Workflow for Sharpening Output of Different Resolutions

I'm looking for a good workflow for sharpening images that are to be output in various resolutions.
My current workflow works, but is a bit cumbersome.
Most of my images are 8-12MP, and I need 2 variations of file sizes:
1) Constrained to 1800x1800 (Slideshow use)
2) Constrained to 680x480 (Web gallery use)
I currently export a copy of all the images I need as JPEG-Original Size. Then I have two Automator actions that use Photoshop to Fit the image into my dimensions using the interpolation of my choice, and applying two levels of Unsharp Masking.
This gives me a very good quality output, but with quite a bit of work.
I've thought about using Edge Sharpen or Sharpen in Aperture, however it would be difficult (and probably just as a pain) to set the sharpen each time I output a different resolution.
Does anybody know of a good workflow to output images from Aperture directly and have them sharpened for various intended outputs? (e.g. screen, web, print)
I haven't done extensive printing in Aperture, but I'm assuming the same would apply to prints of various sizes of prints too.

But is there any simple way aside from clicking on each version with the cloning stamp to apply the sharpening preset?
1. Select one image and apply the sharpening preset.
2. Deselect that image and select all of the other images you want to apply the sharpening adjustment to.
3. Click on the Lift Icon in the toolbar, then click on the image (with the Lift Up Arrow) you applied the sharpening to in Step 1.
4. Go to the Lift & Stamp HUD and uncheck all of the check boxes except Adjustments.
5. Also, in the Lift & Stamp HUD, click on the disclosure triangle next to Adjustments to see what adjustments you lifted from the image.
6. If you see other Adjustments besides your sharpening adjustment that you do not want to apply to your other images. click on the unwanted adjustment(s) and press the delete key. This will delete the unwanted adjustments and you will be left only with your sharpening adjustment.
7. Now click on the button on the lower right of the Lift & Stamp HUD that says "Stamp Selected Images."
This sounds like a lot of steps, but it is really quite simple once you've done it a few times.
- Karen

Similar Messages

How to structure the DMA buffer for PXie 6341 DAQ card for analog output with different frequencies on each channel

I'm using the MHDDK for analog out/in with the PXIe 6341 DAQ card.
The examples, e.g. aoex5, show a single Timer (outTimerHelper::loadUI method), but the example shows DMA data loaded with the same vector size.
There is a comment in the outTimerHelper:rogramUpdateCount call which implies that different buffer sizes per channel can be used.
(the comment is: Switching between different buffer sizes will not be used)
Does anyone know what the format of the DMA buffer should be for data for multiple channels with different frequencies ?
For example, say we want a0 with a 1Khz Sine wave and a1 with a 1.5Khz sine wave. What does the DMA buffer look like ?
With the same frequency for each channel, the data is interleaved, e.g. (ao0#0, ao1#0; ao0#1, ao1#1, ...), but when the frequencies for each channel is different, what does the buffer look like ?

Hello Kenstern,
The data is always interleaved because each card only has a single timing engine for each subsystem.
For AO you must specify the number of samples that AO will output. You also specify the number of channels. Because there is only one timing engine for AO, each AO will channel will get updated at the same time tick of the update clock. The data will be arranged interleaved exactly as the example shows because each AO channel needs data to output at each tick of the update clock. The data itself can change based on the frequency you want to output.
kenstern wrote:
For example, say we want a0 with a 1Khz Sine wave and a1 with a 1.5Khz sine wave. What does the DMA buffer look like ?
With the same frequency for each channel, the data is interleaved, e.g. (ao0#0, ao1#0; ao0#1, ao1#1, ...), but when the frequencies for each channel is different, what does the buffer look like ?
In your example, you need to come up with an update rate that works for both waveforms (1 KHz and 1.5 KHz sine waves). To get a good representation of a sine wave, you need to update more than 10x as fast as your fastest frequency...I would recommend 100x if possible.
Update Frequency: 150 KHz
Channels: 2
Then you create buffers that include full cycles of each waveform you want to output based on the update frequency. These buffers must also be the same size.
Buffer 1: Contains data for the 1 KHz sine wave, 300 points, 2 sine wave cycles
Buffer 2: Contains data for the 1.5 KHz sine wave, 300 points, 3 sine wave cycles
You then interleave them as before. When the data is run through the ADC, they are outputting different sine waves even though the AO channels are updating at the same rate.

Creating Workflows for a Corporation with Different Company Codes

Hi,
We have just done a roll-out for Company A which is part of a big corporation (group of companies).
The system version implemented is ECC 6.0 with modules (HR,MM,FI,DBM)
I have implemented and rolled out several workflows (Leave,PR,PO, Payment approval)for Company A and am now expected to do the same workflows for Company B,the business processes as per flowcharts remain the same as for Company A.
Company A uses company code 1000, while company B will use company code 2000.
Users in Company B will log in to the same PRD servers.
Some approvers of workflow in company A will be responsible for some workflow approvals for staff in company B though HR have completed implementing an org structure for company B.
Is it possible to use the same workflow templates by saving them in a different name and change the agents to reflect company B org,if so how do I go about it?
In future we will also roll-out to Company C.
What is the best way to do it and save time as well.
Thank you.
Missa

Hi
Consider a scenario like EMPB who belongs to CMP B has applied a leave and EMPA manager of EMPB who belongs to CMP A,
Now in order to send the leave request for approval to EMPA you can define or create a rule from PFAC transaction. in such a way that
1. First try to get the initiator details like his personnel number.
2. Once you have the Employee number , by using it you can read hi Org Assignment details from PA0001 to get employee sepecifc compnay code.
3. BAsed on the employee group and sub group you might have to decide who is manager I hope this would be defined already in the org structure.
4. Once you know who is the manager , get his position details and from it get holder and his communications info from PA0105.
IN this way if you define a rule by calling a function module. You can make use of the same workflow. but based on the initiator details you need to dort out the manager.
The simple way is to define and impement the Rules dynamically to fetch the agents based on the Personel are/sub are and employee group and sub group.
Regards
Pavan

50i footage best workflow for progressive output (web/youtube) / deinterlace

Hello
The reason I have to work with interlaced footage is that the clips are edited for a TV show as well.
I (usualy) get 1080i @ 50fps clips with fast-paced movement of camera & inside the shot (subject) - car racing.
Editing in Adobe Premiere Pro 5.5
I am struggling with some stutter & sharpness loss & thin interlaced lines (even after exporting as progressive).
The current workflow is:
          - importing inside an AVCHD - 1920x1080 @ 50i sequence
          - edit
          - export as h264 - 1920x1080 @ 25P /Constrant Bit Rate @ 10MB
Results not that great : while the smoothness of motion is preserved there is a visible drop in details quality and still visible thin horizontal lines from the interlaced footage.
Also tried:
          - importing inside an AVCHD - 1920x1080 @ 25P sequence
          - edit
          - select 'Always deinterlace' option inside Field Options box (takes extra some time because i have to do this for each individual clip)
          - export as h264 - 1920x1080 @ 25P /Constrant Bit Rate @ 10MB
Results not that great : stutter motion, more visible drop in details quality and no horizontal lines visible.
My questions are:
     1)What is the best sequence settings for editing 50i settings and exporting for WEB/progressive?
     2)What is the best deinterlace option? ('interpret footage>no field' does not help)
     3)What is the best output/export settings?
Thank you!

You are not using the Youtube preset
Your preset shows that whilst it is h264 some settings have been changed over the default hence CUSTOM showing in the image, it is that you are just outputting a file specifically for your PC/MAC
Other observations
Why are you saving to your C drive? Better to have multiple drives for editing, there are plenty of posts on drive management and setup
Do you have the default Premiere settings for scratch discs etc? These will use your C drive which will soon become filled, or at least overwhelmed with raed and wrtite problems
Why are you saving the file at 10mbps? Especially for motion my PAL HD MP4 progressive settings are 32 ave 40 max mbps

Best Workflow for Dvd studio Pro

I am looking to get the best possible workflow for dvd output. I currently just export my FCE HD project as quicktime movie NOT self contained. I then pull it into DVD Studio Pro 3 and after i do all the menus I build and burn the dvd. The image quality is good, but after reading alot of posts here it seems alot of people put their projects through compression before dvd studio pro builds the project. Should i be doing this?
Thanks.

Well, use the best encoder you can get your hands on. If you can budget for other encoders then maybe do that. Compressor will give you more control so its a good place to start,
-jake

ABAP & Workflow for CRM

Hello Buddies,
I have seen so mail threads somewhat near to my doubt but could you please tell me some good link for learning ABAP & Workflow for CRM. Also please advise me, being ABAP-Workflow Consultant which section of CRM is best suitable for me.
Thanks in advance. Your guidance is appreciated.
Warm Regards,
N. Singh

Hi,
ABAP and Workflow for CRM is nothing different and specific to CRM. They are same and at least all the basic concepts are present. There might be some implementation and conceptual differences but they are more of functionality driven.
You start learning SAP CRM Fucntionality which will help you to understand SAP CRM much better. And then you can have a feel of the CRM feature and where and how it's been used to drive the ABAP and Workflow functionality.
Hope this helps. You can scan the forum for good links and resources.
Best Regards,
Samantak

Workflow using LR & PS together for sharpening

I use LR 3.3 as my default image organizer and processor. But sometimes I want to go into PS to use the tools there (I use CS4). Let's say I want to make a high quality JPG from a RAW file that resides within the LR catalog. I've started with some LR adjustments, but I also want to make some PS tweaks. What is the best workflow?
I'm aware of the three step procedure of capture sharpen, selective sharpen and output sharpen when processing RAW exclusively in Photoshop. When I import card images into LR, I usually add a small amount of sharpening automatically (amount=25). Does this qualify as the capture sharpen if I use the "Edit with LR Adjustments" in the external editing dialog when using PS from within LR? Or does the creation of the TIF file negate that original sharpening and must I start from scratch in PS? When changes are saved back to LR, do I stop at selective sharpen in PS and use an output sharpen when I export the TIF to JPG in LR? Or do the output sharpen in PS and use none in LR export? I think no on the latter, because if I am correct, I will need some kind of sharpening any time I convert or resize a file.
Or for those special pix, am I better off to just grab the original RAW with PS, convert with ACR, and process 100% in PS and convert to JPG from there (manually adding to LR catalog afterwards)?

I would love to see a sharpening improvement in Lightroom that allows the local pins to have different settings than the globals. In case you did not know - presently all locals share the same settings with the globals. I also acknowlege this would be more complex to implement, and slower.
Anyway, I sometimes export a photo back to Lightroom, sharpen some more with different settings, then export again to Lightroom, sharpen some more (locally) with different settings... - this technique is effective for lens sharpness fall-off correction, since a higher radius and lower detail is more appropriate toward the edges. It does not take directional stretching into account like DxO's algorithm supposedly does, but DxO is not a panacea either - I can usually get as good or better results using this technique in Lightroom than with DxO's auto sharpness fall-off correction.
But back to your original question... - I concur with Pete: save output sharpening for final output, but if you are going to go outside for sharpening and/or other things, it does beg the question of whether to do it in Lightroom first, also external, then again in Lightroom..., or just outside..., or just in Lightroom...
And, I dont have an answer, but I do find the question fascinating. Personally, I've experimented a fair amount with this when using tools like Focus Magic, or Nx2 sharpening, or Topaz Detail enhancement... - how much to do where... how much to do before and how much to do after... (and how does NR fit in...)
Sorry I cant be more helpful, but my general conclusion has been:
It really depends on which software, what you are trying to do, how the various algorithms complement each other... - And I got a bit overwhelmed before figuring out the particulars...
What I will say however, is that most sharpeners work best when used in moderation, so one approach is: do a little at each stage. In other words, do some moderate sharpening in Lr before taking it into Ps, then do some there too - but go easy, then maybe even a little more when you get it back to Lr... - This approach is not necessarily optimal for each case, but seems to be generally good...
Rob

Different resolutions for Macbook Pro display and External display

Is it possible to have different resolutions for a Macbook Pro and an external display. I prefer to see less but larger on my Macbook Pro whilst seeing more but smaller on my external display. I use the DVI output to connect to an Acer 22in display.
Thanks in advance
Ian

in4time wrote:
I've actually tried that process and it doesn't work; I still get the same display qualities on both. Perhaps that process might work if one is not mirroring. Maybe there is a compatibility issue between my Macbook Pro and the Acer 223W. I'll persevere, but thanks for your help anyway.
Ian
Hi Ian,
allow me to chime in:
You are absolutely correct!
In 'Mirroring Mode' both internal and external display have the same resolution.
Only in 'Extended Mode' you can have different resolutions for both displays.
Regards
Stefan

Can we get a output in different languages for the same configuration

Hi All,
Can we get a output in different languages for the same configuration done in NACE. or it is language specific.
They have symbols which have values both in german and english. But when we run the transaction we are getting the output only in german language.We want the out put in english
language.
Thanks in Advance.
Rajesh

A Smartform can be maintained in many languages other than the language that it is created. Translations for the texts have to be maintained for this purpose.
To maintain the translations:
Go to transaction SE63 in R/3.
Go to menu Translation->R/3 Enterprise->Other Long Texts
Select the object type in the pop up. Smartform(SSF) object type is found under Forms and Styles(FS).
Enter the name of the Smart form and choose the source and target language. This would open a screen with the Smartform code in Source language on the top and an editor with the same code in the bottom.
Find the text for which you need to maintain the translation and insert the translation in that place. As usual after required texts are maintained Save and Activate.
To see the translated Smartform create an output type and assign the smartform and the driver program to this output type. In the transaction that sends output to this smartform, select the output type and select the language in which the smartform has to be displayed (translations have to be maintained in this lanuage).This will give the smartform in the required language.
Madhavi

Setting different resolutions for different displays?, setting different resolutions for different displays?

Hi,
I have a 30" dell display that I have used with my MBP. I recently got a MBA and installed mountain lion. One of the things they inexplicably removed was the ability in the menu bar to set different resolutions for different displays. The only way I can get my Dell Monitor to work is to use mirroring. But I don't want mirroring. I want two separate displays. In Snow Leopard, the drop down display menu in the menu bar allowed you to pick different resolutions for different displays. Is there any possible way to do that in Mountain Lion?
Tom

Yes, assuming that the 8" display has a resolution that the Mac can support. When you open the Displays system preference, you'll get a settings window on each display (as long as the option for Mirroring isn't checked).
Regards.

Workflow for building Photo book Page in Photoshop & Lightroom

I am working on publishing a Photo Book using MyPublisher and will be laying out each page in Photoshop rather than using their templates.
I need advice on the best workflow for accomplishing this task--here are some details:
1. Images are Imported to Lightroom, are Flagged, and adjusted with Develop settings (Cropping, Basic Panel, Paintbrush etc.)
2. I do add some capture sharepening to the image in Lightroom (not much).
3. Use the EDIT IN Photoshop CS6 with 1 or more images from Lightroom as SMART OBJECTS.
4. In Photoshop, I am changing the Image Size (sometimes upsizing for full page spreads) and resolution (everything goes to 300 DPI).
5. Doing more intense Creative Sharpening for each image.
6. I am using a variety of custom actions to layout pages with 1, 2, or 3 images plus text. I create a new document that is sized for the entire page (11.08 x 14.08 @ 300dpi for Deluxe Hardcover). I fill the background page with a custom pattern simulating textured paper and then layout the images for either a Left or Right Hand page.
7. Saving page as a Photoshop File and re-importing into Lightroom
8. Publishing the Photoshop Files as JPEGS with Medium Sharpening for Glossy Paper
9. Importing the JPEG of the Page into My Publisher as a single image the sive of the entire page.

I often use Photoshop to set photos in iPhoto books. I am not sure how Apple does the trimming of its books, but I have had no problems with edge trimming of pages whose photographs to go to the edge. There is no white to be seen. I haven't closely compared the original 11" x 8.5" photo with the one in the book, but generally the results look right.
In terms of working out the gutter for two page spreads for a 11" x 8.5" book size. I measured an existing book and found the physical page width to be 11" exactly. I measured the gutter to be 0.25". So that means using Photoshop to create the image size of 10.75" x 8.5". It seems to work okay.
Just interested if you have set a gutter, and if so, to what specification?

Raw File conversion to Tiff or Jpeg - best workflow for multiple files in Photo Shop Elements 11

Hello, I am pretty new to shooting in raw and Photoshop Elements (11). I have one big problem. Once I open Elements up and load the Raw files from the SD card it shows them all on the left side in Camera Raw. I make my contrast and color adjustments if needed, but then my problem starts: I do not really want to make any further adjustments in Elements itself, but in order to save my Raw files either as Tiff or Jpeg it seems like I need to - through clicking on the "open image". Now it only opens up that one particular photo. I did not manage to go simply back to Camera Raw to grab the next one as the screen just disappears. However, this one by one process is of course not the preferred way. I know that there is batch processing, but am also not sure if my adjustments that I did in Camera Raw will carry over as I am actually never saving anything and would like to avoid saving it before all manually as .dng files as it would just be another extra step. I hope I could make clear where I have problems and what I would like to achieve and hope you can help me. Many thanks in advance.
Philip

Simply select and edit each picture thumbnail from the left panel without clicking 'Done' or 'Open'.
When you have edited each individual picture, select all your thumbnails - click on the first one - shift click on the last one. They should be all highlighted.
Then simply click 'Done'.
Your edits are saved in sidecar xmp files.
If the thumbnails are not yet automatically updated, select the files, right click and choose 'Update thumbnail'.
No need to use the editor with 'Open as' if you don't want any further edit or jpeg/tiff/psd/png version.
Edit:
I am not sure I have understood your question.
The above process lets you convert and edit a batch of raw files without opening the editor.
If you want to get jpeg or tiff files from the already edited raw files, either use the 'process multiple files' of the editor or the 'export' feature from the Organizer.
The common raw workflow in Elements consists in converting small batches as explained above to take advantage of applying common edits or individual differences. In some cases you want to open the editor, in others not.
That's at the input time.
When you want to output pictures, the selection of picture is different for each purpose. You'll include pictures edited in different batches, some still in raw format, others already converted in version sets to jpeg/tiff... For each output purpose, those selected pictures can be sent to the destination folder in the required format withoug opening the editor at that stage either using 'process multiple files' or 'export'.

DSLR workflow for ideal render and export

I recently completed my first 5 minute project in Premiere Pro CS6 with great results. The source material is a Canon 7D, and I'm working with unconverted native files. Unfortunately, as the project had color-correction with Magic Bullet looks, filters like sharpening, and layers to "blur" certain elements on-screen, the initial compressed h264 export took nearly 7 hours.
A bit of research led me to realize I was better off exporting a "master" and converting outside of Premiere Pro. So, what would be the best way to proceed?
Should I render my timeline and then choose export with "match sequence settings" and "use previews"? Should I not pre-render and instead export only with "match sequence settings"? If I do pre-render and use previews, will the resulting quality be the same as if I render while exporting?
Or is there another way? Could I create preview files with ProRes and export to ProRes?
Thanks for helping out a thrilled PP convert.

A little primer on Preview files...(btw I think they are great when used as they are intended)
Preview files are caches of raw frames [with effects applied to them] that are encoded into the Native Editing format (eg DV, HDC, MPEG-Intra).
It's a little known fact that ANY Export format can be made into an editing format. When you make a new Sequence you just have to pop over to the Custom Tab to change to that video format. In general this isn't a good idea though. Why? Because most Export formats are not good Digital Intermediates (DI). By that I mean that repeatedly compressing and decompressing damages/degrades the footage or they are slow to decode and encode.
So, what format to choose? Formats like Avid DNxHD and Apple ProRes are great editing modes. They don't degrade over multiple generations very much and are relatively low on CPU power to decode and encode. There are lossless DI's out there too like UtLossless (which is free). At the other extreme are codecs that don't fair well to being used as a DI - like H.264/AVC. They are simply too CPU hungry for the task.
Don't misunderstand me - editing source AVC footage is fine because decode is waaaay easier than encode. It's just not practical because of the encode time.
So why use Preview files at all?
IF your effects (like Magic Bullet or Motion Stabilizer) takes a LONG time you only have to do the computation once. Work in the highest resolution you'll be using (eg 1920x1080p). After you have the preview files "rendered" Premiere Pro will use then instead in that section and you'll have nice smoooooooth editing.
You then are free to Export your final video to whatever format you want in whatever size you want. And because you chose a DI that isn't hard on the CPU to decode you pick up a TON of time vs having Magic Bullet recalculate the same thing over and over again for each output format/size/datarate. - Just make sure you check the "Use Previews" button otherwise they will be ignored.
Level 200 tips:
IF, and this is a big IF, you happen to be exporting your final video at the same
    FRAME SIZE
    FRAME RATE
    COMPRESSION SETTINGS THAT MATCH THE EDITING MODE
Then, you can get an extra Encode time boost for Exporters that support "Smart Rendering". Smart Rendering is when all the above conditions are true and the compression scheme supports being able to COPY the preview frame instead of de-compressing it and then re-compressing it.
Basically there is little to no chance that's gonna happen unless your final output is a Digital Intermediate format to then go onto some other post-production step.
So... choose a good Editing Mode that doesn't lose quality when encoded (during the preview render) then decoded (during the early phase of Exporting each frame) to make the raw uncompressed frame that is Encoded into your final output format (eg F4V, AVC for Bluray, YouTube, Vimeo etc).
'hope that helps.
Rallymax.

LR4.1 preset for sharpening darkens pictures

Hello,
the Adobe presets delivered with LR4 for sharpening include a command line which forces a switch to the new process engine "2012" or ProcessVersion = "6.7". I do not understand why Adobe allows a general preset to include a process version change command.
As a result, these sharpening presets can not be used on photos from an older LR3.x catalog without affecting the exposure or brightness - if you do, the picture exposure or brightness or whatever is set to lower settings, the histogram shows a darkening of about 2/3 aperture. Unfortunately, as the exposure changes, no slider or number value of the exposure, brightness etc. do change - very inconsistent.
In case you would choose to develop an older photo in LR4.1 and first use the upate icon button right of the picture to update the photo to process version 2012, then the picture will convert without changes in exposure (to the new process version) and then, the sharpening preset will not alter the exposure.
Also, it is hard to understand that the command line in the preset has a different result compared to the update button.
Presets seem to be dependent on certain process versions. No consideration is visible in the software for upgrade of change management of presets vs. process versions. A hard switch by command line does not to the job - this command line should not be in the preset. OR - the presets have to be named "LR4.1 presets only".
I consider this behaviour to be a bug or nonconformity of the software.
Mostly confused. I will have to manage all manually, with a catalog of approx. 35.000 pictures.
Any resolution to this?
Gerd

There are a number of LR4 Develop presets That apply PV2012 without doing the develop conversion process. This sure looks like a bug to me!
I agree with Rob that there should be a "warning" popup and proper conversion if you choose to proceed.
You can submit a bug report here:
http://feedback.photoshop.com/photoshop_family
For now your easiest solution is to create your own develop presets, or copy LR3's presets by 'Import' into a 'New Folder' titled 'LR3 Presets inside the LR4 Develop module 'Presets' panel.
http://blogs.adobe.com/lightroomjournal/2012/04/updating-develop-presets-for-lightroom-4-2 .html
I just tried it on my Windows 7 LR4.1 and the LR3 presets work fine in LR4. It looks like they also include PV2010 as part of the LR3 preset, so make sure you don't use them with any LR4 PV2012 processed images. LR3 must be installed (or reinstalled) to 'Import' the LR3 develop presets into LR4.
Here's the path on Windows 7 to 'Import' the LR3 presets inside LR4's Develop module:
C:\Users\USERNAME\AppData\Roaming\Adobe\Lightroom\Develop Presets\Lightroom Presets
The new 'LR3 Presets' folder will also show up in LR3's Develop preset panel. Simply ignore it if you still use LR3, but don't delete the folder.

Save several movies in different resolution in one go

Hi everyone
With Quicktime 7 there is an option to export an existing movie and save it with a different resolution such as 1280x840 to 640x480 Pixels etc.! Is there a possibility to make these changes to several files without repeating them for each and every movie (over 100 files)? Maybe with the help of AppleScript?
Thanks for your help.

Compress QuickTime Using Most Recent Settings (from Automator).
The action only works on files (not folders of files). It would use the most recent QuickTime Player Pro export settings.
Export a "dummy" file (say 30 seconds) from QuickTime Player Pro to your destination dimensions, codec and settings. The Automator action will "remember" those settings and use them in its action.
Once done with those settings export the dummy file again using different settings and Automator will adjust to the new settings (if saved as a Workflow or Application).

Workflow for Sharpening Output of Different Resolutions

Similar Messages

Maybe you are looking for