How to Adjust Image Size?

Again, you only need to convert the still image sizes if you plan to export the movie back to tape or DVD. If your movie will only be watched over the Web, you don’t need to convert the image. The exact steps you should use to adjust the image size vary depending on the image-editing program you are using, but in most programs, they work something like this:

1. Open the picture in your picture-editing program.
2. Open the dialog box that controls the image size in your software. In Adobe Photoshop, choose Image➪Image Size.
3. Remove the check mark next to the Constrain Proportions option. Most editing programs have a similar constraining option (such as Constrain Size). Make sure it’s disabled.
4. Change the image size to 720x534 if you’re working with NTSC video, or 768x576 if you’re working with PAL video.
5. Click OK and save the image as a JPEG image file.

Save the image using the JPEG format because it can then be used in just about any video-editing program. If your picture-editing software gives you a quality option when you save an image as a JPEG, choose the highest quality possible if the image will be used in a movie program. Other versatile formats include BMP, PICT, and TIFF, but you should check the help system for your video-editing program to see which formats are supported.
Although the image may look slightly distorted after you change the size, don’t worry: It will look right when viewed with the rest of your video. Just remember that you only have to perform this modification if you plan to export the movie back to tape. If you plan to use your movie only on computer screens (or share it over the Internet), you don’t need to change the aspect ratio of the image.

Adjusting the image size

Most video images have an aspect ratio of 4:3, which means the width and height of the image can be divided into a 4:3 ratio. Most of the sample clips on the CD-ROM that accompanies this book have an image size of 320 pixels wide by 240 pixels high. If you do the math, you’ll see that 320x240 works out to a ratio of 4:3.
When you take a picture using a digital still camera, that picture usually has an aspect ratio of 4:3 as well. Image sizes that have a 4:3 aspect ratio include 640x480, 800x600, and 1024x768. Your computer’s monitor also probably has a 4:3 aspect ratio unless you have a newer widescreen monitor. Most TVs still have a 4:3 aspect ratio as well. Because the 4:3 aspect ratio is so common, dropping an 800x600 digital photo into a DV-based video project should be easy, right?
Unfortunately, it’s not always that easy.
Digital images are made up of pixels, which are tiny little blocks of color that, when arranged in a grid, make up a picture. Pixels can have different aspect ratios too. Digital graphics usually have square pixels, while video usually has rectangular pixels. The frame size of NTSC video is usually listed as 720x480 pixels. This does not work out to 4:3; it’s actually 3:2. However, it still appears to have a 4:3 aspect ratio because NTSC video pixels are slightly taller than they are wide.
What does all this mean? Suppose you place an uncorrected digital picture into a video program, and then you export that program back to tape. When you view the movie on a TV, the still image will appear distorted. To correct this, you need to start with a digital photo that has an aspect ratio of 4:3, and then (depending on your local broadcast video standard) change the image size to

• 720x534 pixels (NTSC)
• 768x576 pixels (PAL)

Use the size that matches your local broadcast video standard (see Chapter 3 for more on video standards). Before you convert an image to one of these sizes, it should have an aspect ratio of 4:3. Common 4:3 image sizes include 800x600, 1024x768, and 1600x1200.

Using Still Graphics in Movies

Although movies are all about motion, there are plenty of times you’ll want to include still graphics in your video projects. The process of importing stills into your video-editing program is usually pretty simple, but before you start plopping stills into your timeline, you should take some important steps to make sure that your images will look right. If you don’t take the time to prepare your stills, two main problems can result:

• Images may become distorted and look unnaturally stretched or squeezed.
• Colors might not display properly

More ABout Stepping Up to More Advanced Editing

Most high-end editors simplify the capture process with a feature called log and capture. The log and capture feature allows you to create a log of clips that you want to capture. As you review the videotape and identify portions that you want to capture — a task you would undertake with any video-editing program — you simply log the timecode at the in point (beginning) and out point (end) of each piece of video you want to capture. In Adobe Premiere, you do this by clicking Set In at the beginning of the section, and then clicking Set Out at the end of the section. You can even type the timecode in the Set In and Set Out fields manually if you wish. When you’ve specified an in point and an out point, click the Log In/Out button. This adds the current in and out points to a log. The Batch Capture window serves as Adobe Premiere’s log. You can log as many sections from a tape as you want in a single log. I have logged five separate sections of video. After you have logged all of the portions of video that you want to capture from a given tape, capturing the video takes just a single mouse click. In Premiere, click the Record button at the bottom of the Batch Capture window. The software automatically rewinds and cues the tape in the camcorder as needed and captures all the sections of video that you specified. The capture process may take a while, but because it all happens automatically, you can take a lunch break while it occurs. If you capture a lot of video the old fashioned way in Apple iMovie or Pinnacle Studio, you’ll start to see why log and capture can be a big timesaver. Log and capture is just one example of the effort-saving features that advanced video-editing programs can offer. All the editing programs listed here look and work very similarly because they were designed to imitate the professional video-editing workstations used for years by broadcast pros. One of the things I really like about programs like Premiere or Final Cut Pro is the flexibility of their timelines. You normally have an almost infinite number of tracks to work with — very helpful when you want to overlay video images on top of each other. It may look like a very complex project, but I was able to assemble it quickly. The timeline currently has three video tracks and three audio tracks, but I can add more as I need them. Special effects are also a lot easier to work with in advanced editing programs. For example, suppose I want to make a video clip appear in its own little box (like a picture-in-picture display found on some TVs) and move the box across the screen. In Premiere, opening a Motion Settings dialog box for the clip is a simple matter,. Using simple point-andclick techniques with the mouse, I can draw a motion pattern for the clip and adjust zoom settings to make the clip bigger or smaller. Advanced video editors can also be powerful business productivity tools.
Corporate communications directors are finding that modern computers and
software make in-house video production more feasible (in the past it was usually
farmed out to a contractor). Businesses can use video editors to make

• Training and orientation videos
• Kiosk videos
• Marketing materials
• Presentation videos

One advantage of using video software for presentations is that once a presentation is exported to tape or DVD, you can show it almost anywhere. All you need is a TV and a VCR or DVD player. Although you lose some of the interactivity of, say, a PowerPoint presentation, you can still make a very professional-looking video using media of almost any type. Last year, for example, I used Adobe Premiere to develop a kiosk video to demonstrate some software. Using animation tools, I could simulate the movement of a mouse pointer on the screen. I can’t possibly show you all the advantages that advanced video-editing programs can offer, but this chapter shows some possibilities. Programs like Final Cut Pro, Edition, and Premiere are so advanced that the movie magic you can create is limited only by your imagination.

Stepping Up to More Advanced Editing

If it hasn’t happened to you yet, rest assured that it will: You want to do a certain kind of edit, but the software you’re using right now just won’t let you. Or you may find that some tasks are difficult or tedious to perform.
Before you get mad and break a keyboard or something, consider upgrading
to a more advanced editing program. Some well-regarded advanced editing
programs include

• Adobe Premiere (Mac/Windows): Adobe kicked the affordable video editing revolution into high gear a few years ago with Premiere. It remains a popular choice among video professionals and hobbyists, although it has slipped in popularity in recent years as Final Cut Pro and others offer viable alternatives. Adobe Premiere retails for $549, although if you shop around, you may get a better deal by buying Premiere packaged with a high-quality video-capture card.
• Avid Xpress (Mac/Windows): Avid has been making broadcast videoediting
• software and equipment for years, and many professionals prefer the Avid Xpress video-editing software. And after years of spending tens (if not hundreds) of thousands of dollars for Avid editing workstations in the past, pros don’t mind the $1699 retail price of Avid Xpress. For the typical amateur moviemaker, however, some of the more affordable solutions make more sense.
• Apple Final Cut Pro (Mac): Quickly becoming one of the most popular editing programs among pros and dedicated hobbyists, this program, which retails for $999, can do it all.
• Apple Final Cut Express (Mac): If Final Cut Pro’s price tag is out of your reach, consider the $299 Express version. Unless you’re editing video professionally for broadcast TV or Hollywood movie studios, this is a better, much more affordable choice.
• Pinnacle Edition (Windows): Pinnacle definitely knows video. Whether you’re a broadcast professional or DV newbie, Pinnacle has software and hardware worth considering. Edition is Pinnacle’s answer to Adobe Premiere and other high-end video editors. Pinnacle Edition DV retails for $699 with a FireWire card included, although if you already own Pinnacle Studio, you can upgrade to Edition for a lot less (at this writing, Pinnacle advertised an upgrade special of just $199).
• Sonic Foundry Vegas (Windows): Vegas from Sonic Foundry has been quietly building a strong reputation among video editors, many of whom prefer Vegas to Adobe Premiere for Windows-based editing. The Vegas software retails for $699, though Sonic Foundry occasionally has special offers.

Although you may expect advanced editing programs to be more complex, I actually find them easier to use. For example, consider the process of capturing video from your camcorder. In Apple iMovie and Pinnacle Studio, you have to be quick with your mouse and buttons to start and stop capture. If you want to capture a lot of different scenes from a tape, this process can grow tedious because you have to sit there in front of your computer manually starting and stopping capture for each piece of video. And because you probably won’t actually capture a piece of video until you’ve reviewed it at least once, you’ll spend a lot of time rewinding the same video over and over.

Using Video Effects in Studio

Pinnacle Studio doesn’t have built-in special effects, per se, but it does offer tools to let you modify the appearance of your video clips. Here’s a summary of the tools and effects available in Studio:

• Adjust color and lighting: You can modify colors and lighting in video clips using controls in the Adjust Colors toolbox. To open this toolbox, select a clip in the timeline and choose Toolbox➪Adjust Color. The toolbox appears above the timeline, as shown in Figure. Most of the time you won’t want to make any extreme adjustments, but you can correct color problems in video images with a little fine-tuning. If you’re going for a black-and-white look in your movie, you don’t need any special effects. Simply adjust the Saturation slider all the way to zero to remove color from the video image.
• Blur: As you might guess, the Blur slider blurs the video image. If you set the Blur slider to number one, it does a fair imitation of a soft filter. Any higher setting, though, and the image just looks, well, blurry.
• Emboss, Mosaic, and Posterize: These controls are of limited use, in my opinion, although they can be useful when you’re creating a custom background image (for a DVD menu, for example):

1. Emboss gives the appearance that your video image has been embossed into plastic or metal.
2. Mosiac changes the image into a pattern of colored square blocks. As you adjust the slider farther to the right, the blocks become larger, further distorting the image.
3. Posterize reduces the number of colors in the image to create a cartoon-like appearance.

• Vary playback speed: Studio has a really nice toolbox for adjusting the playback speed of video clips. To open this toolbox, choose Toolbox➪ Vary Playback Speed.
• Overlay graphics: You can use the title editor to lay simple graphics over a video image_ Hollywood FX Pro: Pinnacle offers Hollywood FX Pro, a tool that can create some advanced video effects. Hollywood FX Pro is available as a plug-in for Studio for $99.

Controlling effects with keyframes

When you apply an effect to a clip, you may want the effect to appear only for part of the clip, or you may want the effect to change as the clip plays. In iMovie, you can make an effect appear or disappear gradually. More advanced video-editing programs like Adobe Premiere and Apple Final Cut Pro control effects by using keyframes. A keyframe is simply a frame of the movie that you set as a landmark (as you would the points you create and adjust on audio rubberbands when you edit audio). In advanced video-editing programs, you can set as many keyframes as you like, and you can change the properties of effects at each keyframe.
For example, suppose you use a rain effect on a video clip, and you want the rain to increase and decrease in intensity throughout the clip. Several seconds into the clip, you can set the rain to be very heavy. A few seconds later, create another keyframe where the rain is very light. The software automatically adjusts the Rain between those keyframes to make the change appear gradual.
Using keyframes effectively take a while to learn, and if you use a program like Adobe Premiere, I recommend you get a book that more fully describes the features of that programBut the keyframe feature does give you almost infinite control over the effects in your movies, so it’s definitely worth seeking out if you plan to move up to a more advanced editing program.