Using Photoshop images in Final Cut Pro 6

when using photoshop images (drawn images not photos) in Final Cut Pro, why do they blur when rendered??  What settings should I use when creating the images in Photoshop CS2 to be compatible with FCP 6?

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For FCP 1 to 7 you need the Final Cut Studio forum.

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    You can drag your images to the timeline, select all, ctrl-d and set the duration to 3 frames by typing 3 and enter.
    Or you can use Quicktime 7 to "open image sequence", select the desired duration, export your animation to quicktime and import that into FCP X for further editing.

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    what do you use to speed up final cut pro x on my macbook pro early 2011?

    I  don't use anything to speed up FCP X on your MBP. 
    Seriously we need statistical info on why you think it needs speeding up.
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    I read in November's Macworld that if I use a tapeless camcorder, "you won't get the best image quality if you use iMovie '08 because the software converts each movie clip to smaller, more manageable size. To get the highest quality you'll need to be running Final Cut Pro on a Mac Pro with at least 2GB of RAM." Do you all agree with this?
    It depends on the format. In general, the consumer tapeless cameras shoot some highly compressed variant of the mpeg2 or mpeg4 format (delivery formats). These formats are not designed to be edited but rather to be displayed directly from the camera to the TV. In order to edit the material, you must first convert the files from their delivery format to something editiable. This conversion usually results in LARGER not smaller files. There is the potential for some minimal alteration of the image in the transcoding process. This is the trade-off for shooting with such a compressed format.
    And if so, please consider the following. I used a mini DV camcorder to transfer all my tapes to my computer and to an external hard drive. Have I already lost that image quality in doing so using iMovie?
    No, capturing DV material from tapes using iMovie is a direct digital transfer. DV/NTSC or DV/PAL video as captured from tape is the muxed (mixed audio and video) DV stream. It is an exact replica of what is on the tape.
    If so, can Final Cut Pro import from iMovie and improve that quality by decompressing or will I need to retransfer the tapes using Final Cut Pro or will the difference be too negligible to be noticed and not to bother.
    FCE and FCP capture material from tapes slightly differently than iMovie. While iMovie brings the material from the tape unaltered, FCE/FCP uses Quicktime during capture to pull the audio and video into separate streams with in the resulting file. By having the audio demuxed, the programs are able to edit multiple video streams simultaneously while iMovie is limited on one at a time. The video quality is not altered in this demuxing process.
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    x

  • A Case Study Question in the Use of Stills with Final Cut Pro

    Believe it or not, for the last week I have been reading endlessly about pixels, resolution, aspect ratio, Photoshop resizing, the bloody battle over the usefulness of the term "dpi" in video discussions, and generally about what one should do in order to use still images in a film edited in Final Cut Pro. And yet, though I have a PhD from an Ivy League university, and can understand a lot of things, I am sorry to say I am still at a loss.
    Much of the discussions of photos on forums like this one are either quite technical or broadly philosophical. But my questions are completely practical and specific. I am not a photographer or a printer, nor am I an experienced editor. I am just a fairly smart person trying to use photos in his film. So I am going to ask some specific questions and hope for specific answers, without any philosophical waffling or technical mumbo jumbo.
    I have one of those HP all in one printer/fax/scanner machines. I am told this device, while not fancy, is perfectly adequate to the task. Some of my photos I scan with this device from prints. Some of them I get from other people. (I have stopped downloading photos from the web, as the quality is nearly always poor.) I have Photoshop Essentials (not Photoshop). I am making a 90-minute HDV documentary, 16x9. The doc is mostly HDV footage with a still here and there. I want to be able to move on the photos (zoom, pan, etc.). I want, obviously, for them to look good. My sense is that the work flow is: (a) scan the photo (or obtain from some source as a digital file); alter the photo in some way in Photoshop; and (b) import the photo into your FCP project.
    Question #1: If I have a 6x8 print, what settings should I scan it in with -- is it possible there really is no difference between scanning in it at 72dpi and 300dpi? Is it really all about the dimensions of the image? Isn't a photo whose dimensions are enlarged in Photoshop to make it available for panning and zooming in my sequence going to look fuzzier and more pixelated if it was originally scanned at 72dpi than at 300dpi? Also: Does it matter if I save it as a jpeg or tiff? Bottom line: What settings do I use in my scanning software when I scan a photo for this purpose?
    Question #2: Once I have the image file on my hard drive, I suppose I now have to load it into Photoshop Elements and do something to it. What is it exactly I am using this program for? I'm going to take a wild guess. I use PS Elements to (1) crop the photo so that it has a 16x9 aspect ratio, and (2) resize it so that I can do pans and other Ken Burnsy moves on it in FCP. Bottom line: What exactly do I do in PSE to the photo and what settings do I use to both (a) make it available for moves and (b) not injure the quality of the photo by increasing its dimensions?
    (In passing, I will say that I have done experiments that show that if I increase a photo's dimensions to, say, 4000 pixels by 2000 pixels, the photo's quality definitely and obviously suffers. I don't understand how a picture can be increased in size without losing sharpness. So, what am I doing wrong? Is this a function of it having been scanned in improperly to begin with?)
    Question #3: If I am obtaining a photo from an outside source -- say, a professional photographer -- what are the specifications I ask for in both a hard print and a photo file? If the former, what dimensions do I ask for? If the latter, do I specify resolution and dimensions and file type?
    These are my questions. At this point, I really don't want to know WHY any of this is the way it is. I just want someone to say: "Do this; do this; and then do this."
    Thank you very much.

    Studio X is absolutely correct; while DPI has no meaning in the video world, it often has significant meaning in scanning (and, of course, printing). If your scanning program only allows image size adjustments in DPI, then you'll have to adapt to that ... keeping in mind that the scanner's DPI setting directly relates to pixel resolution. And it is pixel resolution (not DPI) that will make all the difference in the world for images used in video. You can test this yourself by scanning an image at 1000 x 1200 @ 72 DPI and again at 1000 x 1200 at 300 DPI. They will look identical on TV or projection as long as the pixel resolution remains the same.
    As an example, my Epson scanning software allows me to adjust image size by DPI or pixel resolution. Wanting to maintain the correct aspect ratio for the image area that I'm scanning, I adjust the DPI setting which in turn adjusts the pixel resolution automatically. But it doesn't work the other way around; if I adjust the pixel resolution settings manually, the DPI setting does not change. Your software may vary.
    As Jim Cookman suggested, a scan setting of 300 DPI works well for most images ranging from 3 x 5 to 4 x 6 (typical snapshot size) in a DV Sequence. I may scan smaller images at 400 or 600 DPI and larger images (8 x 10 and up) at 150 DPI. Other size images fall in between those numbers. But I'm constantly watching the pixel resolution numbers to make sure I'm getting what I'll need to support the animation I intend to apply to the images once in FCP. Also bear in mind that I don't always scan the entire image. I only scan the area of an image that I intend to use in my program.
    So the answer is that it all depends on your scanner's software and how far you plan to push into an image once in FCP. Do a few experiments ... you're a bright fellow so it shouldn't take long for you to find the formula that suits your purposes.
    I haven't edited an HD Sequence using images yet, so I cannot offer definitive pixel resolutions for you there.
    On to your specific questions:
    1. See above. There is no one correct answer It all depends on what you intend to do with the image once it's in FCP. If you only plan to push in about 10%, you won't need much higher resolution than the equivalent of your FCP Sequence resolution. If you plan to push in further, you'll need a higher resolution to support that move.
    2. I've been doing these for many years (SD Sequences only) and I've never loaded them into Photoshop first. I import the entire folder into FCP and drop it on the Timeline so I can see what the images look like on TV; unless your program is for CD-ROM or web delivery, that's where it counts. When you place them on the Timeline, FCP will automatically scale to your Sequence settings and pixel aspect ratio. If I see that some of them need adjustment using an external editor such as Photoshop, then and only then do I use that program. And by the way, if you have a vertical image and a 16 x 9 aspect ratio in FCP, how do you propose to crop it to fit? Perhaps you meant another term instead of "crop."
    3. If it's a print, it won't matter what size they supply because you'll control the image size when scanning. If it's a file ... once again, the size (pixel resolution) depends on what you intend to do with the image once in FCP.
    I really don't want to know WHY any of this is the way it is. I just want someone to say: "Do this; do this; and then do this."<<</div>
    With that attitude, how did you ever earn a PhD from an Ivy League university? But if that is truly all you want, you might consider hiring an experienced editor to do it for you.
    -DH

  • Can I use Motion 5 without Final Cut Pro but maybe for iMovie?

    Hi guys, if I buy Motion 5 can I use it to create a project without Final Cut Pro or X or what ever?! And can I create transitions for iMovie?
    Thanks

    Stelo08, yes, Motion will export in a handful of formats.
    h264 is the most popular, but did not support transparency, which you would likely want if you wanted to do lower thirds (titles).
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    (I tried it in Camtasia 2.3 and it did not there, but it seemed to work in ScreenFlow 4.03)
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  • PLZ  HOW I CAN T  USE THE COMPRESSOR AFTER FINAL CUT PRO X  WHY???????

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    You don't need to use Compressor. In FCP, Share>You Tube and then choose the quality setting you want.
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  • Problem exporting video using compressor for a final cut pro vid

    I've created a video in Final Cut Pro and trying to export using compressor to apple tv. Each time about half way through it crashes final cut and gives me the 'final cut pro had to quit unexpectedly'.
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    All the media is online so really haven't a clue. I've tried using quicktime conversion in pro-res then bashing into compressor and it works but interlacing is all over the shop, even with de-interlace filter.
    ANy answers with regards to why its crashing greaty appreciated!
    P.S when it crashes says something about a pro-core plugin
    Message was edited by: jim__bob

    Hi Jim,
    Can you update your profile, we don't know what your hardware set up is or your OS, or version of FCS. It could give you answers a lot faster if we know your details from the off.
    Ok, what format is your original media, what are your sequence settings please.
    DM

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    I have O/S 10.6.8
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    I tried unhiding files with Terminal, but that did not appear to help in this situation
    I did find an answer that suits me for the mean time.
    First  -  (to see loops)
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  • 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.
    I have found I can counter this by resizing the image in photoshop to a resolution closer to SD video (700w or 500h) - but I always end up losing detail, and the flickering and noise is only reduced, not eliminated. Other things that have helped are blur effects applied at a very low level, like 0.5 blur, so its not noticeable visually, but Final Cut seems to treat it differently and quieten the noise and flicker down.
    However, all of these workarounds are ultimately still giving a reduced quality product.
    Also, this problem is not necessarily constrained to Final Cut, I am currently fighting DVD Studio Pro because it is murdering the text quality in a stills slideshow I am creating - and in this situation there is no animation being applied. No matter what file type (psd, jpeg, tiff, png...) or size I output the text and images from Photoshop in, the moment DVD studio pro gets hold of it, it turns to cripe.
    For a while I was putting it down to the fact that I usually edit in SD (PAL) formats, and there just wasn't the resolution available to reproduce fine detail. However, I do often see other people achieving pin-sharp fine detail on still images and text in SD formats (the Apple templates are a good example)
    So, my question to you, oh great and high boffins, if you are dealing with still images and text, how do you do it? How do you work around any noise problems you have, and how do you produce those pin-sharp images (both moving and still) I see in other professional productions?
    Quad G5   Mac OS X (10.4.8)  

    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

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    I am having trouble importing an image I have which is a photoshop file and has layers with a transparent background and whenever I import it into Final Cut it always has a white background. Is there a way of making it transparent like the original photoshop format.
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    It is possible and very, very simple.
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