1080 + photoshop + motion = headache

alright i am making a 1080 hi def video and i want to add a photoshop file to it. i made a 1920 X 1080 canvas in photoshop with 72, and i also tried 300....(both didnt work in the end but here is what happens).....when i drop it into motion, it looks fine...but when i export it to a full quality quicktime movie and play it back in 1080, it looks way crummy...what's going on? it is on RGB too.

DPI has ABSOLUTELY NOTHING to do with video. Pixels is all that matters. Any way you can post a still of your video and an original still to see the difference?
Patrick

Similar Messages

Photoshop Motion Workspace. Rendering videos.

This is probably a pretty simple one but I'm not a video editor.
Ive played round with the photoshop motion editor CC and the result is about a forty something MB file in psd format before rendering out through Adobe Media Encoder.
File/Export/Render to video gives me enormous file sizes on a two minute test video.
For example, (sorry the insert image seems to be greyed out in this forum so no screenshots)
H246, Low Quality, 1920x1080, 28.126fps, aspect + Document (1.0) gives me a 121MB file
I've tried every combination varying the H246/Quicktime, image size, quality, mobile phone and tablets presets and the smallest file size Ive seen to date is 14MB ... on the two minute video.
There must be a way of getting rendered file sizes down to a few MB for you tube uploads and playing on phones and tablets and emailing? I was expecting to be able to dial in the videos physical pixel dimensions and file size, like one can when working with still images.
Can anyone tell me what I am missing?
Thanks

The presets for photoshop using h.264 encoded video's use quicktime for compressing the video. So you might find better codecs for quicktime from apple's site.
That said, I believe that the media encoder has a larger variety of formats and codecs with it. I was told though that the media encoder has some of it formats and codecs locked to certain adobe apps. In other words you need to have access to those apps on your system for those formats and codecs to be available to you.
The presets in media encoder will set some of the options for you like the frames per second and resolution. But just because you use a preset, does not mean you can not alter its settings.
All the compression for an mpeg movie does is looks at it color values and sees what it can throw out. It then will try to match as many frames as possible throwing out duplicates. At some point the file can not be compressed any more. Or I should say without degrading the video to a point where it is noticeable to the viewer. WMV files are well known for going to far. Some videos you can not make out what is in the clip.
There is one more alternative for compressing file time, reducing the over all play time, by clipping out portions of the video.
So It boils down to how do you want to compromise to get that file size down. Compress more until jpeg artifacts start showing up, reduce resolution(SD is probably as low as I would go for web, but for phones, go lower) , reduce frames per seconds (15fps for web 10-12fps for phones), or clip the video(where ever you can loose valuable footage).
What ever you choose, it must be done on a copy, as all of this is destructive. In that once done no way to get it back. Keep all originals in full quality, uncompressed, unedited form if possible.
Also keep in mind h264 is an mpeg format and is a lossy format which means it needs to be the final format for sharing as opening and saving degrades the quality.

Photoshop - Motion - DVDSP Color Problem

This message is crossposted in the Motion Forum because I'm not sure where the solution is to be found...
I'm putting together a dvd and I wanted to create transition animations to go between the menus. I've run into a bit of a color problem, however. To explain:
I created my main menu as a layered photoshop document (8-bit RGB, NTSC colorspace). I brought that menu into Motion, preserving all layers. I animated those layers in motion so that at the end of the animation they were another menu on the dvd, then I exported the last frame of the animation, brought it back into photoshop, and made everything line up so that it precisely matched the final frame of the animation, then saved that PSD as a new layered document. Finally, in DVD Studio Pro, I brought in the two Menu PSDs and the animated transition.
The problem I'm running into is that the color on the transition animation is washed out and somewhat desaturated compared to the menu PSDs. Rather than the seamless transition from layered menu PSD to animation and back to layered menu PSD, you can see this altered color "pop" on the animation.
Here's what I've checked and tried:
-I've exported the motion project as every codec that made any kind of sense (Animation NTSC, Apple Pro Video NTSC, etc).
-I've brought the Motion project directly into DVD Studio Pro, rather than exporting it.
-Using the color inspector in both Photoshop and Motion, I can see that all RGB values match exactly as they should.
-When I exported a frame of the animation and brought it back into Photoshop to create the second layered menu, the color matched exactly. In fact, I did the alignment using the "difference" layer mode, and there was no color shift at all.
So... any ideas?
Also: I'm going from these layered menus to a video track (first frame matches the layered menu) to another layered menu (matching the final frame of the video track)... that is the most sensible way to have animated transitions between menus, right?
Thanks in advance for any insights.
-W

Well, I found a solution... DVDSP didn't like the image in NTSC, but it seems to work with Generic RGB, provided I redo all of the animation from scratch using the same Generic RGB PSDs. A bit of a pain, but I suppose that's why I did this test after completing only one of the many animations the project will demand.
Thanks everyone for the insights.

Deinterlace for Menus (in Photoshop, Motion, and DVDSP)?

I have a slide show built as menus (people like their buttons, so i'm not using the built-in slideshow) and I'm not sure what settings to use in Photoshop for the Deinterlace filter. The options are:
Eliminate: Even or Odd Fields?
Create New Fields by: Duplication or Interpolation?
Also, is there a way to do this in DVDSP 4?
Also, for the menus I created in Motion 2.0, should I keep those progressive, and let DVDSP 4 encode them, or should I export from Motion 2.0. If so, what are the best settings for Menus?
Thanks!

A professional DVD player using component video, progressive scan, looks absolutely stunning, I couldn't believe my eyes. However, a consumer quality DVD player adds considerable jitter to the menus.
OK, this is one of two things, depending on what you're really seeing on screen.
If it really is a "jitter" kind of effect, it's probably due to fine detail in the image, or fine horizontal lines, even if the original image is not a capture of an interlaced TV image. The only way to really solve that is to blur the image slightly... even a 0.5 pixel Gaussian blur will help reduce the jitter without blurring things too much. You'll have to experiment to get the best tradeoff between image detail and lack of jitter.
However, since you're seeing a difference between the component-connected DVD player and the "consumer" DVD player, it could also be that you're seeing "chroma crawl." When a player is connected via a composite connection (the RCA-style jack, usually color-coded yellow), or via an RF connection (heaven forbid), highly-saturated colors like reds and blues will seem to have a crawling border of pixels around them. These get reduced considerably when the DVD player is connected via S-video and almost completely disappear when you use component connections. Unfortunately, most people probably still use composite or RF (jeez) connections, so unless you tone the images down by desaturating the colors, they will see chroma crawl.
If you use Final Cut Pro, you should be using its Range Checker to make sure your colors and brightness are in the safe range. Photoshop has a Broadcast Safe filter, but frankly it's not very effective.

Photoshop Motion Workspace Import Layer/Group

Rather than having hundreds of layers in a movie file, I want to edit (rough trim, sound whatever), save or copy those sections or chapters as separate files, then import those edited video groups (even if it is flattened as a dot PSD file) into the separate overall movie file timeline for final arranging and editing.
Obviously one cant just Ctrl C, Ctrl V a layer or group because that copies and dumps the original raw clip not the edited clip, into the time line.
There's probably a simple answer but I cant manage to import a dot PSD file to another file. All I can do is render a file to video, which means selecting codecs and output settings, then import that file. Gets pretty unwieldy.
Does anyone have any tips. Im on Photoshop whatever they are calling the monthy renter, and its fine for what I am doing. I don't have premier pro.
Thanks

Just in case anyone has the same enquiry, and apologies Im only new to this.
Edit your clips and and file save to a selected folder you can easily keep track of. Photoshop will assign the file save a .psd (which is the default working format it converts to when it reads your camera file into photoshop) If you want to further edit later leave the default "Layers" ticked in your save routine.
When you want to bring your clips into your movie timeline, save the edited clips (as copies, whatever) but untick "layers" in the save dialogue box and this will flatten the .psd clip file.
In your movie file its probably safest to create a new video group/ add media/ select your folder and check "all formats". In mine, "all formats" is last in the list and for some strange reason is hidden off the bottom of the page. It is there, if you cant see it, select any format half way down the roll out, then select your format again and the list will read down from that last selection to reveal "All Formats"
You can safely edit all your camera clips and then bring them into your movie without first rendering them out to a video format and wasting hours of time. Photoshop isn't stupid.
Before I mentioned flattening the edited clips, if you forget to untick "layers" on saving your edited clip, it will still import the unflattened .psd clip without showing the layers in the layers panel, and you will be able to see and play it. But as soon as you touch it, you will get an error message and it will vanish.

Blu-ray motion menu resolution

Does Encore not support 1920*1080 resolution motion menus for Blu-ray discs? Whenever i create a motion menu it displays at 720*480 (100%) even though it is a 1920*1080 video. Am I missing something?
Thanks,
Scott

Encore does support all high definition resolution Blu-ray menus, but menu preview is limited to 720x480.
Try burning a BD-RE and then checking it in a BD player to see the full high definition motion menu.

Photoshop files flicker

I can't seem to find this anywhere in the forum.
Importing a PSD file, when I keyframe it from one position to another, on the timeline, there is this wave/flicker going on with the graphic as it moves.
How do I get a smooth graphic motion?

The flickering is an artifact of the interlaced nature of 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 scanned images with great deal of detail with high contrast.
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.
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
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.
good luck.
x

Color discrepancy with imported PSD between Motion and FCP

I've got a Motion project with an imported PSD file as a background element (the PSD was created in Photoshop CS2 for Windows, running under Parallels).
The PSD file consists of two overlapping curved shapes, one blue, one green (part of our corporate look). The colors (RGB) match our official guidelines.
I imported the Motion project to FCP and placed it on the timeline, on V1. In FCP, I then used a color generator to create a small blue rectangle which would serve as a border for a slightly smaller thumbnail image that would get overlaid later on. The rectangle is on V2. I used the exact same RGB values for it as I did in Photoshop for the curved shape.
Trouble is, the blue color in the shape that got imported into FCP inside the Motion project doesn't match the generated color.
See this screenshot, in FCP:
http://elamaton.no-ip.com/~jarkko/colordiscrepancymotion.png
Three blues: leftmost, the color generator resized to a small rectangle; on the center, the shape that I created in Photoshop and imported into a Motion project, dropped into FCP; rightmost, an instance of Photoshop CS2 running in a virtual WinXP in Parallels Desktop. You'll notice that the blues of the generator and Photoshop match, but the middle shape that travelled the CS2->Motion->FCP route is a different shade.
Narrowing it down further, I decided to import the PSD file directly into FCP (just to see if it'd match - it needs to go through Motion for the final product). Here's a screengrab of Canvas this time:
http://elamaton.no-ip.com/~jarkko/colordiscrepancy_motion2.png
Again, from left to right: the generated rectangle, the directly imported PSD, the PSD in the imported Motion project. The first two match, but something in Motion or the Photoshop->Motion route screws up the colors of the blue-green shape (as well as the Työterveyslaitos logo on the top left, also a PSD, in the same Motion project). The blue shade is also incorrect in the Motion canvas, pre-import to FCP.
What's going on here, and how can I fix things?
The project settings are PAL DV in both FCP and Motion. No rendering has been done, I'm importing the .motn into FCP as-is.
Any help is greatly appreciated, deadlines loom...

First, double-check that your PSD is in RGB, but I suspect it it or it wouldn't even work in FCP. I suspect a gamma issue moving between the apps:
http://docs.info.apple.com/article.html?artnum=93794
You might try setting the colorspace in FCP to RGB or adding a gamma filter in Motion to adjust.
Mark

Jittery Stills while in motion

I have stills in motion on my timeline and they jitter in playback, why?
Thanks
David

The flickering is an artifact of the interlaced nature of 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 scanned images with a great deal of detail in high contrast.
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.
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
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.
good luck.
x

Jittery Image Motion

Hi,
I have an image (photoshop) which has thin black lines against a white background, and (as expected), it flickers when motion is applied. The de-flicker filter just adds a blur, but I was wondering if there's a way to actually thicken all the black lines? Is there a filter or combination of filters that can do that?
Thanks,
Lawrence

The flickering is an artifact of the interlaced nature of video. It is a result of very thin (often horizontal) elements that exist on one scanline as is common in text or titling (and your photo). This can also be the case in scanned images with great deal of detail with high contrast.
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.
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
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.
good luck.
x

Still images exported to DVD look deinterlaced and flicker on TV monitor

Hi,
I have tried tried almost everything and I still have issues with the still images exported to DVD as sequencefrom FCP 7.0 by using Compressor are deinterlaced and flicker on TV monitor. Please help remove the annoying flicker.
My FCP Timeline Sequence settings match the image resolution:
Frame Size: 1024 x 682 (double of 720 x 480 standard DVD res)
Pixel Aspect Ratio: Square
Field Dominance: None
Compressor: Photo JPG (also tried, DVCPRO-NTSC)
I cropped the original images in Photoshop to the 1024 x 682 and saved as tiffs. They still look deinterlaced in FCP timeline and exported to DVD on my iMac computer monitor.
Final output of DVD will be on this monitor:
Specifications:
Ikegami
Model: VCM-2101
Resolution: 450 TV Lines (Horizontal)
Should I crop the images to 450 horizontal pixels or the double of that 900?
How can I match the sequence or the images settings to avoid the flicker and deinterlaced look on that monitor? I am not able to test the image by having the monitor next to computer.
Compressor:
I used custom DVD settings in Compressor for 90 min best quality DVD. Tried the Porgressive and "Same as Source" in Output field.
In "Crop to" and "Padding" I set for preserve source aspect ratio and letterbox area of source.
I followed the advices from below and I still did not resolve the problem. Please is there anythign else I can try?
Thanks a lot..
Re: Poor Quality Stills
Dec 19, 2006 4:08 PM (in response to Steve Braker)
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

Dear Russ,
Thank you very much. Yes, there is something else in the sequence, old documentary, 768 x 570 (no field dominance, 25fps, Apple ProRes 422) but the images are more imporant.
make a progressive sequence with square pixels. (I am partial to 720P, 1080 should work – or 540). Choose Pro Res 422
Do you mean that I should make a sequence in FCP with these settings? If yes, how can I set a "progressive" sequence? I dont see a setting for output field in FCP sequence settings, lnly in customizing Compressor output DVD format.
Also: "720P, 1080 should work – or 540" are you talking about Frame size? If so, to set in Compressor or in FCP?
If you have interlaced material, then de-interlace before you bring it in. If you don't have interlaced clips, don't de-interlace.
The images are not interlaced after I crop them, apply motion blur filter in Photoshop but look interlaced in FCP timeline after I import them and even to the same as photos sequence in FCP timeline.
Please help and thank you for your comments.

Question for Experts / Instructors

Hi,
I have a minor dilemma on my hands. Working as a professional in the photographic and post-production fields, and I've been tasked with providing some instruction (across 2 or 3 apps) for a small group of clients (or clients of a friend I should say). These folks are definitely not computer illiterate, but they're also not well-versed with more complex programs like Photoshop, Motion, etc.
Sadly I don't have an opportunity to sit down with some or all of them ahead of time and find out what they want.
Their goal is to get to a basic functional level, without paying $$$$ each for multiple learning center type classes. My goal is to find out the methods you guys feel work the best when bringing someone else up to speed on a complex piece of software.
Do people like the core of their learning to be with books, video, instruction, or a combination? And what type of books or video work best for that matter?
Any opinions on: a)single task lessons with sample files (where the learner duplicates everything being done after they've seen it); b) multiple example lessons (where they follow along, but don't duplicate - they learn by seeing the same tools used for multiple tasks); or c) reference-based learning, where you basically act as a human encyclopedia (whether you write it, record the screen with narration or do it on stage).
My research thus far indicates most people who are comfortable with operating systems and things like MS Office, are likely to try and learn with books. Basically they buy the most comprehensive or well-reviewed book they can find and keep it at their side as they try to work through the software. However this can't substitute for the task I've been given, only supplement it. Either way I need to recommend the best type of book for their purposes, after I'm gone.
Some possible approaches for me: Keynote presentations where functions are outlined and explained, and screenshots used; Live demonstrations for each task; Basic introduction to as many important functions as I can cram in there, how they're accessed, and then send them off with a book or video recommendation to continue learning; Straight Q&A (IOW, let them decide what they need to learn quickest and ask about it, then I try to demo something).
I'm a little afraid of that last task because there won't be time to prepare a demo for every possible function they might throw at me. At the same time it would be the most direct way to find out where they're stuck, skipping the other items I might assume are important but which they don't need or don't care about.
I've only got 1 day with them, maybe a day and a half if I can swing it / they can schedule it. What are your recommendations for teaching people at this level? Which types of materials or progression helps people retain stuff the best? Thank you for any insights or suggestions you might have....

Heya,
I think DiffKid is referring to a combination of active and passive methods. Books and videos are both passive, so by themselves they may not hold a person's attention. Demoing/lecturing will directly engage people, but they eventually tire of the direct contact and being forced to move at someone else's pace.
Start broadly and then get more granular. I would recommend a flashy, shiny-object demo of an app that piques their interest. "You, too, can make really cool stuff like you see on TV! Marvel at my casual display of power!" Don't spend time on details. Focus, instead, on an overall feeling for layout and workflow, i.e. drawing is done here, fine adjustments are done here, etc.
If you get them excited, they will be self-starting. At that point you have to tailor it to their personalities: some people will want a step-by-step tutorial (books, videos) to follow to a precise, finished result. Some will want to mess around and see what they come up with, and others will want more personal direction.
Just don't start with anything dry. If you throw them into the deep end with a bunch of technical details, they will get bored and stop learning. Entice them, make them feel empowered, then turn them loose.

File is already in use or left open

This is a terrible speed bump in an otherwise dandy workflow between Photoshop, Motion & FCP. (FCP Studio2 & PSHOP CS)
When I need to update a Pshop file that is already placed in an open FCP timeline, it's no problem. The file saves, & the FCP timeline automatically updates.
However, when I have the same Photoshop file referenced within a Motion doc, I can't update & save it in Photoshop without quitting BOTH motion AND FCP. Yargh.
I'd like to strangle this little message: "Could not save (file name) because the file is already in use or left open."
Anyone come up with a workaround for this? Does anyone else even run into this?
-Rich

I think it's not done better because changing original Photoshop file later is always little bit risky if you don't know what you're doing. You know layer position and order is only respected first time when you bring Photoshop file to Motion. So if you later move layers in Photoshop it won't get updated in Motion. And it's impossible to add layers later to your Photoshop file and get those appear in Motion. Changing layer order in Photoshop messes things up even more in Motion.
Anyway I've found best way of working for me is to save Photoshop files with incremental numbers and then in Motion -> Media Inspector -> Replace Media File with the new one. I think it's even smart way of working because like I said before it's quite easy to mess up your Photoshop file when working with Motion.

Poor Quality Stills

Forgive this old favourite. I've gone through lots of past threads and still would like some help please.
I am making a 04'00" film in FCP from jpeg stills alone. Some are in boxes, other have motion effects, all have lots of layers of text / text boxes on them. In short it's a real fiddle and render nightmare compared to good old DV!
Anyway, a couple of questions. My final delivery format is DVD to play on a flatscreen LCD or Plasma screen, so should I be proofing the quality of the image on my cathoid ray tube monitor or on the LCD monitor of my iMac? Does the final TV platform make a difference to workflow?
So far, following back thread advice, I have changed the Field Dominance button to None and dropped the Whites level to 90% which made the image on the LCD timeline fantastic (it had been aliasing massively before) but it still aliases on my CRT.
Also, when I export the rendered film as a Current Settings QT and then encode via Compressor and put it into DVD Studio Pro, the picture quality again looks fantastic on DVD Studio Pro Simulate but once encoded onto the final DVD, the shots with movement added are very poor, with lots of aliasing.
Forgive the long intro, but has anyone got a workflow I could try to reliably turn moving jpegs (big ones c12Megapixels) of houses (ie lots of straight lines which tend to flicker when moving) into a DVD to be played on LCD or Plasma in which the straight lines look straight and there is no aliasing or flicker on the pan /scans?
Thank you in advance.
Hamish
iMac 2Ghz intelduo FCP 5.5 Mac OS X (10.4.8)

Over sizing your images beyond what you will use does nothing good and creates issues with how FCP dithers/downscales them.
As a format - get rid of JPEGs. It is a lossy format created to transmit crappy images over the internet on web pages. Use TIFF or PSD which are lossless formats.
The flickering is an artifact of the interlaced nature of 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 scanned images with a great deal of detail in high contrast. (Note: It does no good to import images hugely larger than the pixel dimensions of the video sequence. All it does is force FCP to work harder at interpolation.)
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.
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
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.
good luck.
x

Cannot get 16 X 9 aspect ratio on NTSC monitor

Just installed a Radeon 9800 pro Mac edition to replace the original GeForce 5200 that came with the computer. The new card is great and gives 30 fps on the main LaCie electron blue 19" monitor when "Full screen" mode is selected. Problem is ... when I select "External video" regardless of the option selected under "Preferences" in "Output" the framerate drops to 6 or 7 fps. The image on the Sony PVM monitor always shows in a stretched 4 X 3 aspect ratio with letterboxing all around it, top, bottom and sides regardless of what option I select in the ATI preferences on the Mac2TV panel. Now when I drag the viewing window from the main monitor to the External Sony PVM monitor and select "Full screen",(external video turned off) the aspect ratio remains in 16 X 9 with an acceptable frame rate.
Any suggestions out there? Thanks!
Dual 1.8 (original) G5/2.5gb RAM Mac OS X (10.4.6) Radeon 9800 pro Mac edition
Dual 1.8 (original) G5 Mac OS X (10.4.5)

A solution for "Video output"
When sending an FCP 5.1.1 HDV sequence to "Motion project", it sends it at 1440 x 1080 and Motion 2.1.1 will open a new project to that size. Once that FCP HDV sequence is opened in Motion 2.1.1 and "Full screen mode" is selected it will play to a full screen in 16 x 9 at 30 fps on the "Main Computer Monitor". In this case the main monitor is a LaCie Electron blue 19". Now if "External video" is selected that being a Sony PVM 1351Q the image will show as a 1440 x 1080 and play at only 5 fps. Furthermore it will create a letterbox on all four sides. (looks like a stretched vertical 4 x 3). Now if a new project is opened in Motion 2.1.1 in HD (1920 x1080) and the same HDV QT file is imported in Motion ; the same procedure repeated, the image will play at a proper size and the 16 x 9 aspect ratio on the secondary NTSC Monitor will be respected, mind you it will still play at only 5 fps.
"SOLUTION"
By canceling the "Video output" on Motion, a full frame 16 x 9 image can be viewed on the "Main Monitor". By the way, that image is astonishing compared to what it was with the previous video card. Now by dragging the "Viewer image" above the timeline to the "Secondary Monitor (Sony)" and selecting the "Full Screen Mode" it will then give a proper full screen image with a 16 x 9 aspect ratio on the Sony PVM 1351Q at 30 fps. The image seen on the NTSC monitors when using FCP 5.1.1 in HDV has also improved to a great degree. It has improved to the point where the Radeon® 9800 Pro Mac® Edition 256MB AGP becomes an interesting solution for HDV editing in Final Cut Studio.
If somene has a better solution, I'm all ears! ... or all read!
Dual 1.8 (original) G5 Mac OS X (10.4.6) Radeon® 9800 Pro Mac® Edition 256MB AGP

1080 + photoshop + motion = headache

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