Sharpening Still images

I've heard that still images should not be sharpened before importing to FC as they tend to pixelate and will 'shake" during TV playback. Question: If I start with RAW file, bring in as a Tiff, should I sharpen just a little (e.g. a minimal amount in detail section in Lightroom (say 20 or even 15) , or 80% with .5 radius in Photoshop -- or not at all? Can someone be specific about this? How bad is this "flicker" thing? Is it visible on the WEb too?

The flickering is an artifact of the two field structure of interlaced video. It is a result of very thin (often horizontal) elements that exist on one scanline as is common in text or titling. This can also be the case in images with great deal of detail with high contrast as well as when when you are engaged in pan/zoom moves. (Sharpening can make this WORSE as what sharpening is doing is creating higher contrast between adjacent pixels to create the impression of edge detail.)
As the alternate fields play, the flashing element is essentially being turned on/off. The basic strategy is to get the element to exist over two scanlines so it is refreshed every time the field plays or to reduce the amount of contrast so the difference between ON and OFF is not noticeable.
Before you start any of these steps listed below, make sure you are viewing your material on an appropriate monitor. If you are working in an NTSC/PAL interlaced format (eg DV) you need an external TV monitor - not a computer screen. Without the appropriate device, you are playing blind.
Things to try (In increasing order of image degradation)
• (in FCP) field order>none
• (in FCP or Photoshop) reduce whites by 10% - reduces overly bright areas
• (in FCP) flicker filter - minimum
• (in Photoshop) motion blur>vertical> .2 - .5 pixels - blurs vertically only
• (In FCP or Photoshop) Gaussian blur> .2 - .5 pixels -blurs both horizontally as well as vertically
• (in FCP or Photoshop) deinterlace - throws away half the image and is generally not appropriate on scanned images
One tip when using blurs - if the problem does not involve the whole image, try using a mask to limit the effect to just the necessary area. This will keep you from softening the whole image.
Remember: Unless you are viewing your work in the appropriate external NTSC/PAL monitor, you are playing blind. The computer monitor only shows you a proxy image.
One final thought, if you have only used FCP to slow (retime) your video significantly, you may be simply duplicating frames to create the additional material to pad the playback. The flashing (strobe like effect) you see is the result of this. In that case, try using Motion or Shake's optical flow retiming to process the image. It will produce better quality product.
good luck.
x

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Still images snap into focus

I'm using a number of still images in my project. Upon export to QuickTime, the images look fuzzy until they've been on screen for a few seconds, at which point they snap into perfect focus.
Searching the forums, I couldn't find an answer, though I did find a number of questions about still images. So before you suggest that I've created the images at too high a resolution...
I've created the stills at approximately the correct size to import them without problems. I still haven't quite figured out the right dimensions (I don't know why this is so hard), but I'm close -- these are definitely not too large. I have scaled them a little within FCP, but again, I don't think that's the problem because the image does sharpen into perfect focus eventually -- if the image is on screen long enough.
I've also exported using many different codecs (including none), so that doesn't appear to be the issue either.
I've had this exact problem using iMovie -- I was hoping it would go away when I moved up to FCP.
Anyone else experience this and discover the solution?

Please detail your workflow...
-Exactly what versions of FCP/QT
-How are you creating/acquiring your stills...what program did they come from, how were they created/exported?
-What are the specs for the stills...file type, image size...etc.
Is there ANY chance you've somehow applied some type of filter to the files.
Very strange sounding behavior (which I've not seen either), but with some detailed info, someone here should be able to figure it out.
K

Adding animated gif to a still image, how do I do this?

I used to know how to do it, but I've forgotten.
Example: The person who told me how to do it had taken an animated gif (butterfly) and placed it on her breast in a still photo of herself. I know that she used Image Ready and as I recall, she created the same number of frames of the still image as the animated butterfly and then she somehow merged the two together. Can someone help, is there a tutorial somewhere? I'm using 7.0 by the way.
Thanks,
Ray
P.S. I also remember that it had something to do with linking the layers so that you just needed to place the first frame in the sequence and link all the other layers to it, but I'm totally lost now!

I don't believe that PS 7.0 supports animation, 'least I don't know how to use this function if it does. That is why I remember using Image Ready to do it. In Image Ready you can use any animated gif file to do what I want, I just can't remember how I did it. I do remember that I had to take my background image and duplicate it to get the same number of frames as the animated gif file, but I don't remember how I merged the two together. It had something to do with placing the first frame of the animated gif where I wanted it on my background and then using the link tool in the layer box to link them together, that way I didn't have to place each individual frame of the animation on to the background and avoid an alignment nightmare. I sure wish I would've taken notes!
Thank you for your suggestions.
Ray

Large Still Images into PE - One Workflow

Everyone wants the highest quality that they can obtain when doing their videos. It’s natural to want the best. Well, when dealing with still images, bigger is not necessarily better, for two reasons. First, overly large still images can really tax a system and second, one is limited to the frame size of the video, so these have to be resized somewhere - this resizing can be in the NLE (Non Linear Editor) program, or in an image processing program like PS (Photoshop), which does a better job anyway. Doing this in PS, or PSE, will result in better resized images, and they are easier for the NLE to work with. Quality is as high as your Project’s Preset will allow, and you are more efficient, with fewer crashes, slowdowns and hangs. It is a win-win situation.
Here is my normal workflow when dealing with still images. This workflow is for NTSC 4:3 720x480 with a PAR (Pixel Aspect Ratio) of 0.9. If your Project’s Presets are different, use those specs to resize to.
Since I shoot my still images in RAW, I Copy my files from the CF card to my system and catalog these images by location, subject and date (if necessary). I’ll do a quick conversion and Save_As Adobe DNG for backup. I then process these RAW images in PS with the ARC (Adobe Raw Converter), correcting them and then doing a Save_As PSD into a sub-folder. All of this is in my still photo library.
Normally, I will edit these PSD’s to find the images that I wish to use in a Video Project, and will Copy the selected images to another folder. You’ll see that I work with a lot of Copies, so my original files are always untouched and stored elsewhere. This guards against anything happening to them.
At this point, I’ll decide how I wish to use these selected images in my Video Project. Let’s just say that they are all horizontal images, and are still full-size from my camera. As stated, my Video Projects are DV-NTSC 4:3 720x480 PAR 0.9. [Remember, your Video Project may vary, so you will need to plug in the dimensions for YOUR Video Project in that case.] I also will have done my Cropping on each image individually, to get them to 4:3 Aspect Ratio. I do this my eye and by hand, rather than via an Action, because I want full aesthetic control.
In PS, I have a set of Actions for Video. An Action is like a Script, but less powerful and less involved in the writing. As I have already done all of my image enhancements and additional processing before I did my Copy to the selected folder, I only have to worry about my Action resizing these selected images for use in my Video Project. My Action here is to resize to 720x480 with a PAR of 0.9, and I normally use the Action that does this with a particular resizing algorithm, Bicubic-Smoother (though I also use Bicubic-Sharper on occasion).
For the next step, I go to my folder structure (remember, this folder contains copies of my selected still images in PSD format), and create a new sub-folder "[Project Name]_720x480." Back in PS, I choose File>Automate>Batch. Here I set my Source Folder, my Destination folder and the Action to perform. In my case, it’ll be the Destination Folder, that I just created, [Project Name]_720x480, and my Action will be my NTSC 4:3 720x480 Smooth. I check to have the Open command by-passed, because I do not need to see this take place on my monitor. When I hit OK, PS grabs all files in my Source Folder, runs the commands of my Action and does a Save_As for all files into my Destination Folder. I can process hundreds of large images down to a great 720x480 PAR 0.9 via Bicubic-Smoother interpolation, in moments. Now, I’m ready to go. Last, I Copy my Destination Folder to my Video Project’s folder hierarchy (usually on another HDD), and then Import these processed stills into my NLE.
What if I need to pan on one, or more of these images, while they are zoomed out completely? I don’t have enough pixels in my horizontal dimension to do this. I am just filling the frame with my still. Well, if I find that there are such images, I go back to my folder with the full sized images in my still images library, and select the ones that need to be larger. I run another Action on these, but it’s one that resizes to something larger than 720x480, say 1000x750. Now, I have another Destination Folder with the name [File Name]_1000x750. I’ll Copy this over to my Video Project, and Import these into the NLE. Here, I can go to Project Panel and remove the 720x480 versions if I so choose, but since a Premiere Project file (.PRPROJ or .PREL) is only an XML database, I may just leave them. It does not contain any media files, just links to where they are on the system and to what operations are performed on them.
By doing my resizing in PS, rather than in Premiere, I have accomplished two things:
1.) I have better quality resized images, using the algorithms in PS, plus have a choice of several interpolation methods to work with.
2.) I have lessened the processing load on my NLE and on my system, while doing the editing
I get higher quality and lower resource overhead - hence my reference to "win-win."
Now, back to my aesthetic control. I do not do any automatic zooming or panning. If one allows the NLE to do this, then they will want to probably process all of their images to 1000x750 (remember, this is for an NTSC 4:3 Project, so you will need to calculate what YOUR Project will require).
The two programs that I use are Photoshop and Premiere Pro, but Photoshop Elements can do the same things, though the exact commands might be different. Premiere Elements will handle the resized still images, just like Premiere Pro and the only difference will be the terminology used when one wishes to Import the still images.
I also keep all of my images in .PSD (the native format of PS), and do not convert to JPEG, or other. If one’s camera shoots only JPEG, I suggest writing the Action to do the Save_As to .PSD, as another JPEG compression will cost one quality. Yes, the JPEG’s will be smaller, but remember we are looking for the ultimate quality, so larger file sizes are just part of that equation.
One does not have to deal with all of the Copies, as I do. However, this allows me to go back to the originals, or to the processed full-sized .PSD’s at any step along the way. There is only one thing worse than not being able to go back to an intermediate version with full Layers and Adjustment Layers, plus any Alpha Channels, and that is finding out that you’ve lost your original RAW and DNG backups! That’s why I do a lot of Save_As and also work from Copies all along the way.
Hunt

Your workflow looks good. I do similar, but use PS, in lieu of LightRoom. I also do DNG's for my archives.
Provided that one chooses a JPEG compression algorithm setting that does not do too much compression, I doubt that anyone, but the most very critical, could tell the difference in Video. Most of my tests on PSD vs JPEG have been for print. There, one can more easily detect the differences. Video "hides" some of that.
To date, I have not had a Project where the Asset size differences between equally sized PSD's vs JPEG's caused any slowdown, or problem. There could be a resources savings with the smaller JPEG files, but there is a tiny bit of overhead dealing with the JPEG compression. I have never tested this, so can only guess that the smaller Asset size of the JPEG would trump that overhead - just a guess on my part.
For me, keeping the images in PSD does save a tiny bit of work in my Action (basically one less operation to perform), but I doubt that one could measure that time difference, even over the automation of hundreds of images. Besides, it's only one additional line in the Action. My feelings on JPEG vs PSD is firmly based in my print experience, and I am probably being too critical with images going to video. When I move up to HD and BD authoring, I need to apply a very critical eye, to see if I can tell the differences on an HD TV. So long as one does not apply too much JPEG compression, the differences should be very slight, at the worst, and maybe not even noticed, at best.
I do minimize the impact of many files on my Project by sizing to what I need. If I will not be doing any pans on zoomed-out images, I size to my Project. For pans on zoomed-out images, I calculate just what I will need for those pans, and might end up with several groups of sizes, to accommodate each. Still, the vast majority will be sized to exactly what I need for the Project - very few extra pixels.
In my case, and yours too, I have my RAW, my DNG, my working Layered PSD's, and then my sized output. I always keep all working PSD's, as I might change my mind, or my client might change theirs, and I do not want to have to go back and redo work, if I still have those working files. I also do as little destructive editing, as I can, using Dupe Layers, and Adjustment Layers, whenever possible. If I can, I never Flatten, or Merge Layers, so I can make any/all changes at any time, and only have to do the resizing via the same Actions. That is basically a "one-button" solution, once I have made the changes required.
Good luck,
Hunt

How to Work With Still Images in Premiere Elements 10

I am struggling with the still images in my Titles for my video project, and would really appreciate some help. I have done a lot of googling on this and searched this forum, but can't seem to find the answer I need, maybe not searching the right questions or just "not getting it". Not even PE Adobe tips or Adobe TV cover this, although it seems important to know. I am not clear how PE10 will handle the resolution of an imported still image or graphic art from Photoshop. Perhaps this topic will also help others as well.
I am working on a video project for my job, editing an old training video. Created new Title graphics in Photoshop, inserted the Title images and integrated with video clips, then exported the video segments as MPEG files. I burned the whole video to DVD.
When the final DVD plays on a computer or TV screen, the photo images in the titles are fuzzy even though they were clear 300 dpi images. (I know dpi doesn't matter in video). The title text is also a bit fuzzy and the title text that has animation applied to it is even more fuzzy. Yet the old MPEG video clips look fine - it's just my title graphics and text that look bad (embarrasing).
So I need to know how to improve the quality of the still images/graphics for a video??
Project settings:
- Hard Disk, Standard 48kHz
- Editing Mode: DV NTSC
- Frame: 720 x 480 (0.9091)
- Frame rate: 29.97fps
- with "Optimize Stills" box checked
Using these settings because I am working with MPEG files from an old training video CD.
File Export: MPEG, NTSC DVD Standard
I export the video clips as MPEGS because they will be burned to a CD or DVD for distribution to our staff offices.
Work Details:
In Photoshop, I created still image graphics for each Title sized at 720 x480 with high resolution photos and company logo (300 dpi), and save them as a bitmap to import into PE10. In the Timeline, I insert the still image in "Video 1" track, then in Video 2 track create a Title over it for text (some animated, some still). Sometimes I stack 2 or three titles with text in separate video tracks over one still title image. Yes, there is a red line across the top in the Timeline because I didn't render the still images.
Questions:
• What is the best resolution for images imported into PE10 from Photoshop?
• Should I be creating title graphics/images at 720 x 480 or a larger ratio like 1920 x 1080 so it will display better when seen on a computer or TV?
• Do I need to render each title image in the timeline so that it will eventually display better in the MPEG?
• Is it better to create a title and then insert the still image into the title so they are integrated, rather than layered on separate video tracks?
I would greatly appreciate any assistance.

When the final DVD plays on a computer or TV screen, the photo images in the titles are fuzzy even though they were clear 300 dpi images. (I know dpi doesn't matter in video). The title text is also a bit fuzzy and the title text that has animation applied to it is even more fuzzy. Yet the old MPEG video clips look fine - it's just my title graphics and text that look bad (embarrasing).
Remember that DVD-Video was designed for CRT TV sets, and was a major step up from VHS tape. However, when viewed on an HD computer monitor, or HD TV *, it is still ONLY 720 x 480, with is about 1/4 of the resolution as 1920 x 1080, which is about what we are used to seeing on those display devices. That is but only 25% of the quality. It can never look as good as HD material.
Good luck, and if I missed something, please point that out to me.
Hunt
* With the advent of BD players, and up-rezzing DVD players, things HAVE improved, when viewing a DVD-Video on an HD TV. The newer players have up-rezzing chips, that do a very good job of "improving" the viewed material's quality. However, even with those amazing chips, DVD-Video will NEVER be as good as a full-HD source. Also, computers do not have those up-rezzing chips, so when one views a DVD-Video on a high-rez computer monitor, it will still look pretty bad. There ARE a couple of new DVD software players, that improve the quality of DVD-Video played on a high-rez computer monitor, and a few look fairly promising. I speculate that we will see some more development in the DVD-Video area, especially as BD is not proving to be the big seller, that many promised. Even 3D is not helping BD realize its promise.

How to make a podcast with one still image with iMovie 09

I'm using trying to transfer my podcasts to Vimeo. I've been using iWeb to create a person web site with video and podcasts. I have embedded Vimeo with "html snippet widge." I want to do the same thing with audio, however Vimeo only accept "video" files.
In my attempt to work around Vimeo's video issues, I had the idea to use iMovie 09 to create a "video file" using a single still image with my audio podcast play in the background. The single image would be consistent for the entire length of the audio. It seems simple...one still image file and one audio file.
All of my audio files are less than 45 minutes in length. The problem is that when I insert an image in iMovie I can't get it to last for more than 10:00 minutes of my podcast. I've had to drag the same image over several times, extend each image's length to 10:00 minutes until I have enough images to last the full length of the audio file.
I'm sure there's a simple way to do this with one image, used one time, and have the audio added.
Anyone understand my situation and have a good idea?

The most efficient method would be for you to do this in iMovie 6. You can download a version if you don't already have it on your computer. http://supportdownload.apple.com/download.info.apple.com/AppleSupport_Area/Apple_Software_Updates/Mac_OSX/downloads/061-3532.20070807.nq3ER/iMovieHD6.dmg
Put all your clips into a new iMovie project, in the order you wish them to play. Use the chapters tab and add chapter markers for each clip (except the first one; iDVD will add that one for you). Close iMovie.
Open an new iDVD project. Use the Media tab, then Movies, to locate your new iMovie. Drag and drop it onto the main iDVD window, taking care not to drop it into a drop zone. You should then see the title of your movie and the two options: Play Movie (which will play all the clips sequentiallly) and Scene Selection (which will take you to submenu(s) where you can select which clip to view).

How do I make still Images the same size as the video when importing? CS5

Hi,
I'm having a problem importing and using still images as they are so large.
The video is 720 x 576 and the image I want to use is 4752 x 3168
How can I scale it down to fit with the video. Currently it just zooms in to a part of the picture making it pretty useless.
Any suggestions would be much appreciated.
Thanks,
Lois

I made a tutorial on this exact thing.
Part One: http://www.youtube.com/watch?v=oXeblQFIGlM
Part Two: http://www.youtube.com/watch?v=KjHNHf7IhKQ

Can anyone help me figure why there is a popping sound when I move from an iphoto still image to a new video clip? The sound has been removed from the video clips and there is another soundtrack underneath it all. Help?

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What audio output are you using? What mac and version iMovie

How do I convert an flv file to still images?

This may sound stupid, but I have a downloaded flv file, and I want to use about
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Andrew J wrote:
Everybody's wrong wrong wrong. You don't need garageband. Select the song, go to info. You need to select a start and stop time for the song that can't be any longer than 40 seconds in length. Then in advanced mode you convert the song to acc. once done locate the file on the computer. it should end in .m4a . Change the a to an r so it reads .m4r Drag the file to the desktop, double click and it ends up in ringtones folder.
That's it! Works every time. Or for those who want easier:
http://www.ambrosiasw.com/utilities/iToner/
My drug of choice.

Using still images with Final Cut (and the apple suite in general)

I have had a re-occuring and long term problem that has caused me many lost hours of head scratching and work arounds, and as of yet I have not been able to come up with a good solution.
Its to do with integrating still images with the Final Cut suite.
If I receive a high quality image from a client to use in their video and I then try importing it into Final Cut and animating it, it always ends up looking like a pile of ahem. Often I will get "swimming" lines appear across fine detail on the image, and parts of it will flicker as it moves across the screen. For instance, if I have a picture of some blinds or other fine detail (especially horizontal and vertical lines), when I add a grow and throw movement to it the detail will become very noisy - buzzing and flickering like mad.
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still images with too high a resolution will always cause problems. this is due to the detail of the image being finer than the scanline of the tv can display ... obviously this will caise the image to flicker as these details alternately appear and disappear as and when the scanline can display them. as you have discovered, the answer is to apply a very small blur, the effect being that the detail is spread by the blur such that the scanline can dislay it correctly.
text issues are often rooted in the same problem ... unless the text is placed very carefully (whole even number on the y axis) then the quality may be impaired due to the resulting interlacing/scanline issues

Can you merge two still images into one in premiere elements?

I am working on a slide show for a memorial service and would like to have one still image showing and then have the next one come in without replacing the former- somehow merge the two. Is that possible?

Depending on what you mean by "merge," you can use PiP (Picture in Picture) to have the second image come in and occupy part of the screen with the original image. There are many ways to display PiP, from say a small image located in the screen to having it occupy one half of the screen.
Does that sound like what you are hoping to do?
Besides the rather simple PiP, one can also use Track Matte Keying to bring up the second image and to soften edges, drop it into an image of, say a TV set, or a window.
The possibilities are endless, or nearly so.
Let us know if PiP works for you, or if you need a more intricate merging of the images.
Good luck,
Hunt

Looking for a way to Export Still Image to iPhoto

Hi I'm looking for a way to export a still image from iMovie 08 to iPhoto 08? The simple drag, help, web search etc doesn't seem to come up with an answer but it's been a long day.
Thanks

Find the still within an event clip, right mouse, select add still frame to project. Repeat for all the stills you want.
In Finder under pictures, you should find files for all the stills you created. Import them into Iphoto and there you have it.
There is probably an easier way but this is not too bad.

Is there a way to export still images from Quicktime or do I need Quicktime Pro (and is Quicktime Pro even still a thing?)

I'm sure there used to be an option "export to still image" but not any more.
Do I need to switch to Quicktime Pro? I used to have it back in my P.C. days but I'm not sure if Quicktime Pro is even a thing any more.
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The third image is the same MRI image as in picture one without contrast adjustment. Live trace did bad - fourth picture.

How do you edit the duration of multiple still images?

FCP X has a default duration for still images when you import them. After importing, how can I edit the duration of multiple clips?
I've tried selecting them all, control-click and change duration, but nothing changes.
BTW I want to make them 5 frames each...
thanks for any help
Craig

Thanks Tom, I've tried that. and nothing happens.
I presume that I type the 5 in the number sequence thing above the timeline?

How do i make a still image (photo) fit the length of the music? I record music and want to put the tracks to a video file with a still image of my business logo in the background. Any help?

How do I make a still image (photo) fit the length of the music? I record music and want to convert the tracks to a video file with a still image of my business logo in the background. On windows movie maker you could just select "fit to music" but this program isnt as easy to figure out! Any help?

Double-click on the still image in the project timeline to open the Inspector. In the Inspector, adjust the duration by typing in a new duration to match the length of your music. I think the limit for a still image is 10 minutes. If you need more than this, simply drag the image into the timeline again then adjust its duration. The two images will play seamlessly (no gap will be visible).
See this iMovie Help topic:
http://help.apple.com/imovie/#mov3a883915
You can achieve more precision when entering durations by changing a preference in the menu item iMovie Preferences. Check (tick) the preference for Show Time As HH:MM:SS:frames. This will enable you to enter the duration of stills down to the frame level, rather than full seconds (NTSC is 30 frames per second; PAL is 25 fps). When entering times, type a colon between each time segment, such as 2:50:15, which represents 2 minutes 50 seconds and 15 frames. For 5 seconds 20 frames you would enter 5:20 and so forth.
Note that the music will only run to the length of the video in the timeline (in your case, the still images). So, after increasing the stills duration you will need to drag the end of the music track as far as required. The stills can be dragged inwards to reduce the duration if necessary.
John
Message was edited by: John Cogdell - added Note

Sharpening Still images

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