Gradually Bring in Colour

Hi guys,
I'm new to FCE and am in the midst of my first project. I've been asked by a muso friend to edit some still images into an existing video clip of his.
The original clip is all in B&W so I've desaturated all the images I've used, but one section of the song I think would be better served by using the original colour in the images I'm using.
I'd like to gradually bring the colour in for the first in a sequence of stills and then gradually fade back to B&W with the last image in the sequence but I'm having trouble finding out how to do it.
Any tips/suggestions/help would be greatly appreciated.
Thanks in advance
Don

Thanks for the quick response.
I can't seem to get that working though.
I've applied the Color Corrector to the image in the timeline, the opened the image in the viewer.
From there I started at the first frame and selected Control K to enter a keyframe and then desaturated the image to B&W.
After that I just scrubbed forward maybe 10-15 frames and entered another Control K command and brought the saturation level up a little and repeated it until I had the saturation back to the original setting.
When I then click the "Play In To Out" button in the viewer it just shows the image as colour

Similar Messages

Unable to bring up colour .

As soon as I drag it into the editing area it turns black and white ( grey shades), and I am unable to get it to respond to any color selection.

Please post the error that you are getting while starting concurrent manager on CM tier
$APPLCSF/$APPLLOG/<SID_num>.mgr is the log file that show you error.
Also please provide status of
./adcmctl.sh status apps/<apps_pass>
Thanks,
JD

How do I bring up color gradually on a slide?

I am new to Keynote and to making presentations. I have just about zero familiarity with Keynote tricks of the trade or lingo, so please keep that in mind if you answer my question.
I recently got as an e-mail attachment a PowerPoint presentation that when opened and played as a slideshow in Keynote gradually brings each slide up from no color (i.e., black and white) to full color, then instantly moves to the next slide without a transition.
How do I create a slideshow in Keynote to do that?
The PowerPoint slideshow I received is basically a series of color slides of nighttime cityscapes from around the world that look beautiful in Keynote as the color is brought gradually up from zero, over the course of about 10 seconds per slide. When I play the show in an ancient copy of PowerPoint (v. 10.1) that I have lying around, I have to click once for each slide to change it instantly from B&W to color, then again to move instantly to the next slide. The instructions that appear superimposed over the slides indicate that this is exactly how the show was designed to be played, so I assume what Keynote is doing (playing the whole show straight through without my needing to click the mouse, introducing the color gradually for each slide) is an "extra" Keynote is adding.
What I'm asking here is how to introduce the color gradually for each slide in the presentations I make. Also, can I do that just for an individual photo or graphic on a slide that has text elements and a background, as with a photo in the "Photo - Horizontal" layout. If so, how would I get this effect?
Thanks in advance for your help.

Kyn,
Thanks, that answered my question.
To add to what you said, I figured out the same basic thing on my own (though I didn't think of using a Build dissolve and was using a Transition dissolve). I discovered the easiest way to get the B&W version of the image was to make a slide with the image in color and then duplicate it. Selecting the image _in the first slide of the pair_, I used View menu —> Show Adjust Image to bring up the Adjustment controls and dragged the Saturation control all the way leftward to remove the color. Then for the B&W version of the slide, I set up the Transition in the Slide Inspector to use a 3.00 second Dissolve, with the Transition started automatically. For the color version, I decided to use a Shimmer transition with a 1.50 sec. duration, starting automatically with a 5.0 sec. delay prior to the next pair of slides.
All that is fairly easy to do, if hard to describe, and it produces an automatic slideshow in which all the photos move gradually from having no color to having full color, remain on the screen briefly, then do a Shimmer transition to the next photo.
Thanks for your help in confirming how this can be done!

Stop taking away colour (color) icons!!!

Please can someone tell me a way to bring back the colour icons that Apple keeps stealing from me?
First iTunes, then OSX, mail and Safari, now Aperture 3.3 and iPhoto 9.3 (P.S. if you, like me, hate the loss of easy to find and generally more visually appearling colour icons etc do not upgrade to aperture 3.2.3.).
I simply cannot understand why, 20 years after introducing the first colour Mac, Apple want to drag us back to a less visually appealing and less user friendly dull and dreary colour scheme for all their apps. The human eye and brain work well together to quickly find what you are looking for with colour. Black and white means that you have to analyse the icon or the word beside it - totally counterintuitive - slowing down my workflow.
BRING BACK COLOUR ICONS APPLE - YOU ARE DRIVING ME AWAY AS A CUSTOMER.
To quote the fantastic Sheldon Cooper... We could also stop using the letter M, but I think that idea is isguided and oronic.
Seriously Apple wake up - keep making forward steps - not backward ones.

jameski wrote:
Please can someone tell me a way to bring back the colour icons that Apple keeps stealing from me?
First iTunes, then OSX, mail and Safari, now Aperture 3.3 and iPhoto 9.3 (P.S. if you, like me, hate the loss of easy to find and generally more visually appearling colour icons etc do not upgrade to aperture 3.2.3.).
I simply cannot understand why, 20 years after introducing the first colour Mac, Apple want to drag us back to a less visually appealing and less user friendly dull and dreary colour scheme for all their apps. The human eye and brain work well together to quickly find what you are looking for with colour. Black and white means that you have to analyse the icon or the word beside it - totally counterintuitive - slowing down my workflow.
BRING BACK COLOUR ICONS APPLE - YOU ARE DRIVING ME AWAY AS A CUSTOMER.
To quote the fantastic Sheldon Cooper... We could also stop using the letter M, but I think that idea is isguided and oronic.
Seriously Apple wake up - keep making forward steps - not backward ones.
Tell Apple
http://www.apple.com/feedback/macosx.html
No good carrying on here, it's been discuss to death over the last 12 months.
Cheers
Pete

Colours, colours, COLOURS!!

G4 PPC & Iiyama 454
Recently had my aged Mitsubishi 22" CRT screen die on me and been used a 17" CRT with no problems, but I've just bought a pristine Iiyama 454 and after changing non of the system settings, 1/4 of all the images I can see on this screen, have become dayglo - enormously over saturated. How it is this screen seemingly magically, managing to interpret colour profiles??? I've tried coloursync calibrating it, adjusting the monitors settings, but only changing an images assigned colour profile to the monitors brings the colours back to a semblance of normality.
Does anyone know of a way to make OS 10.4.11 or this screen ignore an images built in colour profile?
(I hope someone out there is still alive who may know the answer to this conundrum)
Thanks for reading this

Color management is a bit (actually, a lot) more complicated than that.
Assigning the monitor profile to an image file is like burying your head in the sand. It will look right to you, but you won't have a clue as to what the image looks like to others on their monitor.
Color Management starts with an accurately calibrated and profiled monitor. You need to calibrate and profile your monitors regularly and often—preferably with a hardware calibrator puck.
Then, honor the file's color profile and always embed the color profile in your image files. When you need an image file to be in a different color space, always use CONVERT to the target profile in your color managed graphics application, e./g. Photoshop. Do not use "assign" profile except in one case, as follows:
The only time you have to resort to "assigning" a profile is when some moron hands you an untagged image file (i.e,, a file without an embedded color profile). In that unfortunate case you do have to make an educated guess as to what color space the file was created in by successively assigning different color profiles and choosing the one that makes it looks best. Afterwards you go slap the moron who gave you the untagged file upside the head and admonish him never to do that to you ever again.
If you follow these guidelines, your images will display correctly in all color-managed applications.
This web site explains color management extensively and in layman's terms, and it's very Mac-oriented:
http://www.gballard.net/psd/cmstheory.html. Read the whole web site carefully and thoroughly. It's more than worth it.
Message was edited by: Ramón G Castañeda

Restoring old photos using E9

Is it posible to restore an old photo that has been partly sun bleeched using Elements 9?
Any tips would be very welcome.

This was good practice for me -- I never was any good at colouring black & white photos.
The original photo is a B&W that was hand-coloured. You can tell by looking at the photo left arm and the photo left eye for the places where the colour bled into adjacent areas. Also, there is red remaining in the cheeks, even though the rest of the face is bleached out. This suggests that a retoucher used very finely powdered rouge to colour the cheeks, and those solid particles would not bleach as much as the dyes used for the other colours.
So, hatstead's idea of eliminating the colours and starting fresh with a B&W image is a good one.
The thing I wanted to avoid was having areas of solid featureless colour, so I decided that I'd hand-paint everything and thus get more realistically varied tones. Turned out that the Color Replacement brush worked very well for that --
Duplicate background.
Convert to Black & White: "Portraits", "Contrast" +7.
Rectangular Marquee to select the faded area in the center of the image;
Transform Selection: "Skew" to align with the edges of the faded area.
Save Selection as "Faded Area".
Quick Selection tool: select the clothes.
Save Selection as "Clothes".
Select...Load Selection: "Faded Area" as "New Selection".
Select...Load Selection: "Clothes" as "Subtract from selection" This makes a selection of the faded area on the wall as well as the face and hair.
Select...Refine Edge: Smooth: 0, Feather: 3.1px, Expand: +3%.
Levels Adjustment Layer (masked to that selection): 0, 0.73, 255.
Select...Load Selection: "Clothes" as "New Selection".
Select...Load Selection: "Faded Area" as "Intersect with selection". This makes a selection of the faded area of the clothes.
Select...Refine Edge: Smooth: 0, Feather: 3.1px, Expand: +3%.
Levels Adjustment Layer (masked to the selection): 0, 0.96, 255.
Highlight the 3 layers (B&W, both Levels layers) and use Ctrl+Alt+Shift+E to merge them into a new layer.
Healing Brush tool: "Normal" mode, Source: "Sampled" to clean up lines, etc., left from the Levels adjustment.
Burn and Dodge tools targetting the Midtones at a strength of 4% to paint the folds and even out the tones in the photo left arm.
Burn and Dodge tools (same settings) to strengthen the appearance of the buttons and fabric edge of the center of the sweater.
Burn and Dodge and Spot Healing Brush to fix photo left eye.
Spot Healing Brush to fix blemish on upper lip (photo right), and on photo right upper arm.
Finished B&W image:
Color Replacement Brush, constantly varying the brightness and saturation of the colours to colour the image.
Quick Selection tool to select the child, then Inverse to select the background.
Save Selection as "Wall".
Hue/Saturation adjustment layer, masked to the "Wall" selection, set to "Colorize". Hue: 199, Saturation: 5, Lightness: -26.
Smudge Tool on the H/S mask to modify the edges of the hair.
Blur Tool, Strength: 56%, on the H/S mask to soften all edges:
Selection...Load Selection: "Clothes".
H/S adjustment layer, masked to the "Clothes" selection, with a Saturation: -35 to tone down the colours of the clothes and bring their colours more in line with the face.
Crop slightly to remove the white areas at the edges of the image.
The layers wound up like this:
And the final image:
Besides the practice with using the Color Replacement brush, I learned that using the Smudge and Blur tools on a layer mask is a great way to soften the edges of that mask.
Ken

Is my new iMac display a lemon?

I've had my new 27-inch iMac now for some three weeks, it being a customised one. One of the very first things I noticed about it following delivery was that its display was rather blurry. I've hitherto been used to using a high-quality 24-inch 1920 X 1200 res monitor in a self-built Windows system.
Now, my eyesight's certainly not as good as it used to be, so I began to wonder if this was just due to my eyes. On every recent visit to a friend's house I'd always remarked at the pin-sharpness and clarity of her three year-old 27-inch iMac running Snow Leopard. My friend paid a return visit today, to see and discuss our respective machines and one of the first things she noticed was the lack of sharpness on the display of mine. Could it be that there's something genuinely wrong with mine? Are displays on 27-inch iMacs set up for sharpness in the factory and therefore could it be that I've ended up with one that's poorly adjusted in that regard?
The irony is that I've come from a Windows machine in which I've been using a top-grade NEC monitor display, one which has its own sharpness control, among many other adjustments, and that monitor's display is ultra-crisp. There's of course no such hardware-based adjustment available to the iMac user.
Ironically, I'm a Photoshop user, trying to produce high-grade prints. I'd hoped to transfer my photographic work in due course to the Mac but clearly with the iMac's display being so blurry I'd never be able to judge my images for clarity or be able to add additional sharpness.
I've wondered whether this has been a case of 'the luck of the draw' as regards the graphics chip used on the iMac's motherboard. I've checked with my friend and she's got the ATI Radeon HD5670 chip in hers, whereas mine's the NVIDIA GeForce GT755M. For the sort of overall customisation I wanted, this 755M was unfortunately the only option available. Before buying the iMac I'd considered a Mac with a separate monitor instead but gave up the idea due to lack of space for it and the extra expense. Nonetheless, I would have expected the 755M, being a newer chip, to have been at least as good as the HD5670, if not better. But it seems not. Have I just got a lemon, or is there some hidden sharpness adjustment that I've not yet found? I discovered a setting for smoothing out text and experimented with that but it made no perceptible difference to the overall sharpness of anything onscreen. With the size of text in some windows/captions being fixed and some fonts that Apple's chosen to use being quite small (10pts and below), I'm now struggling to see text-based captions and dialog boxes clearly.
This isn't a case of a wrong screen resolution being chosen by me. I've definitely got the display set to its native resolution.
From the outset, the colour rendering (calibration) has been pretty poor too. Black level is truly bad too, and is especially noticeable on a customised Apple screensaver with supposed black background that I've chosen to use. My long experience with highgrade photoprocessing made me notice those colour aspects immediately.
Thus far I've been judging this just on general rendering, not on any test images or anything imported from the Windows machine, so I don't think I've been trying to compare apples with pears. I've played around a bit with the built-in calibrator on the iMac but it's about as bad the old Adobe Gamma calibrator that I stopped using in Photoshop/Photoshop Elements many years ago. That's not mattered too much, though, as I own a couple of X-Rite colorimeters and have intended to download and use the calibrator that X-Rite's written specifically for the Mac. That should bring the colour rendering onscreen spot-on - but of course that won't affect sharpness.
Incidentally, I'm for the present still on the initial release of Mavericks. I've yet to update to 10.9.2.
Has anyone else found the screen of their 27-in Mavericks iMac blurry? This is clearly not a case of bad personal choice, because the same model of iMac that belongs to a friend is definitely superior in this regard. The only difference we can point to is the graphics chip used.

Yes.

Help by Forum Mods solved slow speed

Thank you to the replies in the super slow thread where I posted. A big thank you to Stephanie a Forum Moderator who guided me back to a better service and speed than before the issue started.
If you have lost tithe good broadband speed you once enjoyed I recommend you follow the guidance of the Forum Moderators. Like me your frustration will hinder any progress and patience is needed, two weeks in my case.
I had 6 Mbps in November, then down to .25, I blamed BT for capping throttling me, and raged at those on the forum that insisted Bt don't do this ( deliberately ) vented my anger at BT vowing to move to Sky (which I will not).
here is what I know now....
I caused my own problem, I switched the power of the hub when away for a week, the exchange assumed a power cut which would do the same and automatically registers a fault on my broadband cuts the speed to 0.25mbps ( No human BT dictator flicks any switches or choses me maliciously ). The automated procedure of the computers at the exchange is now to monitor my BB connection and if there are no more outages or faults gradually bring the speed back up. For some this will happen over 3 to 5 days. I never had more than 3 hours without dropping tithe connection so that was not going to happen.
I had two unforeseen further problems, a fault on my voice line, BT eng summoned by the Forum Mod, and faulty connection sorted. Still the BB connection was dropping inside a 12houri window. I noticed that there were now as many a 5 Bt hubs and 3 others being offered by my wireless connection. Stephanie then guided me on changing the wireless frequency of my hub, to avoiinterference from my neighbours hubs. Problem solved.
I now have 10.5 Mbps and a very stable connection, I was able to move the hub to the end of an extension ( now I understand the Adsl filter) and use an Ethernet cable to connect to the Sky box for on demand. droop romp or lag on Netflix from the Xbox.
A long post but I hope it will help the frustrated understand the papered problem can be fix and the team here can help, but patience is required.
Seasons Greetings to all the forum and especially the Moderators and Team.
ps. If you are going to correct my description of what happens when the exchange drops the speed don't be to techy, not all BT customerthrill understand.

It is a regular problem i am afraid and will only get worse the more wireless routers that come on line don't worry about the predictive text it winds me up as well
If you want to say thanks for a helpful answer,please click on the Ratings star on the left-hand side If the reply answers your question then please mark as ’Mark as Accepted Solution’

LR4 auto recovery - can it be switched off?

Is there any way to turn off auto-recovery in LR4 2012 process engine? When shooting on white seamless, I gradually bring up the background lights until I see the raw file just blowing out as I want it, at my shooting aperture. With LR4 and auto-recovery - using this method of 'metering' if you like - I'm adding 2-3 extra stops of light than I would expect before this happens, which then gives me wrap around and flare problems. I'd like to take back control of this, so I'm not guessing where my pure white is any more. Thanks.

I know where you're coming from, having shot and processed my own film and print images starting in 1970. I also understand what you're trying to do, but disagree with your approach on two points:
1) Use of the raw processor histogram to determine raw clipping.
2) Expecting the raw processor to understand that you want a specific area to be 100% clipped. Normally this is NOT the case.
For #1: The following link explains how you can set your camera to make its histogram accurately display raw clipping. It's called Universal White Balance (UniWB) and once you've established the proper in-camera settings you can save them to a "custom function" dial setting (C1, etc.). When set properly the camera's preview image will have an ugly green cast, but will correctly indicate highlight clipping. By using a custom function for these settings you can easily switch between normal camera preview mode and UniWB mode.
http://www.guillermoluijk.com/tutorial/uniwb/index_en.htm
You can find camera specific UniWB information by doing a Google search on uniwb + camera model, for example uniwb D800.
For #2: Use the top-down approach for setting PV2012's Basic panel controls with your white clipped images:
1) Exposure: Set for natural looking 'midtones.'
2) Contrast: I find it easier to adjust after making all of the other settings, but rarely use more than ±25.
3) Highlights: Set negative to maximize the highlight detail against the backdrop, such as hair.
4) Shadows: Set positive to the same value as Highlights works well (EX- +20 with -20 Highlights).
5) Whites: This is where you reestablish the backdrop white clipping level that PV2012's autohighlight recovery removed. (Holding the ALT key down lets you see the clipping real-time.)
6) Blacks: Set negative to establish the desired black clipping level (Holding the ALT key down lets you see the clipping real-time.)
7) Clarity: For models a slightly negative -Clarity setting can help to bring out highlights in hair, and nicely softens the image while maintaining detail.
8) Vibrance & Saturation: Don't be afraid to use these together with "opposing" (+-, -+) settings to help correct specific colors that are over or under saturated.
We haven't even touched on the proper Camera Profile for this subject, which affects the overall appearance of the image.
Once you've established the proper Basic panel settings for a particular lighting setup, I suggest saving it as a Develop preset with all of the Basic panel settings and any other settings you made that deviate from your LR Develop default settings. You can then easily apply the Develop preset to images from a previous or future assignment.

Last ditch attempt to save art on imac dv se

Hi there
I someone can help me solve a problem
I have an imac dv se (snow) "running" (crawling) OS9.
The internal CD drive still reads discs (just about) but is mechanically out of order and can't eject. ( i more or less have to take the machine apart to get a disc in or out. My external CD drive is also a goner - it was Iomega Hotburn and never worked well anyway but the data input port or whatever it's called - where you plug in the cable from the computer - is broken.
I have loads and loads of precious artwork and family photos on the machine which I want to save. I think the machine needs zeroing and then re-initializing with 0s10 as it is generally cronky all round. But I don't want to lose my work. In fact I desperately don't want to lose my work - it's actually more important to me than the machine. I can't afford a new mac and living on an island in Greece means there's no chance of getting a second hand one. What I really want is all these files on CD, preferably in a form that I can read on my Windows pc with a view to buying anew mac in the future or perhaps rescuing this one.
So, first question, can you recommend a cd burner that will work comfortably with this poor old machine as I think i am right in saying i will need to get everything off the machine in order to get it to a nice os 10 state where i can easily buy compatible thingies for it. Unless you think I can get away with partitioning it (I am talking thru my backside here - i haven't a clue what that involves, i've just heard of it and wonder if it is a solution which would then mean that I could install os 10, buy something straightforward and contemporary to deal with cd burning and gradually bring the pics over from the os9 side to the os10 side and pull them off that way.)
Bearing in mind that the machine is possibly in a fragile state anyway and crashes a lot (I can't get it online in its present state either btw or i'd sit up for days on end emailing the files from the machine to another location)
I've also considered an external hard drive purchase as a place of safety whilst i upgrade. Funds are limited.
What do you think?
I do hope this pathetic attempt at describing the problem is comprehensible. I would like to save the imac which I loved dearly in its day as well as the pics and maybe it is possible. After the iomega hotburn debacle i am very nervous about making any purchase though.
Any help appreciated,
Kind regards
Gina

Well, the stuff I need to know like the reverse workingness etc is probably so obvious to yer more proficient mac users they wouldn't even think to tell me!
I did think of one thing re another post. I had a lot of trouble for ages with Disk First Aid and de=fragging and so on because for ages the date on the machine was wrong = it had reset to 1904. It was only when I reset that that things get going. It still resets back there ( I think the internal battery might be the problem) but now I take care to set it correctly for the session before I try to do anything much. I think it's a problem common to imacs when they are getting on in years a bit. I've tipped off a few friends because you can see from their emails that their date is out. It's ok at first it's just over time things start going wrong.
Some of my problems are also to do with the local power supply being a bit lame so I have to make sure I've got a dedicated power supply or it gets very unhappy. The monitor display starts resizing itself and so on. Very alarming. In another sense it's amazing the computer has survived the life it's led to be honest. It's been moved from the UK to Greece and survived loads of bad power outages (one lost all my music) and it's taken ages to separate out the various problems to the point where I can start formulating a rescue plan. I have a feeling it will survive though I know my next set of questions once I get the stuff off is whether going all the way to OSx is the best thing. I think I've read somewhere that you have to go up from 9.0 via another upgrade.
Am not looking forward to all of that. It gives me a big headache and takes a lot of time. At least now I don't have to contemplate articide which was a bit depressing to say the least. If I can upgrade it I might even be able to get it to talk to my printer again.
Anyway, thanks a lot. Will get myself a flash thing next time I get paid.
Bye now (late here!)
G
imac dv se Mac OS 9.0.x

Rotobrush and then Blur background...

Hi guys,
I am new at using the rotobrush tool. The mechanics of it I understand...it's great. I have roto'd out my actor and now I want to simulate some depth of field in the shot. How would I do it? I am looking at keeping the actor in focus for the shot and gradually bring the background from a blur to completely in focus with the actor. Another thing I would like to do is to start the shot with the actor in focus and the background blurred and then switch it so that the actor is blurred and the background is in focus.
Thanks for everyone's time!
Jason

This isn't a Roto Brush-specific question. This is a basic question about compositing. So, keep in mind that you can use what I say here for any rotoscoping, keying, or other techniques for creating transparency. (Also, you can use what you learn from these areas and apply it to Roto Brush work.)
One way to apply an effect to just one area of an image is to duplicate the layer, create transparency on the top instance of the layer (with Roto Brush, rotoscoping with masks, using keying effects, or whatever), and then apply the blur effect (or whatever) to only one of the two instances of the layer.
Another way is to duplicate the layer (sensing a trend yet?) and use the instance with the Roto Brush effect as a track matte for an adjustment layer. Then apply the blur effect (or whatever) to the adjustment layer.
Compositing is complex. It's not a one-click/one-layer/one-effect job. You will often use many duplicates of layers with many different effects to get things just right. If you follow the links that I provide throughout this message, you'll find that the pages that I link to contain lots of information and links to in-depth articles and tutorials. For example, the Mark Christiansen tutorial that I point to in this post demonstrates the first method that I described.

Thoughts regarding my website...

I'm new to the forum here. I have recently been doing some work on my website, and wanted to get some feedback regarding its design. I created it using Headway in conjunction with WordPress. What do you like about it? What don't you like about it? How can I improve it? Image Editing & Photography (in Rockland County, NY) Any feedback would be greatly appreciated.

I like it generally, but there are improvements to be made.
If you need a direction to put your efforts I've quickly whipped up this list to get you going Sorry if I sound mean! I'm trying to be constructive with this critique!
Your primary colour flits between a maroon (unsaturated dark red) shade and a purple shade depending on which monitor I am using. You may get better results using sRGB colour profile, or you might just need to bump up the saturation a tiny bit to bring the colour out a bit more instead. You should still save with sRGB profile instead of Adobe 1998 for web, as the colour space will then match any RGB values you may specify in your .css code. (e.g if you wanted to use a gradient image to blend 2 colours defined in code)
That aside you shouldn't be making the banner bar background 1920px long, it wastes space, increases client load time and doesn't actually cover you for monitors beyond that width.
Instead trim your banner background to as close to 1px wide as possible, then find this declaration in the .css file (Can't miss it, says line 1 in FF):
body {
    background-attachment: scroll;
    border-style: none;
    background-image: url("http://www.mprstudio.com/wp-content/uploads/website-background.png");
    background-repeat: no-repeat;
    background-position: center top;
    background-size: auto auto;
and change to this:
body {
    background-attachment: scroll;
    border-style: none;
    background-image: url("http://www.mprstudio.com/wp-content/uploads/website-background.png");
    background-repeat: repeat-x;
    background-position: center top;
    background-size: auto auto;
This should give you the same effect, at a lower filesize and quicker load times for users. I would normally place it within in a <div> rather than attach it to the body and set the style "width:100%;" but it should still work where it is currently.
As for some general things to work on if you want to keep working on it;
I'd bring a top example or composition of examples of your work for each page above the opening text, beneath the nav bar. Your images are your pride and should take centre-stage, after all a picture says a thousand words!
Add some sort of bordering to the images (The front page springs to mind) to help focus the eye and lose the harsh edge. Format the text a bit further too. You're writing out a few lists in your opening paragraph and ambling a bit. Make your intro short and snappy and bring the other information in a little bit further down the page in a separate section. Use the unordered HTML list element to make your lists easier to read too.
The sidebar should be reordered also. Move the email subscribe to the bottom, keep the search at number 1 or move it into the top banner somewhere (loads of room there to use). Categories I feel is next important, followed by your recent posts/advert. The RSS subscribe button I would be tempted to add to those lovely little blue icons up top (They are really nice buttons!). If not, still lose the header or icon (you don't need both) and place next to the email subscribe.
[EDIT] Make the blue in the icons the same colour. I would use the lighter color from the twitter icon when the user hovers their mouse over the button.

Apple's licensing for movies?

Does anybody have any insight into the licensing imposed on Apple for inclusion of movies into the iTunes Store? (I'm assuming the fact that some movies are not included is mostly a licensing issue.)
Apple has a great selection of newer stuff, but a HUGE number of older (but still eminently popular) movies are not included. Oddly, they'll occasionally have sequels of a movie, but not the originals. For example, the movie The Exorcist. You can rent or buy Exorcist: The Beginning, Exorcist II: The Heretic, and Dominion: A Prequel to the Exorcist. But you can't actually get the actual Exorcist movie, neither in its original nor 25th anniversary form, and neither for rent nor to buy.
Any thoughts?

For many of these older movies the studios do not have contracts with all the people who were involved with the creation of the movie that provide for download sales, the existing contracts long preceding any thought of digital sales. With so much new content, the studios may well not feel that negotiating new contracts with the many people with whom they'd be necessary, many of whom may well have passed away and thus passed all rights onto some estate or unknown party, just won't be worth the legal costs involved. But time may gradually bring things around. It wouldn't surprise me, though, if many older movies never make it to download form, just as many older movies never made it to DVD or even VHS.
Regards.

I am having problems gettting my mail to work ... Mac telling me that my start up disk id full and to delete some files to free up space ... have done this but when i open mail from the dock it just brings up the colour wheel and nothing happening

I am having problems gettting my mail to work ... Mac telling me that my start up disk id full and to delete some files to free up space ... have done this but when i open mail from the dock it just brings up the colour wheel and nothing happening ... it shows when you right click on the mail icon that " application not responding"

If your hard drive is getting full, you need to free up, at least, 20 GBs of space on your iMac's hard drive.
If your Mac is running a fairly recent version of OS X, here are some general guidelines.
Follow some of my tips for cleaning out, deleting and archiving data from your Mac's internal hard drive.
Have you emptied your iMac's Trash icon in the Dock?
If you use iPhoto, iPhoto has its own trash that needs to be emptied, also.
If you use Apple Mail app, Apple Mail also has its own trash area that needs to be emptied, too!
Other things you can do to gain space.
Delete any old or no longer needed emails and/or archive to disc, flash drives or external hard drive, older emails you want to save.
Look through your Documents folder and delete any type of old useless type files like "Read Me" type files.
Again, archive to disc, flash drives, ext. hard drives or delete any old documents you no longer use or immediately need.
Download an app called OnyX for your version of OS X.
When you install and launch it, let it run the automatic ans S.M,A.R.T. tests, then go to the cleaning and maintenance tabs and run the tabs that have the ability to clean out all web browser cache files, web browser histories, system cache files, delete old error log files.
Typically, iTunes and iPhoto libraries are the biggest users of HD space.
move these files/data off of your internal drive to the external hard drive and deleted off of the internal hard drive.
If you have any other large folders of personal data or projects, these should be archived or moved, also, to the optical discs, flash drives or external hard drive and then either archived to disc and/or deleted off your internal hard drive.
Good Luck!

I need to show how colour separations work by gradually combining four single-coloured clips in the time line?

Hi, I need to demonstrate how colour separations work in the printing process, by animating the additions of each single colour plate to the overall picture. I have four jpegs, one of each colour, plus black, and I want to animate each one on the timeline to simulate the addition of each colour to the printed page. How can I do this? Thanks in advance. Phil

Video and print do not work in the same way. Video uses additive color, print uses a subtractive method.
You will have to fake it. Choosing a simple dissolve and combine method, you would also need the interim stages, say a Cyan + Yellow plate and a Cyan + Yellow + Magenta plate, eventually dissolving into the full color version.
Another way: Have each of the 4 plates appear one after the other on a quad split screen. Allowing time for an explanatory narrative, simultaneously have the 4 plates grow to full screen and move into position. At this point, you can quickly fade to a full color plate.

Gradually Bring in Colour

Similar Messages

Maybe you are looking for