Troy Murison
Forum Replies Created
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None that I know of. Best to consult your audio person, but what I have done in the past is to duplicate your final sequence and then disable all but one audio track in your sequence, export that as uncompressed .wav or .aif or whatever they want, then disable that track, enable the next and export and so on. Then they can import each into their audio app and they’ll all line-up. It’s tedious on your end and theirs. And if you want handles, you have to manually extend each clip, then your audio person will have to be aware that you did that as well as this might just seem to jumble things up for them if they aren’t aware that’s what you did (that’s why I dupe the sequence so I don’t muck up my original). And if you do add handles, make them consistent for the audio person’s sake. Good idea too to export a file with all tracks enabled from your rough mix for them to have as a reference. And watch that you don’t have fades or effects on your clips that you export as stems (unless your audio person wants them there for some reason) cause they won’t be able to undo those choices obviously.
Please submit a feature request to Adobe for OMFI 2 audio export (with or without media embedded, with options for how to handle the embedded media if so chosen (ie: sample rate, bit depth, file type, handles, etc.)).
BTW, it seems there is no support in the public beta of CS3 for OMF or even automated audio-stem export (basically what’s described above but a ‘one-step’ or automated process) so please ask for it if it’s important to you! Maybe CS3 will be easier for 3rd party developers to work with on this front and folks like Wes can bring back tools like the Automatic Duck utility. I sure hope so, it doesn’t appear to be a priority for Adobe.
-Troy Murison
Seattle, WA -
I’m sorry, I should have asked what format, I assumed SD. Depending on what HDV format you shot, the results you are seeing could be how PPro handles things. I don’t personally know ’cause I’ve only tested HDV very little in PPro. All HD formats at their native uncompressed and true pixel size are square pixel which is great. However, Panasonic uses 960×720 and Sony uses 1440×1080 as their pixel size for what’s recorded on DVCProHD @ 720 and HDV/XDCAM/HDCAM respectively. I think, but I’m not positive, that JVC’s is true 1280×720 and is square pixel. Only Sony’s XPRI system can edit HDCAM natively in it’s codec, so that’s not really an issue for most folks using HDCAM- we see it as 1920×1080 out the SDI spigot on the deck. The same is true of DVCProHD out of SDI from a deck- you see 1280×720 square, the deck does the de-squish. But everything else (I don’t know how XDCAM’s MXF files behave- I’ve never seen one) in it’s native format (save for JVC’s I think) is a anamorphic-like thing to save on file size. I haven’t ever tried to export a frame from a HDV project in PPro and don’t have any HDV material handy right now to try, but I bet it’s this issue that’s causing the ‘squishys’. FWIW, I just tried exporting a frame of DVCProHD native 960×720 from FCP and the resulting frame looks anamorphic. I would imagine that this is what’s happening in PPro too. Good luck!
-Troy Murison
Seattle, WA -
So, if it wasn’t shot anamorphic, then your source and preview monitors (and project settings) should be for DV Standard (not Widescreen), right? And you should have 4:3 shaped PPro monitors which show the letterbox, correct? If so, then you should get a letterboxed frame export. If not any of the above and your project is 4:3 anamorphic (DV Widescreen in PPro’s setup dialog when opening new project), but you shot LB, you will get stretched frame exports as the Widescreen 16:9 project assumes a PAR of 1.2 and processes treats the exports as such. But if you shot LB, all of your material must appear to ‘float’ in a 16:9 project unless you scale it up, right? This is what happens here when I test anyway. Is this what you are really wanting to do? As for re-scaling a bunch of stills, you can set up an action in PS to do this easily and painlessly and it doesn’t take long. Or import them all into AE at 1 frame duration and export a image sequence after resizing. Hope this helps a little.
-Troy Murison
Seattle, WA -
This behavior is correct for anamorphic material. This means the PAR is 1.2 and the picture looks distorted vertically in a 4:3 frame. PPro is accounting for this internally when displaying it for you in the source and program windows within a 16:9 project. This same project/material when viewed on a 4:3 external monitor would look distorted as well unless that monitor also has a 16:9 switch or mode enabled. What it’s doing when you export a frame is giving you the true, original frame without adjusting or accounting for the 1.2 PAR. Personally that’s what I would want in that situation so that I then have control in a image editor to make adjustments I see necessary. I would have the control, not the export routine of PPro. I suppose as well that if there were such a export function available that what you may get would be a letterboxed frame.
-Troy Murison
Seattle, WA -
We too have had this condition (1 frame late) on all of our
systems for some time now. Although it is somewhat inconsistent (ie: sometimes
it’s 2 frames late, sometimes it’s right on) but usually 1 frame repeated at
head of either insert or assemble, then program shifted 1 frame late. Audio
remains in sync. Also, this will ALWAYS happen if there is a still/slug/gap/
FCP B&T at the edit in point in the timeline (ie: slate) but is inconsistent
as above if video is the first frame. I’ve searched for solutions and only
found a few references to this problem. Our projects are NTSC (mostly)
but this occurs on HDCAM layoffs as well. Multiple systems, same problem and
has been occuring since I started using them in August. The drivers in Aug. were
v5.6 (I think). Currently on v5.9.2 and every version previous driver has
had the same issue for us. We’ve just learned to live with it and never
insert segments into a master.-Troy Murison
Seattle, WA -
Not that I’m aware of or have ever been able to find. This is a biggie for me
too (I’m a Avid/FCP/others editor) and seems silly to me that there’s no way to
do this. Please submit a feature request to Adobe if it’s important to you!-Troy Murison
Seattle, WA -
Just FYI- I recently went through this using DVD Studio Pro. The links are anything but consistent with working/not working, even on a Mac. Always simulates well, but even on the same machine with a burned disc, it often doesn’t work. Tried on several machines. I knew that this would be the case going in from everything I’ve read, but it was even worse than I had hoped for as far as compatibility. As for actually setting it up in the program, it’s really easy though, so at least I didn’t waste a lot of time! 🙂
-Troy Murison
Seattle, WA -
Where can I get a purple cube? Oh, you did say yet to be discovered….
I only archive what I have to- ie: anything that can’t be recaptured or
isn’t already on a disc or delivery medium that I might have received from
a client. Anything I create or that the client takes back that isn’t from
a tape and able to be recaptured, I archive. That’s just me. Of course if
I captured without machine control or timecode, or there were lots of TC
breaks then I will archive that media too. Of course we usually trim the
project first as well to cut down on storage. The BU media depends on the project-
DVDs, bare EIDE drives, CDR, whatever it’ll fit on I guess. But here’s
how we control it: we tell our clients that their PROJECT file is always backed-up
safely, but ANY assets used in the project are held only for a short period
of time, usually 2 weeks after completion. After that there are no guarantees
UNLESS you want to pay us to archive the material to enable a complete restore
of the project at a later date. On some jobs we also have been known
to build in some time and expenses to archive, but that usually gets cut out
of estimates. Many clients that go for it though end up buying drive(s) for us to
do archive to. Then they own the drives, if they come back later for a different job
they will sometimes blow-over older archives if they don’t foresee needing them or
they’ll add on to a large drive until it’s full, but then deleted the oldest, etc.I guess my point is- build whatever method you use into your project $ if you
always want backups or charge the client for the additional service to cover
your costs at least and hopefully to make a little more $ too.-Troy Murison
Seattle, WA -
Where can I get a purple cube? Oh, you did say yet to be discovered….
I only archive what I have to- ie: anything that can’t be recaptured or
isn’t already on a disc or delivery medium that I might have received from
a client. Anything I create or that the client takes back that isn’t from
a tape and able to be recaptured, I archive. That’s just me. Of course if
I captured without machine control or timecode, or there were lots of TC
breaks then I will archive that media too. Of course we usually trim the
project first as well to cut down on storage. The BU media depends on the project-
DVDs, bare EIDE drives, CDR, whatever it’ll fit on I guess. But here’s
how we control it: we tell our clients that their PROJECT file is always backed-up
safely, but ANY assets used in the project are held only for a short period
of time, usually 2 weeks after completion. After that there are no guarantees
UNLESS you want to pay us to archive the material to enable a complete restore
of the project at a later date. On some jobs we also have been known
to build in some time and expenses to archive, but that usually gets cut out
of estimates. Many clients that go for it though end up buying drive(s) for us to
do archive to. Then they own the drives, if they come back later for a different job
they will sometimes blow-over older archives if they don’t foresee needing them or
they’ll add on to a large drive until it’s full, but then deleted the oldest, etc.I guess my point is- build whatever method you use into your project $ if you
always want backups or charge the client for the additional service to cover
your costs at least and hopefully to make a little more $ too.-Troy Murison
Seattle, WA -
Open the project that you want to append and then choose File>Import and navigate to the project file containing the sequence you want and choose it. This will add the entire contents of that project to your open project in it’s own folder. If you don’t want all of that projects clips/sequences, make a duplicate of it, make changes, trim it, etc., resave and import that project instead. It might be a good idea to back-up your main project too before embarking but this process has worked well for me in the past. Good luck.
-Troy Murison
Seattle, WA