Still Image conversion into HDV

I am doing a project in HDV format. Today I started laying the images in and they are all sized wrong.
Does anyone know the best way to convert those to HDV

Those?

Similar Messages

How do I export HDV, DV and still images as one HDV sequence?

Hi, my sequence (HDV-PAL) contains mainly HDV footage but also a few DV shots and stills that have a few applied effects. I want to export the whole thing as HDV (because it will be shown on a big screen) and don't mind a bit of lost quality on the DV sections, but would like the best possible outcome. I know it's difficult to mix DV and HDV together, but I've done it, the project is complete, I can't recapture anything (will take too long) and I need to export this thing as beautifully as possible. At the moment any exporting (I've tried lots of different codecs) makes the different fields go crazy, and if I try dump the whole project on a DV50 sequence then all mixed media ratios freak out and become huge. I haven't tried frame blending or blurring yet because I don't know anything about it...
Is there a way to export this project to DVD and also to a DV TAPE without trashing my DV and still images and conserving the high res HDV footage?
Kerrin
PowerMacG5 Quad Mac OS X (10.4.6) 2.5G RAM

To make the MPEG for the DVD and the DV version: Choose file/export/QuickTime Movie... then check ON the "make self contained" option. Open that file in Compressor and choose the lowest time preset you can. Then select another preset to use for that same compression session... from the Advanced Format conversions, choose the DV NTSC preset. The resulting movie will be a DV file you can record to DV tape.
It's pretty likely this will take quite a while to do...
Jerry

Still images snap into focus

I'm using a number of still images in my project. Upon export to QuickTime, the images look fuzzy until they've been on screen for a few seconds, at which point they snap into perfect focus.
Searching the forums, I couldn't find an answer, though I did find a number of questions about still images. So before you suggest that I've created the images at too high a resolution...
I've created the stills at approximately the correct size to import them without problems. I still haven't quite figured out the right dimensions (I don't know why this is so hard), but I'm close -- these are definitely not too large. I have scaled them a little within FCP, but again, I don't think that's the problem because the image does sharpen into perfect focus eventually -- if the image is on screen long enough.
I've also exported using many different codecs (including none), so that doesn't appear to be the issue either.
I've had this exact problem using iMovie -- I was hoping it would go away when I moved up to FCP.
Anyone else experience this and discover the solution?

Please detail your workflow...
-Exactly what versions of FCP/QT
-How are you creating/acquiring your stills...what program did they come from, how were they created/exported?
-What are the specs for the stills...file type, image size...etc.
Is there ANY chance you've somehow applied some type of filter to the files.
Very strange sounding behavior (which I've not seen either), but with some detailed info, someone here should be able to figure it out.
K

Batch Psd image conversion into jpegs in pse 10 or 11?

I want to batch convert some .psd images into jpegs in pse 10 or 11. I know you can batch convert for image resizing,but don"t see the ability to convert images from one format into another. Thanks!!

Unfortunately, you have posted to the Photoshopn (PsE's big-brother) General Discussions Forum. There is a very good, and active Ps Elements Forum, where your question will be answered. I will Move your thread to the Ps Elements Forum, and your link, plus any e-mail subscriptions will follow.
Good luck,
Hunt
[Moved to Photoshop Elements Forum]

Still Images not working

I've put together a DVD in Encore, and many of the timelines are made up of at least one clip, and one still image leading into that clip. Everything looks fine in Encore, and it all writes to a disc with no trouble, but when I play the DVD some of th still images are working fine, and some aren't. Images that don't work either seem to be ignored all together, or, the still image seems to be replaced by the first frame of the clip it is in front of in the timeline. I can't find any differences between the still images that do work and the ones that don't. I've tried .png and .jpg files. Its always the same images too.
Any ideas?

Welcome to the forum.
Along with John's question regarding the pixel x pixel size, have you thought about doing the work with the stills in PrPro, and then just Exporting as is necessary (or using ADL)? While Encore has a limited SlideShow feature, it is designed to work better with AV files, than stills.
Good luck,
Hunt

Projecting still images using final cut express

Maybe someone can answer this tricky question. We need to project a FCE movie that has photoshop still images imported into it, but these photoshop images (which appear normal on the computer screen), are distorted in the projection. They look squashed horizontally. In fact the still image that we made with photoshop and imported into final cut needs to be projected on a wall to match a four foot tall section of the wall, so we need get the size exact. That is the reason why we cannot have any distortion.
We have read that still images imported into final cut should be 720 by 480 pixels to avoid distortion, but that produces an even more squashed image, and this in pixels, that determined the size of the image, so how would we determined the size without affecting the pixels? The distance between the projector and the wall is already fixed and we cannot move it. Does anyone know how to maintain the original proportions of a still image imported into FCE for projection? Thank so much.

Hi, thanks you for your quick answer. We used photoshop elements 4.0 (for Mac) and Final Cut Express HD 3.5.1 (Mac). The still image that we bring into FE is a mask, it has a transparency so I guessed is layered. When we bring it into FE appears as sequence so we open it into a timeline and bring it back to the browser so it can be used as a still image. The movie is projected as DVD on the wall.

What happened with Still Image ratios?

Just 2 months ago I exported still images from my HDV 1080/24p time line (1440X1080), as Jpegs and they automatically saved as 1920x1080 stills files (I assume to preserve aspect ration). Now when I do that I can only get 1440X1080, 4:3 ratio stills.
What happened? Any fix other than Photoshop?
Ryan

Restore your library from an up to date backup.
If you don't have a backup (which you really should), see turingtest2's user tip on Empty/corrupt iTunes library after upgrade/crash for steps necessary to restore your library within iTunes - this assumes that your media is all present on your computer, as it always should be.
Otherwise, see tt2's notes on Recover your iTunes library from your iPod or iOS device

Still Image Pulsating

My still images imported into FCP are pulsating when I use motion to scan from one side of the photo to the other. I've tried different filters, but none delivered a satisfactory result. I know that I can use After Effect for this. I'm trying to eliminated that step and stay in FCP. What's the best filter? Or what's the best option (within FCP)?
Thanks,
Marc

The pulsing is the result of thin horizontal lines (or areas of high contrast) landing on one field but not the other. As the alternating fields are drawn by the monitor, you get a flickering/ pulsing effect.
The basic strategy is to:
1. Deinterlace (as Shane points out)
2. tell the program to not use fields (in FCP set field dominance to NONE)
3. extend the horizontal elements vertically so they exist over more than one scanline. (In Photoshop - Use a slight vertical motion blur of 1-2 pixels)
cheers,
x

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

Can you merge two still images into one in premiere elements?

I am working on a slide show for a memorial service and would like to have one still image showing and then have the next one come in without replacing the former- somehow merge the two. Is that possible?

Depending on what you mean by "merge," you can use PiP (Picture in Picture) to have the second image come in and occupy part of the screen with the original image. There are many ways to display PiP, from say a small image located in the screen to having it occupy one half of the screen.
Does that sound like what you are hoping to do?
Besides the rather simple PiP, one can also use Track Matte Keying to bring up the second image and to soften edges, drop it into an image of, say a TV set, or a window.
The possibilities are endless, or nearly so.
Let us know if PiP works for you, or if you need a more intricate merging of the images.
Good luck,
Hunt

Still Images Appear Pixelated When put into iMovie

I've been working on iMovie 9, and have just downloaded the new iMovie 10 (I think that's the newest one!) anyway, when working on the previous iMovie any still images I uploaded from iPhoto appeared in my projects just fine, even when I was adding the Ken Burns effect etc. I have just imported this project into the new iMovie and now all of my still photos appear crystal clear for a second and then become horrifically pixelated.
I am completely new to this and need to get this sorted as it's for a university project and I just can't get past these horrible pixely images, when they were fine on the previous iMovie! Any help would be greatly appreciated.

This should only be a temporary effect. Once the clips have been converted in to ProRes (a background process) they will be OK. If you do more editing the affected clips will again appear blurred until they are reprocessed.
(In iMovie 9 you had to wait for the clips to be transcoded when you imported them, before you could do any editing. In iMovie 10 you don't have to wait but the transcoding is done in the background.)
Geoff.

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.

Combine multiple still images into one clip PE 10

Is it possible to combine mulitple still images into a single clip? For example, I have 50 still images in a video track, each of which is a clip, and I want to combine them into single clip out of them so I can adjust the opacity without having to adjust each of the 50 clips individually. Any information is welcome. Thanks.

Mark,
I had done this but I was hoping there was an easier way to do it within PE, without having to export as a video file and then importing that video file.
One has to think about what PrE is doing with the Timeline, to understand why the Export/Share is necessary to get Stills/Clips to become one file. PrE is a non-destructive editor, in that it does not actually work with the Source Footage/Files, but only extracts data from them. What we see on the Timeline is really a proxy file, representing the edits that we are making. It is stored as XML language, with first links to the Source Files, and then a set of instructions on what we have done with that data. Since the Timeline is but a representation, of what we have done, there is no AV file - yet. That does not come about, until we Export/Share. At that point, PrE looks at the Project file (PREL), and notes exactly what data is required from the Source Files. The program then reads that information, and say gathers the data of Clip # 1 from 00;00;00;00 until 00;05;00;00, for use in the output file. It then moves to say Clip 2, and extracts the data needed there. Finally, the program processes that data, say adding Effects, and then Exports/Shares to a new file - creating that from the data, and the instructions. Still, the originals are not changed in any way - they are untouched, and only read from.
For instance, say we have a 20 min. Source Clip, and cut it into 30 tiny segments, "deleting" material between those. We have not really Cut that Source Clip, and we have not really deleted anything - only in our proxy file, and with the instructions in the PREL. It is the same with Still Images. We see them as separate Clips, with the Duration that we have set, and perhaps any animation that we have added via Keyframing the Fixed Effects>Motion>Scale (Zoom), and Motion>Position (Pan), but other than seeing those changes in the proxy file, used only for display of the Timeline and playback, nothing has been done yet. Then, upon Export/Share, when the output file is created, those changes are enacted on it.
Good luck,
Hunt

Still images are blurry when dropped into Canvas

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

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

I am unable to import Raw still images from a Nikon D 80 into Premiere Pro cs 4. All jpeg images ok

I am unable to Import RAW still Images from a Nikon D 80 camera into
Premiere Pro. All jpeg images import Ok. A web search suggests I need "plug-ins" for RAW, but I can not find same. Any suggestions as to how to inport RAW files to PP CS 4 would be appreciated. I have just updated from Premiere Elements 4 which had no problem importing RAW still images.
Roygo

The way I see it (correct me if I'm wrong) but Raw is supposed to be where you have total editing control of the shot (as opposed to the camera). I believe the next step is to do the editing (i.e. color balance, exposure, etc) then make a regular image from that to use in whatever output you desire (print, web, etc.) Think of raw as the negative. Just being in raw doesn't in it self make it better.
Edit. This is from premiere help files....
Supported still‑image and sequence file formats
Adobe Premiere Pro supports 8-bit per-channel (4 bytes per pixel) and 16-bit per-channel (8 bytes per pixel) still-image files. It converts images with lower bit-depths to 8-bits per channel and images with higher bit-depths to 16-bits per channel on import. High bit-depth files are supported at one single-precision float per channel (16-bytes per pixel).
AI, EPS (Adobe Illustrator and Illustrator sequence)
BMP, DIB, RLE (Bitmap and Bitmap sequence)
EPS
GIF
ICO (Icon File) (Windows only)
JPEG and JPEG sequence (JPE, JPG, JFIF)
PICT and PICT sequence (PIC, PCT)
PNG (Portable Network Graphics)
PSD (Adobe Photoshop and Photoshop sequence)
PSQ (Adobe Premiere 6 Storyboard)
PTL, PRTL (Adobe Premiere title)
TGA, ICB, VDA, VST (Targa and Targa sequence)
TIF (TIFF and TIFF sequence)

Still Image conversion into HDV

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