Importing Still Images - Stuck on one step

I've never imported a still image into FCP before but I'm following some Ken Stone articles on doing it but I'm stuck on one bit.
I've pasted in the directions below and its the third one, "paste in photgraphs". I've never used Photoshop (im using elements) and I just can't paste in the photo i want to use. The 'copy' and 'paste' options are greyed out so i really don't know how to progress. Any help would be apreciated.
1) From PhotoShop File menu > new.
2) Set Width to 720 pixels, Height to 540 Pixels, Resolution to 72 dpi, Color Mode to RGB, and Contents to White or choose a Background Color.
3) Create your artwork, set text, paste in photographs. When done with your art work Save this image and give it name like "Image Name 540".
4) File menu > Image > Image size
5) In the Image Size dialog box FIRST uncheck the 'Constrain Proportions' box.
6) In the Pixel Dimension section, top the dialog box, change your Height setting from 540 to 480. Leave the Width setting at 720.
7) Click Okay.
If you look at your image you see that it is now distorted, flatten down. Don't panic, this is the conversion process and when the square pixels get converted to rectangular pixels in NTSC your image will once again look correct.
8) Do a 'Save As', Photoshop format (.psd) and name the file "Image Name 480".
9) Import into FCP and render. You will see that your image on NTSC once again has it's proper proportions.

Not quite sure I follow you. You're having problems in Photoshop?
You must open the photo as a separate file in photoshop. Just find the image you want to use, control/right click on it and choose open with>photoshop.
When this image is open, you can click-hold-and-drag it across to your main image canvas.

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Premiere Pro CS5 won't import still images correctly

I've about had it with this pile of ****.
Brand new install of Premiere Pro CS5. When attempting to import still images, random images will show up as other images. i.e. in Windows, I'll have the following:
one.jpg (shows up at one.jpg)
two.jpg (shows up at two.jpg)
three.jpg (shows up at three.jpg)
Once I import them into PPro, I get this:
one.jpg (shows up at one.jpg)
two.jpg (shows up at two.jpg)
three.jpg (shows up at one.jpg) <-----
In other words, three.jpg is named three.jpg in PPro, but when I bring it into a sequence, or view it, it displays the image from one.jpg
I've tried clearing the media cache, renaming the images, moving them to different directories/drives. Any suggestions? Or should I just get my money back ffs. Thanks for any help.
-Eric

You've stumbled onto a bug.
Here's the interim fix.
Imported Image Links Problem
And here

Adobe Premiere Pro Help | Importing still images

This question was posted in response to the following article: http://helpx.adobe.com/premiere-pro/using/importing-still-images.html

I might be incorrect in this, but think that there is a Ps Script, that will do what you want.
I would ask in the Photoshop Forum: http://forums.adobe.com/community/photoshop
and also in the Photoshop Scripting Forum: http://forums.adobe.com/community/photoshop/photoshop_scripting?view=discussions
If my memory is not totally hosed, one of those should yield the Script (if it exists, as I claim to remember) for that task.
Good luck,
Hunt

Default duration time for importing still images

Hello all,
Is there an easy way to change the default duration time for imported still images?
I have thousands of images that I want to import to make a time elapsed movie. I would like for these images to have a duration of less than a second. I could do this individually, but it would take forever.
Can the default duration time for imported images be changed?
Thanks,
Adam

Hi
Too long time I made anything serious in iMovie HD6 (altough a a very competent editor)
(Took the FinalCut leap)
As I remember (just tested) it - if photos are imported then it's a tedious labor
to set duration - one at a time. No global function I can induce.
BUT - I would put my photos into a separate folder in iPhoto so that they are easy
to get in iMovie from audio/photo browser.
Then I select (in iMovie) the first photo and double click on it to view it on canvas.
Now I also get a small gray window where I can set size and duration.
I select 01:00 (1 sec) in duration and Apply/Use.
Then I selec the rest of the photos and drag them down to TimeLine after first
photo. And they also get same duration of 01:00.
Yours Bengt W

Can't import still images into a project or create a podcast track

I'd be grateful if anyone can explain why I can't import still images onto a track like you can easily do in garage band - in garage band you simply create a podcast track, then drag your photos onto it. However in logic, when I open the media browser i can get a photo folder up but it will not allow me to even look at the contents.
Also, why is it that the manual for logic express has nothing about how to import a movie to produce a movie score - and yet garage band can even do this.
Thanks for any advice.

Have you tried "Working with Video" section of the manual? It's somewhere close to the end...
Logic works with audio, not images. That's why you can't import a photo, because media browser is used to locate audio files, mostly. And sometimes video.
I guess it works this way, you create a podcast with Logic, bounce it to mp3 or another compressed format. Then import it into GB and insert a photo.

Animation. How do I import still images in final cut pro x (from dragon frame) duration 3 frames pr. image?

Animation. How do I import still images in final cut pro x (from dragon frame) duration 3 frames pr. image? We have allready tried to set stillimages duration in preferences to 0,08 sek, but it does not have any effect!

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.

I want to import still images to make a stop motion animation, but when I try to change the duration of still images, it isn't reflected in the timeline. How can I do this?

I want to import still images to make a stop motion animation, but when I try to change the duration of still images, it isn't reflected in the timeline. How can I do this?

Tonaw,
If you import your still images using iPhoto, then the time you set for each still, using FCPX Perferences works.
You can set the durantion from 1 frame to as long as you want them view.
If you do not use iPhoto to import your stills, the default is 10 sec's.
FYI: This issue was brought up within a month after FCPX was released. They found out by using iPhoto, you had better control of the amount of time your still was viewed.

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

Set duration of imported still images down to 1 frame

Is there a way to import images into FCPX (10.1.1) and set it so the images will be only 1 frame when put on the timeline? Or to change their duration in the Event viewer after they are imported? I found the "duration" setting in the editing preferences, but that's in seconds and doesn't do what I want. For what I'm doing now I want them at 1 frame, but really I'm looking for total control of the length of bulk still images without having to cut each individual one down on the timeline.

Put them in the timeline. Select them all. Press Control-D. Enter 1 and press return.

Cannot import still image: jpeg/tiff/png/gif/ai/psd

Hello all:
I'm running into a strange error. No matter what size image I try, I cannot seem to import a still image into Adoe Premiere Pro cs4 running on Mac OSX 10.6.2
The error I receive is a "File Import Error: File Video Dimensions width/height too large."
I've tried the following to isolate why Premiere is returning this error:
- importing images at different sizes: 100x200, 1000x2000 etc
- saving the image as different file formats: jpeg, tiff, gif, png etc
- importing it as an illustrator file
- importing it as a Photoshop file
None of that worked. I'm at my wit's end and I can't seem to find anybody that has experienced this error before.

Here are some threads to check:
http://forums.adobe.com/thread/387776
http://forums.adobe.com/thread/480381
http://forums.adobe.com/thread/387156
http://forums.adobe.com/thread/443138
IIRC, the third one is for the Mac, but might be useful info in all.
Good luck,
Hunt
PS - welcome to the forum

Problem with importing still images

When I import images for creating a time-lapse video, some of the images are automatically being rotated +90 degrees. If I go through an manually correct them, they end up not be in the correct position or the correct scale (even though scale says 100 for all of them).
How do I prevent the autmatic rotating of still images?
Thanks,
Ricky

Check its properties in Windows Explorer. If that shows it as 664x1000 then PRE is importing correctly and IrfanView is 'auto-correcting'.
I seem to recall that IrfanView does "non-destructive" Rotation, unlike PS/PSE, where the actual pixels are rearranged, and are exported in that condition, with Save/Save_As. Might be something in the IrfanView Rotation scheme? Just a guess on my part, too, but I would anticipate that the Rotation in IrfanView is getting in the way, as other programs do not see the full effect of that scheme.
Not sure what "image viewers" are installed with Windows, but I would Open one of those problem files in, say Windows Paint, or Windows FAX Image Viewer, or something else than IrfanView to test.
Good luck,
Hunt

Importing still images from the Finder?

Can you do this in iMovie '11, or do you have to go through the extra step of bringing the still images into iPhoto first? Images are in .JPG format. I could find no "images" option in iMovie's File menu > Import. I looked in iMovie help, but it oddly found no entries for "importing."

Hi
I do
- collect photos in a folder dedicated to the movie project (e.g. date and name + movie project)
- they are all in .jpg format (or converted to this) - NO .bmp etc as this give BAD result
From this folder I drag and drop my photos into my Movie project - I prefer to have it in a TimeLine like view (not wrapped with several lines of thumbnails)
Yours Bengt W

Order of Imported Still Image

Hi
When I import a series of still images into imovie, the order is back to front ie. 25-1, how can i set it so they are in the right order ie. 1-25
Thanks

OK, another idea:
Did you select them by clicking on the first and shift-click on the last?
How about reversing the order: Click on the last and shift-click on the first.

Quality issues when importing still images as frames for animation

hello,
i've imported roughly 600 hand-drawn and scanned (600 dpi) images as frames for video. the images themselves are really crisp and perfectly how i want them to appear. i've imported each to play for 2 frames then move to the next. once done, i save this video file as an .avi. i then repeat the process in order to layer the video (using Calculations filter) over and over again, to fill up the screen with overlapped, layered animations. in theory, these layers should all remain crisp, just like the scanned images. i was under the impression that the standard Export... > Movie... .avi file is essentially lossless and is best for editing, however when my process is completed, the final product is muddy, grainy, and pixelated. i'm not sure where i am going wrong, as i've actually done this process before with success.
is there a way to specific the working file as "high definition" or something similar so that the quality is just as crisp as the scanned images i am using as source
any help is appreciated - i am completely self taught in video editing and it is really bugging me that the file output is not how i envisioned.
thanks,
DB

I note you specified that the images were 600 dpi. The dot per inch are an issue only for printing a hardcopy. For video work, the issue is the pixel dimensions and the pixel aspect ratio. If your image is 600 pixels by 400 pixels with a PAR =1.0. If your sequence is 1440 x 1080 with a pixel ratio ratio of 1.33, then the images must be the same and PrPro must scale up the image. You can get good images from imported stills in PrPro. I prefer to rescale my images using Photoshop. I am told that the scaling algorithm in PrPro has been improved. But regardless, if you are scaling up, you will see degradation becauae Prpro has to interpolate between pixels to fill the video frame.

Sequence A/V settings for imported still images

I want to create a HD DVD containing a slideshow of still images with some transitions, title and ending pages and sound.
Question: What A/V Sequence settings do I need to choose for a PAL 1920x1080 25fps output?
Background:
Till now I've done the editing in iMovie HD 5.0.2. My journey ends with a QT export to a HD-mov file (1920x1080@30fps) which I am not able to author in the same quality with iDVD 5.0.1.
Since I can not purchase DVD Studio Pro as a separate package, I have lavished myself with the full FCP box
Now having the most advance tools I feel somewhat swamped in the number of formats & options.
I want to use FCP as editor and DVDSP as authoring program.
My workflow goal is to do all the editing in HD and in the authoring fase create a HD master and as SD copy for non HD-DVD-player-owners.
Experiences so far:
1) iMovie HD can output a 1920x1080@30fps mov file. iDVD in PAL mode! converts this file to a NTSC image of 720x480 with an aspect ratio of 4:30. So much for all the creativity in iMovie HD.
2) Files created in FCP 5.1 using various 1080i50 Sequences all having the HDV 1080i50 Compressor, all give 4:3 results in iDVD
2a) Frame: 1920x1080
Aspect ratio: HDTV 1080i (16:9)
Pixel Aspect Ratio: Square
Compressor HDV 1080i50
QT display: correct width display
2b) Frame: 1440x1080
Aspect ratio: HD (1440x1080) (16:9)
Pixel Aspect Ratio: HD (1440x1080)
Compressor HDV 1080i50
QT display: picture strechted in width
2c) Frame: 1440x1080
Aspect ratio: HD (1440x1080) (16:9)
Pixel Aspect Ratio: Square
Compressor HDV 1080i50
QT display: picture narrowed in width
So what is the magic A/V sequence?
All hints and tips welcome
Regards
Coen
PowerMac G5 DP 2.0GHz Mac OS X (10.4.7) 1.5Gb memory, 23" WXGA screen, 460Gb storage

Patrick & Shane,
thanks for both your inputs.
Both, I believe, need to be told that your clip is 16:9 -
not sure how to do this in iDVD HD, but it's an
inspector checkbox in DVDSP...
Guess the common demeanor is that I can set my A/V settings to 1920x1080, but that I need to tell DVDSP that the source material is 16:9.
In iDDVD there is no such option ... but the funny thing is that my 16:9 output from iMovie HD did display in the correct aspect ratio in iDVD and my 16:9 output from FCP did produce a 4:3 aspect ratio in iDVD (ahum).
You might try the DVCPRO HD 1080i50 codec. Compressed
HD, but not too bad. And the drive requirements aren't
too high. Firewire 800 or internal SATA drive will do
you. As will a SATA Raid.
Not sure what difference it makes when using either HDV 1080i50 or DVCPRO HD 1080i50 codec ... when I do not intend to output back to tape.
In my case I believe (but correct me if I am wrong) the output codec is of lesser importance, since I want to author to HD DVD and HD DVD has its own specific coding specs.
Not many HD DVD players out there....and those are
EXPENSIVE...plus there are competing formats. How do you
intend to exhibit this DVD?
Initially I will exhibit my HD DVD on my G5. For "common folks" I will re-author in SD (unfortunately Hybrid red laser discs with both a HD and SD project are no longer supported).
I do believe HD DVD players will standardise and become more common ... so my original HD editing will not be in vain. Part of the fun is to use the FCP tools in a challenging (and rewarding) way.
What drives me: Last year my wife and I went on a holiday to Spitsbergen. That is half way between the North Pole and Norway. With a sailing boat we circumvented the archipello. I shot 15Gb of RAW images. The environment has left such an impression that I want to create a superb quality slideshow attesting to the uniqueness of the location. This asks for HD and nothing less.
And Yes, an HD DVD player will cost a lot, but so does a trip to Spitsbergen
Regards,
Coen
PowerMac G5 DP 2.0GHz Mac OS X (10.4.7) 1.5Gb memory, 23" WXGA screen, 460Gb storage

Importing Still Images - Stuck on one step

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