Export Media halts when it reaches still image

Exporting my timline is halted when it reaches a small jpeg. When I try to cancel the export, Premiere must be forced to quit, then crashes and displays the "Adobe has encountered a serious problem" window. Adding a video element below the small image allows the export to proceed past the problem image. This happens so frequently that I've had to create a black video file just for this purpose. Is this a bug that Adobe is addressing?
MacPro 5,1 running 10.8.4
CC (up to date)
Nvidia K5000 (exporting using Mercury Engine software only)
Timeline rendered using Linear color (required for desired look)
1920x1080, 23.976, ProRes

Still having problems exporting
I'm trying to export using my ProRes preview renders. Whenever there is partial transparency on a film dissolve to nothing the export halts, the progress bar stops.
Same problem when I have a letter boxing matte image file over nothing, the export halts, progress bar stops.
When ever there is an image file (any image file, small or large, filling s reen or partial) the export halts.
I'm in linear composite mode with an Nvidia k5000. 1920 x 1080 x 23.976.
Staff members please help and respond to my bug report, please.

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How to export a short film made with still images without loosing quality?

Hi,
I have been trying everything to make a short film, which is made with still images, to look decent once exported however it is a real challenge. Here are the steps I have undertaken:
1- I prepare the photographs and give them the aspect ration of 720p and whatever height as I try not to crop them too much at 300dpi. They look great in photoshop or capture one. I then save them as.tiff. All the images are RGB.
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4-I render the work area
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I have now tried about t bu15 versions to see what 's the best I still have not reached the optimum quality and since these will be shown on big tvs or projected onto screens I need to nail it.
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Many Thanks

My overall advice is to do that kind of work in an application that is designed for that. Give Photodex Proshow Producer trial a crack at it. I do a lot of work with stills, and that IMO PSP is the best approach. If you are intermixing the odd still, Pr may get you by. If you plan on doing a lot of that, try proshow, where the workflow and extensive features are designed for making high quality videos from stills that can be output to a wide number of formats and destinations, including color management with many of them( including avi). And, no need to resize. I know this won't solve your present problem.
Obviously, your attempt in Pr has not worked out as you had hoped. Maybe a bit more info would help. How are you rescaling them in Pr? That might well account for some quality loss. What is the original format and size of the images? What color management are you using in PS? Are you using any color correction or effects in Pr? Is your project interlaced or progressive?
From your description, you are not even getting the quality you should be getting from Pr IMO, though as Jim says, it is video and it will never look as pristine as it does in PS, but it still seems to me that something you are doing has degraded the work more than normally would be expected.

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Hi there,
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On my PC it works fine.
I thought it may be because I have My Music and My Photos redirected to D: on the tablet, but moving them back seemed to make no difference. Further, it doesn't matter *where* I try to open media from -- I get the same error. I've uninstalled and reinstalled
the app completely to no avail.
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Hi Solitaire01, what you describe is supported scenario which should just work. Let me gather more information about the environment you have and in the same time suggest a few things to try.
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select AppData -> Embedded Media -> Images ?
Here is something you may want to try as an alternative:
1) Copy your images to your Pictures folder, which is usually in C:\users\<your_username>\Pictures
2) Add an image visual
3) Set the Image property of the visual to "C:\users\<your_username>\Pictures\<some_image.jpeg>"
Please do include the double quotes in the expression.
This should render the image. Please note that when you use this method of rendering images, video and audio, you'll need to check the checkbox "Download and include images, video, ........" in the Publish backstage.
Hope this helps and looking forward to hearing from you about your tablet brand and model!
Manski

Exporting a freeze frame as a still image

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Here's a really cool way if you have Photoshop, especially if you ever need to export multiple still frames:
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Place the Quicktime player just above the Photoshop document, scroll to the still you want, hold down shift [this centers the image in the center of the frame] and drag and drop into the Photoshop document.
Do this as many times as you want, each time you drop an image it creates a new layer in the Photoshop document.
Once you have the stills you want, close Quicktime, in Photoshop go to File/Scripts/Export Layers to Files and it will export, name and place the files where you tell it in TIFF, JPEG or whatever format you choose.
We do a lot of corporate stuff and since exporting a still from FCP was much more time consuming than it should be we rarely provided stills. Once we were told about this method we provide 15 to 20 stills from every project for use in brochures and other promotional materials.
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https://support.apple.com/kb/TS1713
try this, best I can do

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I have a big problem, I use JMF for playing my videos and music for my video game.
But if the CPU reaches 100 % the playing media stops and if the Processor is in the state less as 100% it continues playing.
But windows media player continues playing for some seconds after reaching 100%.
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Message was edited by: werdup

Hi
I use .jpg or .pic photos in iMovie - no .bmp or other alient formats.
When thin lines flickers I first in PhotoShop (or other photo editing program)
add a minimum of "Gausian Blurr" to those photos.
This use to help.
Judging Quality in iMovie.
• On Monitor screen - NO this is just an approximation due to what Your Mac can cope with.
• Connect a miniDV tape Camera to FireWire and a small TV to analog out and
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Yours Bengt W

How do you export a still image from a sequence ?

I could easily export a frame as still image in CS3 (File / export / ...)
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Thanks,
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Your way should work, it worked for me.
Try reading this:
Select a clip in the Project panel or a Timeline.
Choose File > Export > Media.
In the Export Settings dialog box, select a still-image format from the Format menu. See Export Settings Format options.
If tabs are not visible below the Summary pane, click the Advanced Mode button.
On the Video tab, deselect the Export As Sequence option (if it is selected).
(Optional) To deinterlace the frame, select Progressive from the Field Type menu.
(Optional) To correct the pixel aspect ratio for display on computer screens, select Square Pixels from the Aspect menu.
Click the Output Name hot text.
Browse to the location where you want to save the still-image file, type a filename for it, and click Save.
In the Export Settings viewing area, drag the playhead to the frame you want to export as a still image.
Click OK.
Check no.10 did you drag the playhead in the export settings viewing area? Or did you do that on the timeline?
Good luck.

Still images turn to black backgrounds in the exported movie

I am still using Premiere 2.0. I produced a ca. 25 min project with still images at the beginning and at the end and short videoclips in between. Still images are only ca. 40-50 kB large. When working on it I occasionally got a few problems (e.g. an audio transition across two clips was making Premiere hanging up) but I could easily get around them and successfully preview the project and export it to a folder and directly to a DVD. However, when viewing the movie on TV I found out that almost all (BUT NOT ALL!) the still images had turned into black backgrounds. I have exported the movie as MPEG, more still images were fine but not all of them. I have tried to drastically reduce the number of still images (max 5) but nome of them were fine. I do not have any error message and this problem is driving me crazy! Does anyone have a brilliant idea?
Last year I bought the new version of Premiere (3.0 I believe, surely not 7.0) but I stopped using it after one week because there was no way to successfully export the project I was working on. I made several videos, always got problems but so far I always found a solution on Premiere forum. Hope this time too!
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fabia (switzerland)

Try sizing your photos to 1000x750 pixels in size.
Also, right-click on each photo on the timeline and select Field Options and check the Flicker Removal box.
These will give you the best quality.
I am also concerned, however, that you are having technical problems and, especially, that you can not use a newer version of the program.
I'd recommend you install the latest version of Quicktime and the newest RealTek drivers, as we recommend in our FAQ.
http://www.adobeforums.com/webx/.3c057647/2
Also, using my recommended computer maintenance will remove temp files on your computer and make it run like new.
http://www.adobeforums.com/webx/.3bc43f9a/0

Still images are blurry when dropped into Canvas

HI, I am running Final Cut 7. When I drop still images into onto the Timeline, when I click on that image to appear in the Canvas they are blurry. However, when I put on the Alpha+RGB they are as sharp as they normally are - except they are red. How do I change this so they are sharp in the RGB channel?
Thanks for your help

Thanks. Like I said, I have downsized this still image to 720 x 576 at 72 ppi and it goes to crap.
I just changed the setting to HD 1280 x 720. Import the 720 x 576 at 72 ppi ... looks good but needs to be rendered .. render and it goes to crap. Everything that is imported needs to be rendered - then it all goes to crap. OR video looks good as a still frame and when rendered it goes to crap as it isn't HD but I thought it would be the quality of what it normally is just in an HD environment.
Thinking Final Cut X will solve these issues as it doesn't have these format problems like 7 does.

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

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Hi All,
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\d

Photo Scaling for Video http://forums.adobe.com/thread/450798
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I'm not quite sure I understand your question. In an ideal world, the graphic material you build in PS should match the sequence settings you intend to edit them into - so, if for no other reason, it reduces the amount of reformatting FCE has to do when rendering them.
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MtD

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All the best,
Tom

Export Media halts when it reaches still image

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