of SG and mentioned on this forum. It is discussed and linked to in this thread of Sg forum:

  Project of creation/Speedgrade conversion tool

  What enforcement... open it on the desktop... drag and drop a project of the 10.x PrPro file built 2015.3 or 2015.4 on the application... it automatically saves and increments the file in a new project file, the conversion of 1 a character in header of the project file so that Sg 2015.1 will 'see' the file as a version 9.x and work with it.

  Do your work within the Sg, then save this file when it is done. Drag and drop than even the file on the app and it CONVERTS... new economy/auto-increment of the file, change this ONE 1 return character as well as PrPro 10.x will see the file as native file and work with it without having to convert it into a new project file.

  There were several hundred downloads, and the only problem I've heard of so far is that comps AfterEffects can fritz. Well, there is a way around that, already used by many editors I know who systematically Ae comp work for projects PrPro: rather than including a model of Ae in a sequence, they make the Ae but export work "comp" directly from Ae in the codec they use for their project, and then replace the original item by this export of Ae on the sequence itself. Typically, it plays easier back and exports with fewer potential problems anyway. More... If you want to redo the comp in Ae, simply open this model even once, your new work and another export or replacement operation.

  With the panels of the ripple & elements, there are much more of my little projects which may remain within PrPro and where Lumetri works very well. However... a marriage? UH... No. All the shot-matching and secondary and stacked effects and such that I'm used to using in Sg can be done in Lumetri... but much slower to accomplish, and by using stacked Lumetri which slow down playback visibly.

  So... I use the two Lumetri in PrPro and if necessary, novel of Patrick and delicious little program also operate at the breast of the Sg without EDL/XML and flattening/export/consistent/round-tripping in this way much longer.

  Neil

• Re-create a media (workflow idea) link

  I have an idea of workflow, but would like to confirm that it works before you jump right in and start using it.

  Let's say I have the photo in Google Photos and LightRoom. I accidentally lose my files on my hard drive. Can I then upload to Google pictures and recreate a link to them within LightRoom and keep the photo and all my changes?

  Hi bryced,

  Yes, you can do it.

  Please see the link: How to find missing photos in Photoshop Lightroom

  Let us know if that helps.

  Kind regards

  Mohit

• time zone problem schedule vCAC Advanced Service Blueprint, VCO Linked Clone Workflow, setting

  If I have problems when you request a catalog from a VCO workflow built-in VCAC article.  I use the workflow VCO "Linked Clone, with a single NETWORK card and Windows credentials" located in VCO under vCenter > > Clone > > Clone bound > > customization of Windows.  I can go through the workflow very well in VCO, but I want to make it available via vCAC.  When I try to download a virtual machine using workflow, the application process fails using the form in the time zone of the form section.  There seems to be a problem with vCAC questioning vCO for doing the research for the appropriate time zone setting.  The application works very well since within vCO, but not inside vCAC.  Thoughts?

  Jeremy

  I ended up using a vCenter customization specification to achieve this.  It turns out that the specification is as a safety net that will configure everything that is defined in the specification, unless there is a custom property configured on the action plan for this setting.  If this is the case, the custom property takes precedence.

  Jeremy

• How to connect the media moved when the link media workflow does nothing

  I have a project that has moved me to someone else, how do I link media files paths to point to the appropriate support? I tried to use the Media Link window with media browsers and operating systems and I can navigate the correct path and same media browser said he found the right file, but is that it works. By clicking the OK button in Media Browser does not anywhere, the window search just stay there. All / idea on how to get rebinding advised? I'm on the Windows of the first Pro CC 2015.2 version.

  Thank you

  -Teemu

  That's what he should have done, but instead of it he has chosen to do nothing. By clicking on the OK button just clicks on the button, but nothing happens. I ended up uninstalling all versions on first Pro and After Effects (projects running which were with previous versions) and resettlement, and now I can finally create a link to the media files. AE-projects media files were in them, and apparently the dynamic linking did not like the combination of the first Pros and Efter effects I already had. Reinstall all the versions have a dynamic link to life. It would have been nice if Pro Prime Minister had said something in the line "could not initialize binding dynamic.." instead of nothing doing and don't give any feedback what so ever, just my 2 cents. Anyway, problem solved.

• How to link several workflows vCO to a state change worklfow vcac?

  I would like to be able to bind more than 1 process of vCO on measure for the change of State of ExternalWFStubs.BuildingMachine but vCAC allow me to do what (name of change workflow state is already in use, therefore preventing me to add another value to this custom property to the level of the action plan).

  Is this possible? I have 2 separate changes of workflows customized that perform different actions to be run during the State of the building; 1 create a new DNS entry while the other creates a new computer object in AD. For the record, I also have another vCO custom workflow that runs during the change of State of ExternalWFStubs.MachineProvisioned, so is not an option.

  Do I need to combine all Actions in a custom workflow vCO and then associate this workflow with the change of State of construction Machine (Stub) WF...?

  Thank you. Ron

  Update

  I answered my own question part. Combining all the workflows in 1 custom vCO will do. I would still know, however, if there is an easier way to achieve this goal by combining (maybe) vCO several Workflows to the same ExternalWF Stub... ??

  Thank you. Ron

  For what it's worth, I have just a "workflow" 'root' for each stub (buildingmachine, alienate, machineprovisioned, etc.) which will open then any number of subsequent workflow. I find this easier method follow the workflow is executed. You also have the advantage of executing asynchronously things if they are released in the same root workflow.

  Finally, you can control the order in which workflows run and can be creative in when they run. Consider the example:

  

  The code in the ' do this? "decision could be:

  return (updatedProperties.keys.indexOf("RunWorkflow1") > -1);
  

  and "Run the workflow code 2?" is:

  return (updatedProperties.keys.indexOf("RunWorkflow2") > -1);
  

  Now, if I add the custom property "RunWorkflow1" to a plan of action / draw up profiles / property custom, it will run ' Run Workflow 1 ", then jump on the other and complete. Similarly, if you want to run the workflow 2, simply add another custom property RunWorkflow2 in the action plan.

  If you are designing in this way, it allows you manage 1 workflow root while still customizing plans to do different actions.

  Hope this helps,

  James