Renedering severely damages still images

I am editing a short video that consist entirely of photographs (PSD format). These, of course, require rendering before they can be turned into a QuickTime movie. I have done this successful several times in the past on this same project file (but under earlier version of OS X), but I've just returned to the project to upgrade it.
Here is the problem: When I try to render the individual images the colors are trashed. It's as if someone took a brush to wet paint and smeared a portion of each image.
There is a swath of damaged, pixilated, color. I have tried to change the codec in the sequence and I have I have turned field dominance off. I've even looked at the manuals. All to no avail. Anybody have a thought on this?
Dual 2.5 GHz G5 Mac OS X (10.4.6) FCP 4.5, scratch disk = 133 GB available
Dual 2.5 GHz G5 Mac OS X (10.4.6)
Thanks
Bruce

I think Maxx is correct. If you upgraded from FCP4 or FCP HD to FCP 5, then your pre-FCP5 projects need to have the sequences set to the Fastest (linear) rendering of Motion Filter Quality. If you didn't choose this when you first opened the project in FCP5, you can set it in Sequence Settings, the Video Processing tab.
Fastest is the same setting that FCP4 used. In FCP5, a higher quality rendering of Motion tab FX has been added. Sequences from older projects don't tend to like that, so set it to Fastest.

Similar Messages

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

How to make a podcast with one still image with iMovie 09

I'm using trying to transfer my podcasts to Vimeo. I've been using iWeb to create a person web site with video and podcasts. I have embedded Vimeo with "html snippet widge." I want to do the same thing with audio, however Vimeo only accept "video" files.
In my attempt to work around Vimeo's video issues, I had the idea to use iMovie 09 to create a "video file" using a single still image with my audio podcast play in the background. The single image would be consistent for the entire length of the audio. It seems simple...one still image file and one audio file.
All of my audio files are less than 45 minutes in length. The problem is that when I insert an image in iMovie I can't get it to last for more than 10:00 minutes of my podcast. I've had to drag the same image over several times, extend each image's length to 10:00 minutes until I have enough images to last the full length of the audio file.
I'm sure there's a simple way to do this with one image, used one time, and have the audio added.
Anyone understand my situation and have a good idea?

The most efficient method would be for you to do this in iMovie 6. You can download a version if you don't already have it on your computer. http://supportdownload.apple.com/download.info.apple.com/AppleSupport_Area/Apple_Software_Updates/Mac_OSX/downloads/061-3532.20070807.nq3ER/iMovieHD6.dmg
Put all your clips into a new iMovie project, in the order you wish them to play. Use the chapters tab and add chapter markers for each clip (except the first one; iDVD will add that one for you). Close iMovie.
Open an new iDVD project. Use the Media tab, then Movies, to locate your new iMovie. Drag and drop it onto the main iDVD window, taking care not to drop it into a drop zone. You should then see the title of your movie and the two options: Play Movie (which will play all the clips sequentiallly) and Scene Selection (which will take you to submenu(s) where you can select which clip to view).

Shaky still images in burned iMovie/iDVD project

Hello all, I've stopped by the discussion forums in the past for quick fixes to problems when they come up, this is my first post though that doesn't seem to address anything I've found on here...
I am working on a project that takes scanned pictures from regular print photos into iMovie 6 and then burned into iDVD 6. I have done this similar style of work several times and never run into this problem. The project looks fine in both iMovie and iDVD preview, and burns fine to disc. As soon as it is popped into a DVD player, some of the still images flash and shake around, it appears to happen on the same images every time.
The original project used about 100 photos, around 12 minutes of movie time. It uses only still pictures and there are cross dissolve transitions between each one. I have tried dragging and dropping the iMovie project into iDVD instead of using 'share'. I also saved as a disk image and burned slowly (4x) not only on my SuperDrive but on an external LaCie drive. I've even started a brand new project file, imported the pictures again from iPhoto and everything... still no luck. I've done about 5 trials now with these different settings, no luck. I use Verbatim DVD-r disks as well...
I've even tried scanning a few images and replacing them, thinking the file might be corrupted, but this isn't fixing the problem. Is there some setting that I'm missing or any other suggestions you have?
I'm trying to save a trip down to see a genius, but if I can't get any help I'll have no choice but to make the 3 hour drive to the nearest apple store. Hopefully someone has some suggestions! Thanks!

Hi
A. I don't use the *Share/Export to iDVD* function in iMovie. iMovie rendering can harm
the photos in a movie.
I do: close iMovie, Open iDVD and import the movie project here (icon with a Star on it)
or just drop the icon into iDVD.
B. Some photos with thin lines most often starts to flicker when viewed on a TV.
I do: In a photo editing program eg PhotoShop or Elements: Apply *Gausian blurr*.
Just slightly. Resulting in non-flickering photos.
C. One can rather easily find out if this will occure by:
• Connect Your miniDV (tape) Camera via FireWire.
• Analog out of Camera to a TV-set
• Set in iMovie. Playback via Camera
Now You see on the TV what the final Quality will be like.
• Flicker (add Gausian Blurr to those photos)
• Color, brightness & contrast
• Over all playback rythm and sound
Yours Bengt W

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!
Many thanks for the attention
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 image issues (I've already read the other similar post- didn't apply)

Still having issues with still images in my timeline. Viewer they're fine, Canvas they're repulsive.
Seq. settings are NTSC, 29.97, 48k. I have tried several different extensions for the stills and have even tried importing them at different sizes. I know I'm not the first person to incorporate stills in my timeline - how do I solve this? (I followed the advice on a similar thread from a few days ago).
Also, I exported a small clip and viewed it on a different computer as a QT file and it was just as bad.
Please help. I'll make you a mix cd or a burrito if you can help me out. Thanks.

#1 Transitions "Insufficient Content"
Shane's Stock Answer #1: Trying to add a Transition and get the error "Insufficient Content"
A full 1 second cross fade reaches 15 frames into each clip. So, if you want to change a cut to a cross fade, there has to be at least 15 additional frames of each clip. Say you're trying to cross fade from one clip into the very first frame of a second clip. FCP cannot 'create' 15 more frames of the second clip to do a cross fade. If they're not there, you're out of luck.
What you are running into is that you are marking an out point at the far edges of a clip then adding a cross dissolve, say 30 frames (one second) in duration. Since the dissolve is centered on the cut, it will start 15 frames before the cut, and try to go 15 frames AFTER the cut...which it can't do. What you need to do is plan how long your dissolve will be and back-time your cut so that it works.
You need to make sure that your clips have enough media (called 'handles') at the beginning of the incoming clip and at the end of the outgoing clip for the transition. For example, if you have a 1 second (30 frame) dissolve, your in and out point need to be at least 15 frames from the edge of the clip.
I have them all here:
http://library.creativecow.net/articles/rossshane/fcpfaq.php
http://library.creativecow.net/articles/rossshane/fcpfaq2.php
http://library.creativecow.net/articles/rossshane/fcpfaq3.php
Most of them...I keep adding.
one of the most popular is number 8:
Shane's Stock Answer #8: External Monitor Viewing
If you are working with DV, this is simple. First connect your computer to a camera or deck via firewire, Then connect the camera/deck to your TV/Monitor via RCA or S-Video.
Then start up your camera and tv, then open fcp.
Go to the View Menu, choose > External video > all frames
VIEW>Video playback should be Apple firewire NTSC (If you are using an NTSC set)
VIEW>Audio playback should be Audio follows Video
Techinially, this should send synched video to your TV
If for some reason you can't view your timeline on your external monitor, there are a few things to try:
1) Make sure that the camera/deck is connected and powered on BEFORE you open FCP.
2) In the Final Cut Pro menu select AUDIO/VIDEO Preferences and make sure your signal is being sent out thru Firewire DV.
3) Go to the menu and select VIEW>EXTERNAL>ALL FRAMES.
4) Click in the % box above the image and select FIT TO WINDOW.
5) Go to VIEW->refresh A/V devices
6) Make sure the Log & Capture window is closed
If you want it to play in both the canvas and the external monitor you need to go to the FINAL CUT PRO menu and select AUDIO/VIDIO settings and make sure MIRROR ON DESKTOP is selected under the PLAYBACK OUTPUT section.
If you are working with HDV footage, FCP 6 allows you to view this via firewire, but ONLY as downconverted DV. It won't look the best, but you can see it. To do this,
If you need to view any format other than DV at full resolution, then you need to look into capture cards. Several standard definition and high definition models are available from www.aja.com and www.decklink.com. With these options you'll need a proper monitor to view full broadcast colors, but all models allow for realtime standard definition downconvert, allowing you to view HD on an SD monitor.
The Matrox MXO is another option that is output only, but allows you to view your footage on an Apple Cinema Display at full broadcast quality.
Shane

Exporting video results in still image with original sound background

I've tried several times to export my home movie (MOV) into smaller formats using the export function. It worked fine on QT 6 but now I'm on version 7 and it's not working. The final product is a still image of the first frame and the original recording. I've tried exporting to various formats as well with the same result. Any help out there? Thanks!!!

Would it matter if the very first file from the camera was an AVI file? I first had QT convert that file to an MOV file which plays just fine.
As long as the MOV file plays in QT, it shouldn't matter at all. In fact, placing it in a known "space" should indicate it is convertible to other target formats even if only on your system configuration.

When rendered, still images appear in low quality

Hello everyone.
I'm facing an interesting dilemna with Adobe Premiere Elements 8. It usually works fine for me, and with time I have learned to fix most of the details that usually bother unexperienced users such as me.
What happens is that I'm importing still images (JPEG) to my video, and when rendered they're final quality appears to be so low. I mean, you can see the pixels very large, square-like, you know... as if I had a small image and had it stretched out a lot, but that was not the case at all.
I never had this problem before, and I can't recall anything different on my part in this new video.
Any ideas as to how to fix this?
Thanks everyone.

Hi everybody,
It is a bit late to join this discussion but for vacation reasons I didn't follow the PE-Forum for a while.
I think I have a comparable problem like fmrees: Since a couple of days the resolution of the Preview in PE8 is rather poor. Unfortunately I can't say exactly when it startet. Maybe it begun after I rendered the project.
After having read this issue I deleted the rendered files, looked at the preview: still the same. Re-rendering didn't improve the result.
The difference between the problem of fmrees and mine is: I do not use at all still images. The only video sources are AVI-Files from MiniDV.
I looked at other PE-projects I didn't touch for several week: I have the same problem! So probably it is something in the PE- or project-settings, but I have no idea what it could be (I am rather a newbee in PE).
My Hard-/Software:
Intel(R) Core(TM) i7 CPU 860 @ 2.80GHz 2.80 Hz
RAM 8.00 GB
OS
Windows 7 Home Premium
Video:
NVIDIA GeForce GTX 260
Philips 244E
Audio:
AVerMedia H789 PCI-E DVB-T
Realtek High Definition Audio
Premiere Elements V8.0

Need Help Pasting Key Frames from one still image to others, and Changing the duration of multiple still images.

I'm working on a stop motion project, and I have at least a thousand still images to work with.
I have adjusted several Key Frame settings on the 1st still image in my project, such as
Brightness
Cropping
Scale
Position
I now want to apply these exact settings to hundreds of still images at a time that make up one scene in the project (but not all still images in the entire project).. Is there a way to paste or easily transfer them?
Also, there are scenes I'm working on in which I want to change the image duration of hundreds of photos at once, but not change to duration of all images in the project, is this possible?
I've looked at several different web-links, but none of them have what I'm looking for. If you can please help me, I'd be willing to send you $10 through paypal. Knowledge is power; the solution to these problems would save me hours of time. If you don't fully understand my questions I can send you a pictures or a video, pointing out my needs.

Stan,
Thanks again for your input.
When the project is created, I don't recall seeing the preference settings until after the project opens the first time. In that case if certain media was imported into the project panel but not in the sequence, after the duration was changed, it would be necessary to remove the media from the project panel then re-import again. If there is a workaround to this please let me know. It also doesn't appear that creating a new sequence would prevent the re-importing. Could you confirm?
Thanks for the link on automating to sequence--I remember that from CS4.
The application of identical effects to media on the timeline in a sequence was something I had learned back in CS3 or maybe earlier CS4 where the effected, in this case a transition between images was applied then copied then using the paste or (Control V) command, applied to all other stills. That worked fine but with lots of images, it ends up being a lot of "point and clicks" since the CTI must be moved to each transition insertion point before the paste is applied.
I actually thought that I had seen someone select the remainder of the images in the sequence then apply the paste command but I was never able to make that work. Have you heard of such a short-cut?
Much thanks again!!

Still image file confusion.

Got an unusual problem...
Importing folders of JPG still images into CS5 to product a slide show.....
On random occasions Premier confuses individual image file names and replaces them with alternate files from within folders imported on the time line....
Ive re checked the original source of the files affected and they are unaltered...
At first I thought files may be damaged by a virus..... However I;ve used other editing software and they work perfectly........Wondering if anyone has a solution....

I've seen this same thing...drove me nuts! I reported it as a bug, so Adobe knows about it. Hopefully a fix will come along soon. A work around is to right-click on the files in the bin, choose Edit in Photoshop, then in Photoshop just do a Save As, and re-save over the old file using the same name and format. When you go back into Premiere Pro, it should be fine. Be sure to back up your original files somewhere...just in case. Hope that helps!

Max Resolution or DPI of still images

Hi,
This is an offshoot of a problem I thought I was having with Encore CS5 and transcoding, but it is also part of the solution.
I was creating about a 30 min project on Premier CS5 with AVCHD and still images imported with a couple of mp3 music tracks. Win 7, GTX 295, 6MB Ram.
I can do whatever I wanted in premier in terms of any jpeg could be imported, scaled, add motion, zoom, effects, whatever..
When it was time to put it on a blu-ray, it would get send to Encore via the dynamic link and would always fail at seemingly random places during transcode and of course, ultimately crash, or come up with an "object not found" and ultimately never burn.
I tried all the suggestions, taking spaces out of file names, burning to a blu-ray folder, and everthing else I could find in the forums.
I also spent 2.5 hours with Adobe logged into my computer and they could not figure out why:
ENCORE CS4 would transcode and burn the exact same project CS5 would choke on and fail.
I had ignored the suggestion in the forum that Premier can't handle large image files.. After all, they seemed to load and work, I couldn't imagine that transcoding would fail on a still image at 4000X3000 and 300dpi, but wouldn't you know it, I resized all of my images to lower res, and bingo, CS5 churned and burned the blu-ray. I did notice after trying, that if it won't render in the work area of PPro CS5, that it would also fail in the transcoding in Encore CS5, but not CS4. If it didn't like a particular image, it would just freeze the render process and lock PPro CS5 right up.. After several image resizes and lots of reboots, it finally all rendered, and then it was fine in Encore CS5 after that.
So this brings me to my point, and I would love an official answer or guideline from Adobe..
What is the max resolution of still images that can be used in PPro CS5 and consequentally be handled in Encore CS5? What about dpi?
Am I correct to assume that 300dpi is useless in HD? Meaning, even in true HD on a tv screen, isn't it still 72dpi? I couldn't figure out if it was the DPI or the dimensions of the image it couldn't deal with. It seemed as long as I was around 2500X1500 and under 200 DPI I was ok.. but more than that was definately a show stopper. However, I would also think a 300dpi picture would be sharper and crisper, so this stinks that premier can't seem to deal with a 8-10 megapixel jpeg or image..
I really can't believe it, I really thought Adobe would be ready for todays images from cameras, I mean I think nearly every camera you can put your hands on now shoots 8-10 megapixels which would put you right there in 4000X3000 and 300 dpi, how could Premier Pro CS5 and Encore choke on those? And more amazingly why does Encore CS4 not choke?
D.J.

Ann,
Thank you for the link to that article, and it sort of explains the limits, but it doesn't explain why an image off of a camera that was a jpg at 4000X3000 and 300dpi , which is about 10 megapixels and about 5MB in file size choked the transcode process, as it doesn't seem to be anywhere near the limits. As soon as I changed the images to something more like 2500X1200 and 180 dpi or less, everything was fine.
Could it have anything to do with cumulation? For example, I had about 20 of these images set up in a slide show sort of way, and added some motion to them in the effects.. Do you think that matters?
Also, the DPI in relation to video, as I said, it sure does seem that a larger image at 300 dpi offers quite a bit more clarity in the final product than something at a lower DPI..Especially in the case where I want to zoom in on the image or use some motion.. Maybe I'm nuts and a 72dpi 1920X1080 image is all I will ever need, but then in that case, it doesn't leave much room to be able to zoom in or out and move it around.. And if you do zoom in a lower quality image, then the quality will really be seen when it becomes part of the video.. Which is why I wanted to start with higher res stuff in the first place..
D.J.

Duration of still images when importing

Hello,
just a quick one that has puzzled (and bothered) me for some time now. I guess it's my doing something wrong in the first place, but then again it's Monday, so I can do with some bad news to ease into the week.....
As far as I know, it's possible to tell FCP how long you want stills to be when you import them. Go to the user preferences, set still duration under the edit tab to, say, 5 secs and FCP should import stills at a length of 5 ecs. Right?
Well, whenever I try that, my stills are only 4.05 secs, and setting the still duration to 10.00 secs in the preferences gives me stills in FCP that are 8.08 secs long. Is there something I'm missing?
I've tried several formats, JPGE, PDFs, TIFs, PSDs, PICTs, TARGAs, PNGs....all show the same behaviour.
Of course I could fix the duration in the browser or in the Timeline, but it would be much easier if I could import stills at the proper duration in the first place.
Any ideas?
Thanks a bunch, and hope you all have a good week ahead of you,
Colin

I just did some testing on this, and it seems like the Still/Freeze Duration, Preview Pre and Post-Roll changes depending on what audio/video settings you have chosen. Try selecting DV NTSC in Easy Setup. Then check your User Preferences -> Editing.
DV NTSC:
Still/Freeze Duration: 00:00:10:00
Preview Pre-Roll: 00:00:05:00
Preview Post-Roll: 00:00:02:00
Try switching to DV PAL in Easy Setup, and check your User Preferences -> Editing again.
DV PAL:
Still/Freeze Duration: 00:00:12:00
Preview Pre-Roll: 00:00:06:00
Preview Post-Roll: 00:00:02:10
When importing still images using the DV PAL Easy Setup, the stills get a duration of 10 seconds, even though the User Preferences -> Editing are set to 00:00:12:00.
Can somebody please explain why it is like this? I hope there is a logical explanation

Still images don't show in source monitor

Hi,
Running CS5.5 on a Mac Pro, all updated, latest software. Using a Black Magic Decklink card for output.
My problem is I can't see any still images when I load them into the source monitor. They don't show up when I preview them from the media browser and they don't show up when I import them and load them into the source monitor... Just a black screen.
I can edit them to the timeline and when I double click on them they load into the source monitor! But they don't load normally from the project window.
They are jpegs, but I've tried with png as well...
Thanks
Ben Kupfer

They are way too big. One is maybe ok but several.
Make the dimension at least half the size, then they probably have no trouble showing up.

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

Slideshow with video files and still images ?

Hi everybody,
As from the title I would like to know if in Captivate 7 (or 8) there is a widget for playing several videos within a sort of slideshow.
Any advise about to sort the problem will be highly consdired.
Best regards

Hi Rick,
tx a lot for your kind advise.
Following your advise I have just created a Slideshow project and inserted still images in it. One per slide.
But I did not get what to do now... Would you please help me going on trying your solution?
(I think it is helpful to specify that I would like to have a slideshow for videos, as an object within one slide, not along several slides)
tx.

Renedering severely damages still images

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