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This is the season when words like "joy" and "merry" and "jolly" emerge from the shadows of non-use to again infiltrate the conversation for a while before we return to the lexicon of real life -- "war" and "shooting" and "poverty" and "hunger."
This is the season when words like "joy" and "merry" and "jolly" emerge from the shadows of non-use to again infiltrate the conversation for a while before we return to the lexicon of real life - "war" and "shooting" and "poverty" and "hunger."
If anything marks a merry time, it is sharing good humor, even if it is somewhat self-deprecating.
And so it was with tongue in cheek last week that a merry fellow himself all year long, octogenarian Joe Chilli, downtown businessman, Kiwanian, Hyannis fire commissioner, member of the Barnstable Housing Authority and Yule-time accordionist at area nursing homes, shared this event over coffee one recent morning when he was asked how he was doing.
"I went for a physical two weeks ago and everything's OK. But before I left the doctor's office, he asked me how Jeannette (his wife) was doing. I told him she was fine but that I was a bit worried about her hearing."
Chilli said the doctor suggested one simple way to gauge the degree of hearing loss, if any, was to ask Jeannette a question beginning at a distance -- say from the bedroom to the kitchen -- and continue asking the same question at closer distances but with the same normal volume until she responded.
"I came home one day after working and went to the bedroom while Jeannette was in the kitchen. I remembered the doctor's suggestion, so asked Jeannette, 'What's for supper, honey?' I waited a minute but there was no response. Then I walked out of the bedroom and went a little farther down the hallway and closer to the kitchen. 'What's for supper, honey?' I asked again. Still no response.
"I edged up to the kitchen doorway and repeated, 'What's for supper, honey?' and, to my surprise, still no answer. I was getting worried. I moved up right behind her as she worked and again repeated, 'What's for supper, honey?"
In her trademark southern drawl, Jeannette replied with a hint of concerned agitation, "What's the matter with you? I've answered three times already."
Back to business.
Garrulous Gregory Milne, the town councilor who would be a charter commissioner if he could -- and maybe he can -- is getting a bad rap from some quarters.
One letter writer scoffed at the notion that Milne's absence from the charter commission after being elected by voters somehow causes "irreparable harm" to voters who elected him. Disenfranchisement isn't funny.
From this corner, "irreparable harm" is rhetorical malarkey, like pleading not guilty before a judge when the chocolate from the candy bar you stole from a baby is full on your lips. It's more like one of the legal hoops one is made to jump through to get to the meat locker.
Nationwide "irreparable harm" means literally little to Democrats who have watched the current administration lead the country into a morass of war, economic difficulty, eroding freedoms, gigantic national debt -- because they know political harm can in fact be repaired by new leadership, creative government, evolving circumstances - and the courts.
Another editorial piece in the Cape's daily paper last week urged Milne to surrender his "Quixotic quest" and let the charter panel name its ninth member. This suggestion was evidently made by somebody who walks with his or her hands up in the typical surrender pose.
The town needs to consider whether Home Rule trumps state law in this case because the laws disagree on what is an elective office as far as charter commissions are concerned. It needs to be vetted for this and future generations.
Milne has his share of vocal detractors, some of whom in this case are more interested in preserving the status quo than pursuing improved governance. But, as voting shows, Milne has more supporters than critics despite his penchant for macro-monologue.
Let's not forget those who gave Milne the third highest vote for a commission seat out of 22 candidates. A judge in the case said he won't read the voters' minds. He doesn't have to. He only has to consider the overwhelming evidence of the vote tally.
And we wonder why voters don't bother to show up anymore.
Milne should not falter. His supporters should help brace him for battle.
Published Date: 12/18/07


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ARFARF-like small GTPases; ARF, ADP-ribosylation factor
|SMART accession number:
|Ras homologues involved in vesicular transport. Activator of phospholipase D isoforms. Unlike Ras proteins they lack cysteine residues at their C-termini and therefore are unlikely to be prenylated. ARFs are N-terminally myristoylated. Contains ATP/GTP-binding motif (P-loop).
|Interpro abstract (IPR024156):
Small GTPases form an independent superfamily within the larger class of regulatory GTP hydrolases. This superfamily contains proteins that control a vast number of important processes and possess a common, structurally preserved GTP-binding domain [(PUBMED:2122258), (PUBMED:1898771)]. Sequence comparisons of small G proteins from various species have revealed that they are conserved in primary structures at the level of 30-55% similarity [(PUBMED:2029511)].
Crystallographic analysis of various small G proteins revealed the presence of a 20 kDa catalytic domain that is unique for the whole superfamily [(PUBMED:1898771), (PUBMED:2196171)]. The domain is built of five alpha helices (A1-A5), six beta-strands (B1-B6) and five polypeptide loops (G1-G5). A structural comparison of the GTP- and GDP-bound form, allows one to distinguish two functional loop regions: switch I and switch II that surround the gamma-phosphate group of the nucleotide. The G1 loop (also called the P-loop) that connects the B1 strand and the A1 helix is responsible for the binding of the phosphate groups. The G3 loop provides residues for Mg(2+) and phosphate binding and is located at the N terminus of the A2 helix. The G1 and G3 loops are sequentially similar to Walker A and Walker B boxes that are found in other nucleotide binding motifs. The G2 loop connects the A1 helix and the B2 strand and contains a conserved Thr residue responsible for Mg(2+) binding. The guanine base is recognised by the G4 and G5 loops. The consensus sequence NKXD of the G4 loop contains Lys and Asp residues directly interacting with the nucleotide. Part of the G5 loop located between B6 and A5 acts as a recognition site for the guanine base [(PUBMED:11995995)].
The small GTPase superfamily can be divided into at least 8 different families, including:
This entry represents a branch of the small GTPase superfamily that includes the ADP ribosylation factor Arf, Arl (Arf-like), and Arp (Arf-related proteins). Arf proteins are major regulators of vesicle biogenesis in intracellular traffic [(PUBMED:12429613)]. They cycle between inactive GDP-bound and active GTP-bound forms that bind selectively to effectors. The classical structural GDP/GTP switch is characterised by conformational changes at the so-called switch 1 and switch 2 regions, which bind tightly to the gamma-phosphate of GTP but poorly or not at all to the GDP nucleotide. Structural studies of Arf1 and Arf6 have revealed that although these proteins feature the switch 1 and 2 conformational changes, they depart from other small GTP-binding proteins in that they use an additional, unique switch to propagate structural information from one side of the protein to the other.
The GDP/GTP structural cycles of human Arf1 and Arf6 feature a unique conformational change that affects the beta2-beta3 strands connecting switch 1 and switch 2 (interswitch) and also the amphipathic helical N terminus. In GDP-bound Arf1 and Arf6, the interswitch is retracted and forms a pocket to which the N-terminal helix binds, the latter serving as a molecular hasp to maintain the inactive conformation. In the GTP-bound form of these proteins, the interswitch undergoes a two-residue register shift that pulls switch 1 and switch 2 up, restoring an active conformation that can bind GTP. In this conformation, the interswitch projects out of the protein and extrudes the N-terminal hasp by occluding its binding pocket.
|GO process:
|small GTPase mediated signal transduction (GO:0007264)
|GO component:
|intracellular (GO:0005622)
|GO function:
|GTP binding (GO:0005525)
|Family alignment:
There are 4198 ARF domains in 4194 proteins in SMART's nrdb database.
Click on the following links for more information.
- Evolution (species in which this domain is found)
- Cellular role (predicted cellular role)
- Literature (relevant references for this domain)
- Structure (3D structures containing this domain)
- Links (links to other resources describing this domain)

subset: commoncrawl


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OverviewMilwaukee SHOCKWAVE Impact Duty Driver Bits are engineered for extreme durability and up to 10x life. Made from proprietary steel and heat treated to control hardness the SHOCKWAVE Impact Duty Driver Bits feature an innovatively designed geometric shock absorption zone to extend life. The forged tip allows for a secure grip and maximum contact eliminating stripping or slipping.
- Geometric design provides the shock absorption
- Proprietary steel and heat treat process for maximum strength and durability
- Forged tips for maximum grip
What's Included
|Manufacturer Warranty
|see Manufacturer's website for details
|Typical Application
|Professional, Serious DIY
|Package Quantity


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Gigs, Tracks or Albums - which do you prefer?
This isn't meant to read like some sort of trolling thread, but I've been pondering this a little and I'm curious which order you put gig-going and album vs track listening in these days - in terms of a priority or which consumes the biggest chunk of your time or attention... As in, do you prefer to goto gigs than listen to albums or do you now spend more time listening to tracks (on playlists or as videos) rather than going out to gigs? And does this vary from genre to genre?
For instance, I know I much prefer tracks by electronic acts (often consumed in nice playlists or short bursts of albums, as some electronic records can tend to get a little be samey after 6 or 7 tracks), and have a lot less inclination to see them live. Whereas with rock bands I'd much rather see them live than listen to their albums. When it comes to discovering music, obviously tracks make it much easier to get a quick taste of something, and you fall in love with one song, and then get into the record, and then really want to see the band live... which I guess is why I have an issue with the prevalence of 'new music' everywhere in the media and how 'festival bands' seem to have become central to the music biz, because there's often no album(s) to get your teeth into, and you end up going along to a show to curiously see a band who could benefit from a better understanding of who they are and how to hone their sound (which usually comes from the production process of making an album or three).
Overall, I'd say:
1. Albums
2. Tracks
3. Gigs (which in my early 20s would have been number one)
I'm still far more interested in albums because I love repeatedly going through a record and finding new sounds and textures nestled in depths of the production (one of the many reasons why Pinkerton is so brilliant is how much you still discover on the 50th listen).
I guess I find that some of the bands I love can be a little bit disappointing live - due to poor sound in the venues or idiots talking over the quiet bits (or cunting-a-long at the top of their lungs throughout the gig - I guess I haven't really mellowed and become more tolerant of humanity...). Obviously, a lot of bands are now making more of their living from gigs, and you read a lot about how tracks are replacing albums, but for me it seems to be the same as it ever was. The process of making an album should be really important to an act becoming an incredible live beast, but perhaps people have gotten rather used to a much lower level of average, that they have no idea what an exceptional live band (someone like Les Savy Fav) is any more? I guess that's a whole other thread.
Albums, gigs, tracks
Track by track listening is a hollow fix for me.heartworms this'd this
I don't really go to so many gigs as I did aged 17-23
And when Hype Machine was in its prime I used to scour for new artists and remixes and listen to loads of stuff by a disparate range of artists, some of whom I only had one or two songs / remixes by
Now I almost exclusively listen to albums in their entirity - especially since going back in time and uncovering lots of new-wave / post-punk albums which I wasn't familiar with until relatively recently, e.g XTC's / Devo discography and so forth
Are the form which I can relate to my own life the most. They form so much more of my routine than tracks and gigs ever have.
My intro to most music is almost always through listening to artists albums in their entirety, then go and see them live based on how much I like their album. I'm not really into electronic music but can see how listening to tracks would be more common for that genre. I rarely listen to individual tracks unless its a one off pop tune I like or playlists for parties.NickDS this'd this
Albums fo sho
Frankly, I disdain the track-centric direction music media is going in...I figure an album exists for a reason (including the bad songs even), so it is meant to be taken as such. I love gigs too, but with a baby now, can't go to a lot of those anymore.funkycow this'd this
sometimes I wonder...
...whether the track-centric shift allows a lot of acts with mediocre albums but a few killer tracks, to get away with it. Obviously criticism is subjective, but I've seen a lot of disproportionately positive reviews based on the love the writer has for those few songs. These seems to especially be a factor with rushed reviews, when critics have to go into labels to hear albums or turn around a review of something like Bowie or King of Limbs within half a day of it being 'released'. Seems to me like this approach to things, which seems to be weirdly positive (almost as the critic as celebrator rather than someone to trust and rely upon*), could be lowering the quality of music journalism as well as the reason why a lot of acts get this buzz and bust career trajectory when they hit their song album, and writers and fans-alike seem a lot less forgiving.
* = related read http://www.nieman.harvard.edu/reports/article/102828/Select-Shape-Celebrate.aspx
Thanks for the reply - I had read that article when you tweeted recently. It's interesting, and really a conundrum for the critic - mostly to make them feel better about what their doing and to protect themselves from the trap of feeling they need to be overly negative (stemming from a mostly incorrect notion in society that being "critical" means you are looking down on something). However, what the critic really needs and wants is probably at odds with what the general public wants. The public enjoys a lambasting negative review as much as a gushing positive one. They want to know what is bad just as much as what is good. They want simple pros and cons and quantitative measures of the value of something. When I think of assessing something, I always shudder at the notion of what I would assign to it numerically speaking. Ironically, it is something the public views as being "objective" when it is clearly subjective across different people.
As for the track/album thing, I am very much a Luddite - I buy albums, almost exclusively physically rather than digitally. I never buy tracks on their own for the reasons I mentioned above. It's interesting to think what really is more beneficial - to be able to sell the good half of an average album rather than not at all, but potentially get people to buy it on the strength of a couple good singles in a world in which you could only buy the album.
Both of these things are a curious struggle between the public, media, and recording industry. Generally, the public is winning I would say, otherwise everyone would drop their ratings on reviews and iTunes would go out of business. I'll keep my albums and long-form reviews though!
they ain't dead round my house, no siree
Albums > Gigs > Tracks
hate how people just have 'odd tracks' on their phones or whatever and don't even know where they are from half the time. FUCK THAT.
Albums 4 lyf.
sub-question: are you for or against the concept of greatest hits albums?
Greatest hits albums are for those bands that you will never love but like.
I only own one album by Led Zeppelin, The Police, Desmond Dekker, The Clash, The Jam, Al Green, T- Rex, The Undertones, Siouxsie and the Banshees and Pink Floyd and they are all greatest hits compilations. Maybe I'm missing out, but I'm fine with that.
Tracks > Albums > Gigs
Tracks make albums and gigs worth while so it has to be them.theShipment and sunstroke_house this'd this
the track came first...
...the tracks make the album... its the tracks you sing along too... its always going to be the track.
Gigs, Tracks, Albums
Gigs are a shared experience. Some of my best times have been watching live music. Made so many great friendships.
As there are so few albums I listen to from start to finish, it has to be tracks before albums. I like the variety of shuffle on an iPod.
Were you there?
I was there.
tracks, gigs, albums
i often only like a few songs by artists. I would probably also enjoy an album being played in full live than listening at home.
I find it weird that we all have so much reverence for albums (me included),
when essentially it's entirely arbitrary - the standard length was established because that was how much material you could fit onto the disc... it could all have been so different.
Albums > Tracks >> Gigs
I enjoy hearing my favourite artists play live. I don't enjoy standing up for 3/4 hours straight and not being able to see a sodding thing. I also don't enjoy the £20 train fare and the added 3hr round trip to get to Manchester from Blackpool. Grump.
I think it's always been albums,
even when I was in my 20s and seeing 3 or 4 bands a week. I guess I grew up with my dad's record collection (all '60s and '70s albums) and that drilled into me that the album was the band's big artistic statement. Tough to choose between gigs and tracks though. I'd say gigs > tracks just because the last one I went to (Loscil & Pye Corner Audio) was a bit special.


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DJs Miguel Vargas and Rudy Aguilar is bringin' it to ya, meanwhile Jason Noer, Bionik, King Otto, and some b-boys will be chatting about Hip Hop. at the Cowles Center. Also we'll be doing a ticket giveaway for International Reggae All-Stars' tribute to Bob Marley at the The Cabooze this Friday.
DJs Rambo Salinas and Bob Abrahamian along with Miguel Vargas, are spinning the rolas for our VDay special, in support of KFAI Presents: Valentines Day Heart and Soul Happening. Also, it's KFAI's We Love our Auto Clubbers Week, so tune into hear some love if you're a member, or to join the party!
Hosted by Miguel Vargas & Terrell LaMarr
DJs Miguel Vargas, Brandon Allday, and Rico Simon Mendez spin the cuts, and we welcome the local, legendary funk bassist Anthony Scott talk about his days with the Prophets of Peace – Band, KFAI's BHM Live Soundstage, and an upcoming event on Feb. 28th at Schooners Night Club.
Privacy Statement
© KFAI, 1808 Riverside Avenue, Minneapolis, MN 55454 Tel: 612-341-3144


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Not quite done revamping its slate, ABC has picked up the Ryan Phillippe-Juliette Lewis whodunnit drama, "Secrets and Lies," to series.
The hourlong drama, from Barbie Kligman ("Private Practice") centers on a man (Phillippe) who goes from Good Samaritan to murder suspect after he discovers the body of his neighbor's son in the woods. He stars opposite Lewis, who plays the detective set in solving the murder.
The pickup joins previously announced drama orders: "Marvel's Agent Carter," "How to Get Away With Murder," "Forever" and "American Crime."


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Buying a house from the foreclosure list can be a great way to buy a home or investment property at a huge discount! Largely this is because of lack of knowledge about the process or fear from misinformation they may have heard about buying a foreclosure. Foreclosuresearch.ca is a great resource to learn all about the foreclosure market and how best to negotiate a deal that suits your unique needs.
How can I find Springfield bank foreclosures?
I use Foreclosuresearch.ca for my foreclosure needs because it is a one stop shop so to speak for education about the market and the Springfield foreclosures process as well as lists of available properties in Springfield Manitoba with pictures and descriptions.
This saves me a bunch of time and effort. I don't have to search the internet for many hours looking at different Realtors websites combing through houses that are not foreclosures or don't fit what I am looking for.
Even many Realtors have started to use their website to find the absolute BEST deal for their clients! If a real estate professional trusts www.foreclosuresearch.ca, then I know I made the right move.
Other options for finding foreclosed houses in Springfield is to contact your local bank to see if they are carrying properties in their portfolio or to contact a local Realtor that concentrates in foreclosure listings. Many Realtors will list whatever property they can get their hands on but they may not be well versed in the foreclosure purchasing process so you need to be educated before going in.
How to buy a foreclosed house with bad credit
Let me start off by saying that buying a foreclosed house in Springfield with bad credit is conceivable!
You have the possibility to buy a property for cash at a real estate auction. Your credit doesn't play a factor at all because you are not taking out a loan. Not everyone has this kind of money lying around though so lets take into account other options.
Research federal home buying programs. There are many programs out there again to aid those with low incomes or poor credit to buy properties.
Search for properties in your area and try to find loans with low down payments. Save up money for your down payment but expect to pay a moderately higher interest rate because of your lower credit score. You should be able to refinance in a couple of years after making on time payments to acquire a lower rate.
Tips on how to buy a foreclosed condo in Springfield, MB
The initial step is to get pre approved for a mortgage through a bank of your choosing or gather enough money to buy a residence through an auction for all cash.
Next, find condos in Springfield, MB that you are interest in. I use Foreclosuresearch.ca for this.
Find a Realtor that is skilled in Springfield foreclosures and will be able to help you through the technique of buying.
If you have questions about the process, I would consider speaking with a real estate or foreclosure attorney before purchasing to make sure you understand the process and the ramifications of buying foreclosed properties.
One thing that needs to be considered before you buy is that some foreclosure properties are not open to having a home inspection done before buying and/or the bank that owns the property may not want to make any repairs. This could end up costing you some money to ensure the repairs after buying. This is the only downfall in my opinion when buying foreclosed homes
How long does it take to buy a Springfield foreclosure or distress sale?
This hinges on how you are buying the residence. Properties that are obtained in cash at an auction are turned over within a week or two maximum depending upon how much time it takes your funds to transfer to the bank and the title to be completed. Personally, I have had properties transfer to me within three days in most cases.
If you are buying a property through a mortgage then the closing process takes a little bit longer. My experience has been about thirty days to closing, which is pretty customary when purchasing a property.
Are there reasons not to buy a bank foreclosure?
Foreclosed houses are usually sold "as is," suggesting the bank is not willing to make any repairs before offering the property. This means that any repairs could fall back upon the new owner to deal with. Sometimes the repairs are small-scale and other times they are significant.
Often a foreclosed property has sat uninhabited for a while so maintenance has been neglected and will need to be looked after immediately.
Sometimes, just because the title has changed to a new owner doesn't mean that all concerns have gone away. This is the importance of having a title search done prior to buying a property due to the fact that liens or lawsuits could be attached to the property and you could take over them without realizing it.
How to negotiate for bank owned homes.
Diligence is key here! The bank is in business to make money so they will be trying to get the highest possible price for the house that they can.
Dealing with banks is an automated process and usually handled by computer systems and not actual people. This can be irritating for you the buyer but it is what it is. At some point if you are persistent the bank will very likely cave if they have no other offers because they know they need to transfer the property quickly.Are bank owned homes suitable or awful? This entirely depends upon your goals and the risk level that you are willing to accept. If you are more than willing to take on the prospective repairs by yourself and not count on the bank to pay for them then this is a great deal! Don't forget to do your homework on foreclosures and on your property before buying to know precisely what you are entering into.


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Real Yeeeee Hawwww Sh*t: Woman Extremely Happy To Be On TV Show....Even If Its For The Arrest Of Her Own Sister!
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Welcome to the CRG Discussion Forum!Forum registration problems: Make sure you enter your email correctly and you check your spam box first. *Then* email KurtS2@gmail for help.Classified ads are not allowed on the forum.
The bottom, which is shorter is the correct bolt. The longer one is for 70 model year and the NOS later shackle kits come with that long bolt also.


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Republican gubernatorial candidate Sen. Kirk Dillard on Thursday held out the option of a short-term extension of the temporary income tax hike as he works for an overhaul of the state�s tax structure.
Speaking to The State Journal-Register editorial board, Dillard made it clear he wants the tax hike to expire and pledged it would during his term as governor if elected.
However, with the bulk of the tax set to expire at the end of the year and no clear indication of what lawmakers will do about it, Dillard said a short-term extension might be an option.
�You could do something on a temporary basis while you wait for the (tax overhaul report),� Dillard said. �You can let it go and see how big your budget hole gets, or you can keep it for another six months.�
Dillard repeated his position that he wants to form a blue ribbon commission look at �our archaic tax structure.�
�We need a top to bottom overhaul of our tax structure,� he said. �It is unfair. It is archaic.�
However, there would be less than two months between the election of the governor and the expiration of the tax, unless lawmakers act prior to that. It would not give a commission time to deliver a report on overhauling the tax system.
Republican candidates Bruce Rauner of Winnetka and Sen. Bill Brady of Bloomington have both said the tax should expire on schedule. Treasurer Dan Rutherford of Chenoa said he wants the tax to expire, but he said financial realities of the state require that all options be kept open, including revenue.
�I have said we should roll it back,� Dillard said. �I have kept all options open. I want to see what the magnitude of the budget hole is when I get there. I have a sneaking suspicion that it is bigger than anybody has really let on. All the options need to be there.�
However, even if the tax hike would have to be extended temporarily, �that temporary tax hike will be gone by the end of a Dillard administration,� he said.
Dillard said Gov. Pat Quinn�s decision to close the Tamms supermax prison in southern Illinois was �horrid.�
�Tamms was built to control an inmate population to ensure the safety of corrections employees and the other inmates,� Dillard said. �From a correctional standpoint, it was a horrid decision that puts any employee of the Department of Corrections at risk.�
Within the confines of the state budget, Dillard said the state should look at reopening part or all of the prison.
Dillard said one factor contributing to the state�s poor business climate is that state agencies do not respond quickly with information businesses need to make decisions.
�Part of that is this government is decimated,� Dillard said. �Insurance, Agriculture, (Department of Natural Resources). The agencies are skeletal.�
Dillard said it�s important for state government to have a presence in Springfield.
�I�m just astonished at the economic decline of Sangamon County because state government is in Chicago and not in Springfield,� Dillard said. �The workforce here is demoralized. Springfield needs to be the capital.�
Dillard noted that agency directors were once expected to live in Springfield. He said he would encourage directors to live in Springfield but not necessarily require it.
�I will go on a case-by-case basis,� Dillard said. �But if you want to be a director of the Illinois Department of Insurance, you ought to live in Springfield.�
Contact Doug Finke: 788-1527, firstname.lastname@example.com, twitter.com/DougFinkeSJR


text:
About This Premium Format™ Figure
Sideshow Collectibles is proud to introduce the highly anticipated C-3PO and R2-D2 Premium Format figure set. Presented in 1:4 scale, the iconic droid duo is crafted with stunning attention to detail. C-3PO comes to life in any number of poses to perfectly capture the anxious protocol droid's fretful and proper personality. The resourceful astromech droid, R2-D2 is fully equipped for his many daring adventures, and features a retractable center leg and working wheels. Depicted on the sands of Tatooine, the inseparable droids are individually hand painted and finished and boast brilliant LED light up components; a must have addition to any Star Wars collection.
Take a closer look at the C-3PO and R2-D2 Premium Format Figure set at Sideshow Experience
- License
- Star Wars
- Type
- Premium Format™ Figure
- Manufacturer
- Sideshow Collectibles
- C-3PO: Hernan Azcarate (Sculpt) and Kevin Ellis (Costume)
- R2-D2: Hernan Azcarate (Sculpt), Pascual Wawoe (Sculpt) and Anthony Mestas (Paint)
- Jesse Lincoln (Design and Development)
- Jared Chapman (Design and Development)
- Brant Bridges (Design and Development)
- Scott Klauder (Design and Development)
- The Sideshow Collectibles Design and Development Team
Additional Details & Dimensions
- Product Size
- 18.00" H (457.2mm) x 14.5" W (368.3mm) x 14.5" D (368.3mm)*
- Box Size
- 11.00" H (279.4mm) x 18.00" W (457.2mm) x 21.00" L (533.4mm)*
- Product Weight
- 11.00 lbs (4.99 kg)*
- Est. Shipping Weight
- 15.00 lbs (6.8 kg)*
- Dimensional Weight
- 19.0000 lbs*
- Int'l Dim. Weight
- 30.0000 lbs*
* Size and weight are approximate values.
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Oversized Item: The shipping cost will be calculated on dimensional weight rather than product weight for this item due to its oversized dimensions.
- 7176
- 747720209251
© 2012 Lucasfilm Ltd. & TM.
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What Collectors Are SayingLeave Feedback
My Favorite New Collectible!
I love this piece so much I built a special display next to my 60" TV on my theater center wall! The detail on both C-3PO & R2-D2 is incredible and really "brings them to life". Thanks, Sideshow!
— Tom P.
Las Vegas
Premium Format = Personalties Favorite
R2-D2 and C-3PO are my favorite Star Wars characters, so I had to get BOTH the Exclusive and the Regular editions of this PF set! The droids are depicted so accurately and with the highest quality and attention to detail. LOVE 'EM!
— Tricia T
New Jersey
PF.. Perfect Friends
I have nothing but praises over this beautiful piece of art. The essence of Star Wars is now on my desk. These PF statues are really something else. Bravo to the artists who shaped them, wish they signed the base.
— Jacques-Olivier Holzer
Geneva, Switzerland
These are the Droids You're looking for!
Love my C3PO and R2D2 PFF set! Takes me back to 1977 when I first saw they movie and fell in love with this duo of quirky droids. I have them prominently displayed so I see them every day. A must for any Star Wars fan's collection. Go SSC!
— Dan
Dearborn. MI
first saw it on display in hobby shop window and it took me right back to when I first saw the movie in '77 , can't stop looking at 'them' ! well done Sideshow and thank you ..
There is no doubt that this showpiece is one of the finest Star Wars figurines that we have ever seen. The craftsmanship is exceptional. We receive more comments on this than any other item in our store. We placed C3PO's hand on R2's dome for our favorite pose! The lighting features are great!
— Storyteller Studios
Zanesville, Ohio
A very special collectible. A collection of the PF line without C-3PO and R2-D2 would NOT be complete. These two droids have been with us throughout the STAR WARS saga. A must have....period. Light up features are perfect! Like other principle characters, these 2 droids ARE STAR WARS!
— John J.
These two are STAR WARS
I can not stress enough how well these two tuned out. I have the reg. versions and the paint apps are perfect. They look very realistic and 3PO's articulation is amazing and very smooth and easy to pose. R2's light up features pretty amazing. No Star Wars fan should be without these.
— Eric Larson / JAWS
Waverly NY
"Sir, If I may venture an opinion..."
These two arrived on my doorstep and I am happy to say these two are amazing. The details on both droids are phenomenal. Weathering is well done. I love the Tatooine base. R2s LED lights are the best I've seen. Not keen on the all plastic R2 so something to consider. Thanks Sideshow!
— Brian
Kettering, Ohio
epic premium format
this piece is great in everyway one of the best pfs to date yes its expensive but worth every penny when u get it out of the box and when r2d2 lights r on it comes to life hope this helps or check the reviews out on the web
— darthjay5445
united kingdom


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Selena Gomez & Justin Bieber Split?
Selena Gomez and Justin Bieber have reportedly called it quits.
The 20-year-old actress and the 18-year-old singer reportedly broke up a week ago.
"Because of their crazy schedules, it was getting harder and harder to maintain a relationship," a source told E! News.
Last night, Justin went to see the Broadway play Lion King and was reportedly joined by Barbara Palvin.
Selena and Justin went public with their relationship in February last year when they attended the Vanity Fair Oscar party together.
Justin and Selena were last seen together in early October when they had some fun at the Sky High Sports Trampoline Park.
WHO DO YOU THINK Selena Gomez and Justin Bieber should date next?


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Nice work! Enjoy the show!
Link Copied!
Chris Brown out on bail after arrest for assault
Opening Sequence
Michael Flynn to be sentenced for lying to FBI
A world away, sting lingers from Fed's rate hikes
Border agents won't speak about migrant girl's death
Green Beret's wife hopes for Trump pardon
Point of no return: erasing the Rohingya
Xi says China won't be dictated to by an outsider
As stores suffer, it's not just the web to blame
China sees a business in cloning man's best friend
Closing Sequence


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The Gabba is named after the suburb of Woolloongabba, where it is located, just 1 kilometre from the Brisbane city centre.
Over the years, The Gabba has hosted cricket, athletics, Australian Rules Football, baseball, cycling, Rugby League, Rugby Union, soccer and pony and greyhound races, along with being the stage for many international concerts. The Gabba is home to the Brisbane Lions Australian Football League team; the Queensland Cricket Association; and the Queensland Bulls state cricket team.
The first cricket match was held on the site in 1896 - an historic match between Members of Parliament and the press. Since then, many cricketing legends have been created here. The first Test Cricket match at The Gabba was played between Australia and South Africa in 1931. The Gabba was also the first Australian venue to host an International Twenty20 cricket match in 2006.
Today, the 42,000 seat stadium almost resembles a mini Melbourne Cricket Ground, complete with light towers and a large modern grandstand encircling the ground. Unrestricted views of the oval playing surface from all areas have made it a perfect venue for hosting international sporting and entertainment events. The Gabba usually hosts the first Test Cricket match of the season each November, in addition to a number of international one-day cricket matches, usually held in January. It was also the venue for the opening match of the historic 2013 British and Irish Lions Australia Tour.
Australian Rules football was played at The Gabba from as early as 1905. During the 1950s and 1960s The Gabba hosted soccer matches for English first division clubs including Blackpool FC, Everton FC and Manchester United. The Chinese and South African national teams have also played at the ground.
The first Rugby League Test match was played at the Gabba in 1909 between Australia and New Zealand. The largest crowd attendance ever at the Gabba was for a Rugby League Test Match between Australia and Great Britain in 1954, when more than 47,000 people packed the arena. The Gabba has also hosted six Rugby Union Test matches.
A team of dedicated volunteers regularly conduct tours of the Gabba. These behind the scenes tours will give you a first-hand look at the areas usually off limits to the general public. Check in advance for tour schedules; and bookings are essential.
One of the best ways to get a local's view of the city is with the Brisbane Greeters service, part of the Global Greeters Network, which began in New York in 1992. These free two-hour tours will help you discover Brisbane with a local.
Public transport is one of the easiest ways to get to the Gabba; or it's an easy walk from the Brisbane city centre. South Bank train station is the closest railway station. There are also regular bus services. On days when major events are held, additional shuttle bus services run from various locations throughout Brisbane.


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EAST RUTHERFORD, N.J. — The New York Giants have given up on talented but frustrating defensive end Damontre Moore.
General manager Jerry Reese announced late Friday afternoon that the Giants had waived the 23-year-old former third-round draft pick.
"We made the move today in the interest of both parties," Reese said just three days before the first-place Giants (5-7) face the Dolphins (5-7) in Miami.
Moore, who was not at practice on Friday, was in his third season with the team and had played in 11 of the Giants' 12 games. He was inactive against Dallas on Oct. 25 after coach Tom Coughlin benched him for a late hit on quarterback Sam Bradford in a loss to the...


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Car Boot Sale at Farmer Palmers
September 11 @ 8:00 am - 12:00 pm
Event Navigation
Tell your friends to recycle their old items or get around to clearing out your home. Perhaps teach your children how to make pocket money!
Farmer Palmer's car boot sales take place in the field adjacent to them.
Sellers in at 8.00am – £6.00 per vehicle
Buyers in from 9.00am.
Free parking
Refreshments and toilets available.
Please note event is weather permitting.
Every effort has been made to ensure the accuracy of this calendar. Dates and times may be subject to change, you are advised to check beforehand with the event organiser. We cannot be held liable for any errors or misprints or for any cancelled or rescheduled events. Maps are for guidance only and you are advised to obtain detailed location details before planning any journey.


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Danielle Bradbery, a semifinalist on NBC's "The Voice," will sing the national anthem at tonight's Astros game against the Baltimore Orioles at Minute Maid Park.
Bradbery, 16, advanced into the semifinal round as one of the top five artists in the fourth season of NBC's vocal competition show. Before being chosen by coach Blake Shelton, Bradbery was attending Cypress Ranch High School.
Her rendition of "Heads Carolina, Tails California," originally by Jo Dee Messina, became the first song of the season to chart in the iTunes Top 10.


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Radical Entertainment promises twice the blood of the original for Prototype 2. Will it do for chaos what Infamous 2 did for story writing?
Ohhh, didn't know more blood meant better gameplay.
how bout radical improve the gameplay first?
but since the average person loves blood (based on Mortal Kombats popularity) this will prbably be a selling point now -_-
OH boy that must mean it's better than the 1st game. By at least 2X.
My favourite part is 'Will it do for chaos what Infamous 2 did for story writing?'
The exception here is that story writing can massively improve a game which it did with inFamous 2, blood however...


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Treys Variety Hour #65: Flatbooks Authors
Article from Stuck in Customs
Trey's Variety Hour #65: Flatbooks Authors
The show airs each Monday at 7 PM PT / 10 PM ET. (Check your local time)
Submit your questions here:
Please submit any questions you have while you watch the show and we'll try to answer as many as we can.
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In the new USA Network series SUITS, Gina Torres portrays Jessica Pearson, a name partner at a New York City law office, whose hot-shot legal protege Harvey Specter has just hired a savant con man to pose as a new lawyer at their office. The ensuing legal gamesmanship and high-powered chess match leads them all down a path, which either leads to their redemption or an ethical morass that could jeopardize them all.
In portraying Jessica, the woman who mentored Harvey, what do you think motivated her to take on such an endeavor? Was she motivated by an altruistic reason, personal reason or just plain curiosity?
Gina: I think what moves anybody to mentor somebody, who turns out to be as big a pain in the ass as Harvey, is potential. You see an undeniable potential in someone and if you feel that you can bring it forth, if you can nurture it in some way and have this person realize have this self-realization and the professional realization that they deserve, then I don't see how you can turn away from that challenge or that experience.
How would you describe Jessica and Harvey's professional and/or personal relationship?
Gina: Oh God. Harvey. It's complicated, as the movie says. I think like all great relationships, and I'm hoping that we have the time to prove that this is one of those great relationships that we can in later years turn to and go, 'Oh God, that's like – that so Jessica and Harvey.' It is more than just one thing. It is both deeply intimate and personal, as well as mysterious. I'm his mother, I'm his sister, I'm his priest, I'm his confidante. I'm all of those things, as he is for me.
On the surface this is a series about the relationship between two men. But then we have other people that come into play, like Donna and Jessica. How do you see, like, the role of women in this show?
Gina: I think and I believe — as has been my experience in life in general — that a strong man doesn't get very far without a strong woman beside him – not behind him, beside him. I think Donna is a fantastic example of that. And Jessica is certainly a fantastic example of that, as we establish very early on that Harvey would not have the career that he has now if Jessica didn't believe in him. So, having said that, I, Aaron Korsh and all the other writers on the show have done nothing to shortchange that reality. I think the women in this series are depicted very intelligently, powerfully and also without shortchanging their femininity. I mean, [Mike and Harvey] are all-men and [Donna and Jessica] are all women, and they're all in this together.
You've played a whole history of strong female characters. Have you drawn on any of that to prepare for this role as Jessica?
Gina: Jessica is kind of a culmination of so many characters and women and just the life experience that I've had over the years. It's great at this point in my career to sort of arrive at [this character] at this moment in time. It all goes into the pot.
To follow-up on the whole strong female character thing. That seems to the theme on USA shows. Did you take that into account when you took this role, that you were going to be playing the strong female character?
Gina: I believe my initial reaction was, 'Oh, another strong female character.' More strong female character questions. It is something that follows me. I'm so happy that it does, I have to say. They are great fun to depict. It's also great fun to find the chink in the armor. As much as I am enjoying playing Jessica and in all of her unapologetic feminine fabulous authority, it's just as much fun to unearth and find those things that make her vulnerable – that make her human – and I think ultimately make her more interesting.
What do you think female viewers will learn from Jessica?
Gina: Oh gosh. I think that's a very personal sort of individual thing. Certainly on the surface, if you work hard and if you're committed and if you really believe in what you're doing and conduct yourself with a kind of grace and conviction that you can get as far as you want to. It's about choices in your life. Sometimes you make good choices, sometimes you make bad choices, and you just have to wait and see which ones turn out to be which.
What I did want to know is how did you get this role? Was it one of those things where you had to go out for it and audition and really fight for it, or were you lucky enough to have it offered to you?
Gina: I was lucky enough to have it offered to me. That's not to say that I didn't have to jump through a couple of hoops. But having said that, I was on a very short list. I had, because of my long list of strong female portrayals that that preceded me, I'd already had a kind of a relationship and a rapport with USA Network based on some things that I had done with them previously. So my name came up for this part and they asked if I was interested. And I was. I was really only interested because she's not a gatekeeper. She's just not the babysitter watching these guys swing, as it were. She plays an important part in their consciousness — which I'd like to believe, since I go to work every day. . . .There is also a promise of developing [Jessica] as a fully realized woman and what makes her tick, and what makes her interesting. So that's that's what I'm hoping viewers will get to see.
In the pilot Harvey comes in and he pretty much blackmails Jessica to get his senior partnership back. And Jessica almost seems proud of the fact that he used this maneuver to get his position back. Is that a correct interpretation of that scene and how does that play into the relationship between Harvey and Jessica?
Gina: I think as the series starts to unfold, more and more about that particular scene is revealed. It's less about pride and more about knowing and expecting Harvey to react in a certain way. I think she's very familiar with how he plays ball, and she needs him to play ball in a certain way. So Jessica sort of has a plan and and Jessica's plan for Harvey is that she really needs him to grow a soul. I think as the series progresses more of that is revealed as you get to know how they relate to each other and what the work actually means to them as individuals. As much as she respects the kind of lawyer that he is, I think she's still on the fence a little bit about the kind of a man that he is. So we'll be seeing that play out over the season.
Will we be meeting the other named partner at any time and will there be kind of some other interoffice politics and we will we be delving into more of the personnel at the law firm?
Gina: We'll definitely be looking into more of the people and certainly delving into more of the regular cast and getting to know them and what those interrelationships are. As far as the silent partner, we have yet to meet him. But there's still a few episodes that we have yet to shoot, so who knows? Mr. Harden or Ms. Harden might show up.
According to Gabriel Macht, in Harvey's backstory, he's kind of created for his character and he said that Jessica likely had a really big hand in creating him as the man that he is. Would you say that that is true to his backstory? Is that the reason why Jessica lets him away with so much that most other people would not let a lawyer like that get away with?
Gina: Yes, I think that's actually very true that Jessica had a great deal to do with who he is and where he is. And she's not done raising him. Though it might appear that she lets him get away with a lot. What's so interesting and fascinating about this world that we are in is that there are no absolutes. There's no black and white. You have to take each case and each situation as it comes. It's really much like life — take each individual case for its merit and the job that needs to be done. We all become guilty of blurring the lines and the boundaries. So who's to say what is right and what is wrong? We're all just trying to figure it out.
The thorny world of Pearson Harden, the games just got murkier and yet more intriguing. How long can this 'house of cards' last? Tune in to find out. SUITS airs Thursdays at 10:00PM on USA Network.
Tiffany Vogt blogs at The TV Addict.
The Christian Science Monitor has assembled a diverse group of music, film, and television bloggers. Our guest bloggers are not employed or directed by The Monitor and the views expressed are the bloggers' own and they are responsible for the content of their blogs. To contact us about a blogger, click here.


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Created by psychiatrist, educator, and author Edward (Ned) Hallowell, MD, the program is called "Mining Magnificent Minds: ADHD for Teachers" (MMM).
MMM is intended to deepen educators' understanding of Attention Deficit Hyperactivity Disorder; sharpen their skills for working with students with ADHD; and provide them with the tools to "unwrap the gifts" that lie inherent of every child. It consists of 10 videos, which can be accessed live online, at one's own pace, plus 9 bonus Webinars.
Participants who successfully complete the program will be awarded an MMM Certificate of Completion by EMHallowell, LCC, and continuing professional development hours by the American Montessori Society.
Dr. Hallowell is the author of 18 books, including Shine: Using Brain Science to Get the Best from People and Delivered from Distraction: Getting the Most Out of Life with Attention Deficit Disorder. In 2011, he facilitated the AMS Heads of Schools Retreat.
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80. Re: Large Still Images into PE - One Workflowthe_wine_snob May 9, 2011 12:42 PM (in response to schuel2)
If you do not need to do a Pan on a Zoomed out still, then the Frame Size of the Project would be the ideal size.
For doing batch Scaling, Photoshop is as good as it gets, and with Actions, one can do an entire folder of images in moments.
The sticking point with still images, that have already been Imported and used in a Project, is the replacement of those stills. I would do a Save_As for the Project, just to protect the original Project file. Then, Move the stills from the location, where they were linked from, and replace them with the Scaled stills, using the same exact file names. Premiere should then just follow the links, which will now be the Scaled stills. Do NOT Delete the original stills, but just Move them to a new, safe location, in case something goes wrong, and you need to revert to that original Project file, and Move those original stills back to their original location. Also note: if you have done any Effects>Motion>Scale, etc., you will need to remove those Scaling Effects, with the new Scaled images.
Good luck,
81. Re: Large Still Images into PE - One Workflowmonagraphicdesign May 20, 2011 4:08 PM (in response to the_wine_snob)
Hello. I'm creating a project in Adobe Premier using still images only. All the images I scanned are 4" x 6" and are 200 dpi. In the Adobe Premier project, they are getting cut off. When I go back into Photoshop, and re-size them to 72 dpi, they aren't cut off as much, but still a little bit. Certainly I'm not supposed to use an even lower resolution than that! Given that the help menu says it can support 4096 by 4096 pixels, what is wrong? Even when I look at my project in full screen mode, the images are cut off. I also tried the "fit" drop down menu from the preview screen, and I've selected "fit." The only way my images fit is if I select 20% or some such. Surely this can't be correct - an image that's only 4" by 6", at only 72 dpi, and 20% of that? Please help. Thanks so much.
- Mona
82. Re: Large Still Images into PE - One Workflowthe_wine_snob May 20, 2011 4:48 PM (in response to monagraphicdesign)
DPI & PPI are meaningless in Video. What are the pixel x pixel dimensions of the images?
What is the Project Preset, that you have chosen?
If you are not doing Pans on Zoomed out images, I would match those two sets of numbers.
Good luck,
83. Re: Large Still Images into PE - One WorkflowSFL46 May 20, 2011 5:14 PM (in response to monagraphicdesign)
When you go into Photoshop, use the CROP tool instead of scaling or IMAGE SIZE
Set the crop dimensions to match your sequence pixel dimensions. For example, If you are doing NTSC DV, set the crop to 720 px by 480 px. If you use pixels, the resolution textbox is ignore. Use the crop tool on your image and same the resized image under a new name (to preserve your original).
Simlarly, if you are creating stills in photoshop, when you click on NEW, select VIDEO, and then select the video preset that matches your timeline--this will set pixel dimensions and pixel aspect ratio for you.
84. Re: Large Still Images into PE - One Workflowthe_wine_snob May 21, 2011 8:59 AM (in response to SFL46)
I would only suggest doing a Crop, if there are pixels that need to be removed. Image Size offers the ability to use any of the algorithms, and will maintain all pixels in the Image. Note, however, if the Aspect Ratio of the original Image does not match the Frame Size of the Video, there will be effective Cropping, by that Frame Size.
85. Re: Large Still Images into PE - One WorkflowSFL46 May 21, 2011 10:19 AM (in response to the_wine_snob)
Image size is problematic if the proportions of the original image (eg 5 x 7) don't match the proportions of the timeline (eg 1440 x 1081).
Although the image size dialog does directly given the user the option of choosing the scaling algorithm, the user can set the default scaling algorithm in the EDIT PREFERENCES GENERAL dialog. Its my understanding that this preference is used for all scaling unless overridden.
What I usually do is the adjust the pixel ratio of the original before I do the crop. I have the sequence recorded in a Photoshop action.
86. Re: Large Still Images into PE - One Workflowthe_wine_snob May 24, 2011 7:58 AM (in response to SFL46)
You are correct about the Scaling algorithm setting in Edit Preferences. It's global, but can be changed. If the Aspect Ratio is not changed (if it is, THEN the Crop will be needed), the Image Size Scaling allows one to easily adjust the algorithm used, and the actual Image, plus its use, can dictate whether Bicubic, Bicubic Smoother or Bicubic Sharper is used. This is not a global setting, and only takes affect for that particular Scale operation, so it's easy to test for the ultimate result.
If the Aspect Ratio IS off, then I agree, Crop will be necessary, in either the Image editing program, or to be done, effectively, by the Frame Size in the Video Porject. Unless there is a compelling reason for not doing it in the Image editing software, I recommend that it be done there, as one is just pushing unnecessary pixels, and this increases the processing overhead in the NLE program.
Good luck,
87. Re: Large Still Images into PE - One WorkflowP_Forrest Jun 24, 2011 4:01 PM (in response to the_wine_snob)
Thanks for this long thread!
It explains EXACTLY what I need to know with my new Sony digital camera's images and mixing with videos in CS5.5.
88. Re: Large Still Images into PE - One Workflowthe_wine_snob Jun 25, 2011 7:41 AM (in response to P_Forrest)
You are most welcome.
While PrPro CS5, and above, has improved the Scaling algorithms greatly, there is still the overhead required to push a lot of unused and unseen pixels around. Even with CS 5.5, I still recommend doing the Scaling via a Batched Action, or a Script, in PS, so that the Video Project does not suffer overhead overload.
Happy Editing,
89. Re: Large Still Images into PE - One Workflowthe_wine_snob Jun 25, 2011 8:29 AM (in response to the_wine_snob)
Stanley Arthur has just created two short tutorials on Scaling Still Image in PrPro CS 5/5.5, and with PS and Scripts>Image Proecessing:
Part One: http://screenr.com/MPHs
Part Two: http://screenr.com/0PHs
Hope that this helps others,
90. Re: Large Still Images into PE - One WorkflowP_Forrest Jun 25, 2011 8:59 AM (in response to the_wine_snob)
Thanks Hunt,
Funny, each time I get new camera equipment or software upgrades, my workflow is always changing. However, I can honestly say that using PS to resize my vacation shots and using some in PP5.5 is better than ever.
Gotta run,
91. Re: Large Still Images into PE - One Workflow1D Prophet Jun 26, 2011 6:44 PM (in response to P_Forrest)
I go way back with this thread and wanted to say thanks to Bill and all the others for such great info, I follow the thread and have applied many of the ideas and suggestions, Adobe should be proud of such a group as you folks, keep up the good work and thanks for your time!
92. Re: Large Still Images into PE - One Workflowthe_wine_snob Jun 26, 2011 8:04 PM (in response to 1D Prophet)
Thanks for the kind words. Those are what we work so hard for.
93. Re: Large Still Images into PE - One Workflowkdoc2 Jul 3, 2011 11:57 AM (in response to the_wine_snob)
I certainly agree with the thanks--Bill has been terrifically helpful with Elements and with Premiere Pro. I just want to point out a problem I have with the two part Scaling Video Tutorial above. Most of us are shooting 3:2 aspect ratio (and some at 4:3). If you're going to scale ahead of time, you're going to want to choose your crop--after all you've taken all that time composing the image! Then you can use image processor. So there will be another step if you want to eliminate the black edges. And in addition, I don't know exactly whether and how I'll zoom and pan until I have everything in the timeline, and until I see how one image will relate to another--for example, I don't want to zoom in, then out, then in, etc. in successive images. So by putting larger unscaled images into the timeline leaves maximum flexibility for creativity--assuming, of course, that your computer can handle the scaling--which many of the 64 bit, Mercury Playback, large RAM computers can.
94. Re: Large Still Images into PE - One Workflowthe_wine_snob Jul 3, 2011 3:16 PM (in response to kdoc2)
The use of larger Images is less a problem, if one is using PrPro CS 5, or CS 5.5, as the Scaling algorithms are better with MPE & CUDA. However, there is still the matter of extra pixels, which will require overhead to process.
Coming from a still background, it's probably much easier for me treat each Image in PS, and know exactly how it will be used. I will Crop, and Scale, with any animation firmly in mind. I view each Image as unique, and while I might use some light automation for corrections, etc., say from ACR, I seldom do much in a batch, but with each Image open. It is the same for many of the Auto Filters/Corrections, or even Auto Effects in the NLE - they see little, if any use on my machines.
To allow for more leeway in the editing, as you describe, then Scaling to a slightly larger Image size would provide that, hence the recs. for 1000 x 750 and 2000 x 1500. One still has the matter of Scaling (except in CS 5 / 5.5), but the overhead is diminished significantly vs a 4000 x 3000 Image.
Good luck,
95. Re: Large Still Images into PE - One Workflownofx_prod Jul 22, 2011 11:40 PM (in response to the_wine_snob)
I appreciate all the info you (and the other forum users) put together.
However I have one question I couldn't find the answer to:
Can you tell me the maximum dimensions PrE is cabable of importing?
I cannot use my panoramic pictures, they fail to import to PrE 9.
I want to pan horizontally accross the image, e.g. across a picture that is 10000x3700.
Also, you mentioned earlier that you use After Effects for editing panoramic pictures, but I don't have that program.
Any suggestions what my workflow should be?
96. Re: Large Still Images into PE - One Workflowthe_wine_snob Jul 29, 2011 8:01 AM (in response to nofx_prod)
I do not have the exact dimensions for PrE 9, but for older versions of both PrE and PrPro, the limit was 4096 x 4096 pixels, or 16777216 pixels total.
PrPro CS5 (and CS5.5) upped things, as far as the program was concerned, but one is still faced with the overhead issue with large stills.
Adobe AfterEffects is much, much better for handling large stills, as it processes them differently than any version of Premiere. If you have very large stills, I strongly recommend using AE instead of any version of Premiere.
Good luck,
97. Re: Large Still Images into PE - One WorkflowMichelmnr Nov 22, 2011 7:35 PM (in response to the_wine_snob)
Thank you Bill, yes very interesting and helpful, I came here after seeing you in "scaling to frame" discussion and finding this post.
In my case which is really a slide show I like the full size pic. as I animate all the pics. (Perhaps overdoing it! But I hate the still position to the next pic.). I have used action to resize for the web and email and love it when I don't make any mistake with source, destination and so force. I have had accidents and learned to work on a duplicate folder!
One think I saw you mentioned was saving as .psd, I kind of understand it's a better quality than .jpg but I tried to avoid it probably for the wrong reason that is I seem to remember it can't be previewed in Widows photo viewer and I find this very frustrating. Is it a problem for you? Or you have already re labeled all your photos b4 using psd save.
98. Re: Large Still Images into PE - One Workflowthe_wine_snob Nov 22, 2011 8:20 PM (in response to Michelmnr)
I have never used Windows Photo Viewer, so cannot comment on it.
When I am working with Still Images, I want to keep as much compression out of the mix, as is possible. Most of my clients, and my Projects, still are SD, and go to DVD, so there WILL be compression to MPEG-2, and that is why I work with PSD's, and eschew JPEG's, with their inherent compression.
Good luck,
99. Re: Large Still Images into PE - One WorkflowMichelmnr Nov 23, 2011 5:00 AM (in response to the_wine_snob)
So what do you use to see your photo (.psd) within your folder?
100. Re: Large Still Images into PE - One Workflowthe_wine_snob Nov 23, 2011 7:23 AM (in response to Michelmnr)
I use Adobe Bridge, which works very well as an organizer. IrfanView and ThumbsPlus are two other apps. that work well for me.
There have been issues viewing PSD's in Windows for some time. For a period in time, one could add the psicon.dll and see them in Windows Explorer, but the MS made some major changes, and that .dll ceased to work (about the release of Vista?). MS claimed that Adobe needed to change the structure of the PSD's, while Adobe countered that Windows USED to display PSD's, and that Adobe had changed nothing, so it was up to MS to change things back. As far as I know, they are still in a deadlock.
Good luck,
101. Re: Large Still Images into PE - One WorkflowMichelmnr Nov 23, 2011 4:55 PM (in response to the_wine_snob)
Oh I forgot about adobe bridge, I put up with the icon display in project it's not the best for a story board but my use in minimal and I try to keep it as simple as possible. (W7, PP, Photoshop and authoring with Encore!) I've avoided 3rd party pgr. I know that irfan view is very popular... I might start fund raising for an agreement between Adobe and MS! Thanks MM
102. Re: Large Still Images into PE - One WorkflowP_Forrest Nov 23, 2011 5:00 PM (in response to the_wine_snob)
Thanks for that info Hunt, re: not being able to preview PSD in Windows. That has annoyed me the past few years and I didn't know why I could see them.
I use the Bridge as well, and especially the MINI-BRIDGE right inside Photoshop CS55. That really helps.
103. Re: Large Still Images into PE - One Workflowthe_wine_snob Jul 3, 2012 4:41 PM (in response to P_Forrest)
Hello Petey!
Yes, the PSD thumbnail view has been a big bone of contention for many years. As I mentioned, there was a workaround, but it seems that MS has been busy closing all backdoors. Note the word, "seems." I do not know who is to blame, but as Adobe has not changed anything, but MS has, then I'd look to Redmond for a fix.
Just me, but then other orgaizational programs read and see PSD's, so I just go elsewhere, and let MS do what they choose to do.
104. Re: Large Still Images into PE - One Workflowphotoviews Dec 15, 2011 11:39 AM (in response to the_wine_snob)
Thanks for your original post and all your follow ups, it's very helpful.
I'm still confused about pixel aspect ratio. You say you resize in photoshop and use a pixel aspect ratio of 0.9. How can you do this without opening a new file with the NTSC preset and pasting the image in? I saw in another thread that someone resized their images from 720x540 to 720x480 - is this essentially the same thing as using a file with the different PAR?
105. Re: Large Still Images into PE - One Workflowthe_wine_snob Dec 16, 2011 7:13 AM (in response to photoviews)
In PS from the CS version, one has the ability to adjust PAR (Pixel Aspect Ratio) from Image>Pixel Aspect Ratio.
Now, there are differences in the vertical pixel count between NTSC and PAL, with PAL being the taller of the two.
106. Re: Large Still Images into PE - One WorkflowMichelmnr Jan 7, 2012 6:10 PM (in response to the_wine_snob)
I just got referred once more to your awesome work after being shocked to find one of my timeline of stills was over 11gb. - I thought I needed to keep my jpg to their maximum size as I'm a little obsessed with animation zoom in out vertical and horizontal pan and rotation! I see you often mention 1000x720 for your format ( down under we've got PAL) for panning, doesn't this interfere with the proportion? With vertical panning I often zoom in seriously to fill the frame then perhaps triple the duration. But I seem to understand you don't think all this manipulation in PP (cs4) is very good for the quality and I know why as I do loose a lot of quality on the finer details!
I'm very much of an amateur and don't even have (mine or others) camera shooting raws!
107. Re: Large Still Images into PE - One Workflowthe_wine_snob Jan 11, 2012 10:21 AM (in response to Michelmnr)
The 1000 x 750 was a "suggestion" for NTSC SD Projects. With HD, the size would be larger, starting at the exact Frame Size of the Project, say 1920 x 1080. If one then needs a few more pixels for Panning on a Zoomed Out Still, then Scale to that larger size. I will calculate exactly how much I need, in the way of additional pixels, and Scale to that.
I like to keep the Scale of Stills to include no unused pixels, as that increases the processing overhead, even if one is using PrPro CS 5.5, with its better Scaling algorithms.
Let's say that I calculate that I need 2040 pixels in the horizontal, I will Scale to that, and so long as I do not also need any vertical Motion, basically a Tilt, will actually Crop to a vertical dimension of 1080.
Good luck, and hope that helps,
108. Re: Large Still Images into PE - One WorkflowDTwo22 Apr 30, 2012 7:02 PM (in response to the_wine_snob)
Bill, I have read some of these post and must say you have done a fantastic job. I am rather new at this so please bear with me. I am doing a project for my father-in-law that has 45 tapes that I have captured. I am creating a Blue-ray video of some of the events, namely of all the vacations and all the Christmas clips. For the Christmas video, I have pictures as well. They are JPEG files. 1260x1920. After importing all of them, I found that I had to shrink them down yo about 33% to properly view them. That was going to be a lot of work for over 100 pictures. So I found your post on this forum. I ran all the pictures through PS Image Processor at 720x480 as a PSD file. Only took less than a minute. Thanks, that was a big time saver. Imported them and now the pictures fit perfectly in the height, but the width is a bit shy. If I scale it to 103% they fit well. So now I have to scale over 100 pictures. Did I do something wrong? Should I have taken the ratio of 1260/1920 and multiplied that by 720 to get my new width?
Another question, if you will take two at one time. My father-in-law says my vacation video makes everyone look wide(fatter). He is watching my movie from a Blue-ray on a HD wide screen TV. I set the sequence to DV NTSC 729x480 with the PAR of ".91" The video looked fine on my output monitor from what I can tell. Used 4:3 as that was what I thought SD was all about. Since it is going to be viewed on a HD wide screen, should I have set the sequence to 16:9? I tried that and the video looked small on the output screen. What I am trying to figure out is how to take SD clips at 720x480 and make them look natural in a HD wide screen TV. My father-in-law says every time he watch the video, he changes the TV to normal width from wide screen. He says that works, however, it is a pain to always change the TV to watch my movies. Does this make sense?
PS, did I read that you were here in Phoenix recently?
109. Re: Large Still Images into PE - One WorkflowMichelmnr Jul 24, 2012 2:00 AM (in response to DTwo22)
This last post was emailed to me, since I was part of the discussion at some stages. I have not touched this kind of work for months now. but picked a couple of things out of that post that I like to comment on. I did not think SD means a particular format but rather as it usually stands for, "standard definition" that is with much less pixel information that would be in HD or High definition that owes its quality to increased number of picture information. But I though you could use SD or HD in 4:3 or wide screen as you wish but with regards to these settings (ie 4:3, 9:16) in the original filming. As adjusting the TV ratio to watch a particular dvd doesn't seem to require such an effort. I guess we are getting so spoilt these days that any little inconvenience tends to be an issue and any improvement through speed of progress tends to get us to take it all for granted. Yet we still enjoy watching programs like "Survivors" and the getting back to difficult times.
I don't know about PE but in PP you can actually decide what output you want, Standard (as in screen size 4:3) or wide screen.
I have tried to export original 4:3 format in 16:9 to fill my wide screen tv but the visual result was awful. So put it back to the original format.
Message was edited by: Michelmnr ( I tried to clean up my post!)
110. Re: Large Still Images into PE - One Workflowthe_wine_snob Jul 3, 2012 4:40 PM (in response to the_wine_snob)
Here is an Adobe Help File for Preparing Still Images for Premiere. Much applies to PrPro CS6, which has the MPE (Mercury Playback Engine) with CUDA capable video cards, and some OpenCL ATI/AMD cards on the Mac only.
111. Re: Large Still Images into PE - One Workflowchris_snyder Jul 22, 2012 11:07 AM (in response to klfi)
Hi Bill,
Would you be able to provide me with detailed steps on the resizing? I have experience with Photoshop but this is my first time making a DVD slide show. I had completed my Slide Show with Photoshop and Premiere Elements. Some of the images were pixilated.
I took all the images that I had in my slide show and put them in a separate folder with a sub-folder as per your instructions. I did not see an Automate button, but I did find a process multiple files option. Could you provide me steps on the resizing because I am not sure as to what you mean by 720 by 480 because there are several options under the image size section. Also I could not find the PAR of 0.9 in the process multiple files menu either.
112. Re: Large Still Images into PE - One Workflowchris_snyder Jul 22, 2012 11:10 AM (in response to chris_snyder)
Also, some of these photo's have been edited in Photoshop already, will that make a difference?
When I previewed the slide show, it was clear but once it was on the DVD was when I had the pixilated photo's. I have tried a few other options but nothing has corrected all of them.
113. Re: Large Still Images into PE - One Workflowthe_wine_snob Jul 23, 2012 5:19 PM (in response to chris_snyder)
Early in this article, there are steps to use Actions to batch Scale in PS, and then Neale provided steps on doing the same thing in Photoshop Elements. Those steps still work fine. In newer versions of Photoshop, there are also several Scripts, that can be adapted for Scaling.
I always work on original Images, and not on Images that have been altered, and especially if they are later Saved_As JPEG, because of the compression involved. I always start with my NEF's (Nikon Camera RAW), and then use Adobe Camera RAW to "process" the Images to PSD. I then Save those PSD's at full resolution, then use those with my Scaling Actions, to get the Image sizes, that I need, and Save_As a PSD again, never using JPEG compression.
Good luck,
114. Re: Large Still Images into PE - One Workflowthe_wine_snob Jul 23, 2012 5:21 PM (in response to chris_snyder)
For "pixelated" Images in DVD, I would post to the appropriate Premiere forum, with the full detail of you Scaling, the Image file formats used, your Project Preset and your output settings. Something is wrong somewhere, and this "How To" article is not the best place to address those problems, but the appropriate forum definitely is. Just please provide all useful info.
Good luck,
115. Re: Large Still Images into PE - One WorkflowMatt Dubuque Jan 30, 2013 9:44 AM (in response to the_wine_snob)
Hi Bill, nice to sit at the feet of the master again!
I'm back to resizing images and naturally I wanted to consult your superb approach to this workflow!
I had saved several of your comments on this topic but, apparently after a certain amount of time, Adobe deletes these.
I recall you stating that you tended to save this still image resizing part of the video editing workflow until the end, to minimize the impact it has on processing speed and the like.
Am I correct on that? If so, did you just insert placeholders into your PrPro timeline that would later be replaced by images where the pillarboxing had been removed?
Also, my PrPro project settings are currently set for 1920 x 1080, but I would like to use the Ken Burns effect on images larger than this.
Is there any advantage to changing the settings of my project to accommodate these larger still images, or do the negative tradeoffs counsel against it?
matt dubuque
116. Re: Large Still Images into PE - One Workflowthe_wine_snob Jan 30, 2013 1:12 PM (in response to Matt Dubuque)
I recall you stating that you tended to save this still image resizing part of the video editing workflow until the end, to minimize the impact it has on processing speed and the like.
I am not sure that I completely understand this statment. Let me respond by giving you my workflow with Still Images, that are going to be used in Video. If this is not what you want, then let me know, and I will have another go at it.
I mostly shoot Camera RAW (Nikon RAW usually, in the form of an NEF). I process those RAW Images through ACR (Adobe Camera RAW) and Photoshop. I do not have Lightroom. At that point, I am just doing some general tweaking, and even have Sharpening turn OFF, as I do on my cameras. I will address that later. When the premilinary processing is complete, I Save_As a PSD, and file the Images by subject, date, whatever makes sense for me. These are Copied to my NAS for storage.
When I go to use those PSD's in a Video, I do several things. First, I try to "get into" each Image, and formulate a plan for how I wish to work with it. This might be by intensifying the color and density of a sky, or perhaps bringing out Autumnal foilage colors, or just getting rid of some element, that could not be easily cropped out, or avoided, when I shot the Image. After any manipulation is complete, I Save_As a PSD, with all Layers, Adjustment Layers, Paths, Channels, intact, should I need to come back. Depending on the next step, I might also Save_As PSD a Flattened version (if I will not be needing to manipulate the Layers in Premiere, so for animations), and into a working folder. It is just before one of those steps, that I will usually apply some Sharpening.
Next, I survey how the Image will be used in the Video. It might be a PiP (Picture in Picture), or full-frame, or maybe even larger (like you mention with the Ken Burns' Effect). Normally, I am going to be working with Image Sizes that match the Video's Frame Size. For those, I either use an existing Action, or create one, that will match, say my 1920 x 1080, knowing that I will also need to either do Cropping, or keep the 4:3 Aspect Ratio from my camera, and let the Video Frame effectively Crop. Since I like to keep excess pixels to a minimum, as they do require overhead to handle, I will usually manually Crop my Images, before running my Action, which Scales my Image down to 1920 x 1080 (in this example, but 720 x 480 for SD Projects), and then Saves those into a new foler, usually something like "Finished PSD 01." As I run my Action via Automate>Batch, I can select both the source and destination folders. These will be Imported into Premiere Pro.
When I DO need more pixels, say for Panning on a Zoomed out Image, I will calculate how much movement I will need for the Pan, and that will be my horizontal Scale dimensions for the Image. That will differ, by what I need to do. Then, if I do not also need to do any Tilts (vertical Panning), I will go ahead and Crop that Image to, say 1080, as I will not need the extra pixels in the vertical dimension. When Scaled, I will often use that Finished PSD 01 folder as my destination folder, or if I have many Image, might do Finished PSD 02, so that I know those are going to be my Panned Images. Again, those are Imported into PrPro, and perhaps to a separate Bin, to keep them straight. Along those lines, I have had several Images, where I had long, horizontal Pans, and used Images at about 4000 x 1080. I use a lot of Text Images for long Rolling Titles (usually for credits, but not always). Those have ended up being 720 x ~ 4000 (for SD Projects).
I do not work with proxies, of any sort, unless perhaps I need to do a quick mock-up to show a client, and do not want to process a lot of Images that might not get accepted and used. I usually have a pretty good idea of what I will be using, and though I might later add Images, or discard some, it's not often that many. The mock-up would come at a preliminary stage in the Project. They would be the closest thing that I would have to a "place holder," but that workflow is not that common with my Projects.
One often sees references to dimensions, such as 1000 x 750 (NTSC SD Projects), or 2000 x 1500 (HD Projects), and those are just "rules of thumb" - suggestions to sort of average things out, and give a little wiggle room with the Images. Since I am going to be looking at each Image as unique, I just Scale to exactly what I want, though much of the processing is automated from a single folder. As I might have thousands of Images in a Project, I feel that I benefit from performance improvements, if I Scale to just what I need. Others like the latitude of having the wiggle room, and are also likely to be working with fewer Images.
Something that often gets confused, as there are two answers, depending on what one is working with, and what they need, is the Project's Preset. If one is ONLY using Still Images, and will have NO Video to contend with, then they should construct that Project's Preset to match their intended delivery, say DVD-Video, BD, or some other delivery scheme. That way, they are working with just what they will ultimately need for the delivery, so no additional work will be involved. A slight variation on that comes with multiple delivery schemes, and then, I suggest going with whatever is larger, and outputting to a reduced size, for other deliveries of that Project.
If one DOES have Video, then the above goes out the window, as they SHOULD let the Video dictate the Project's Preset, and match their Still Images to that, accordingly. Video changes everything.
Depending on the NLE (Non Linear Editor) program being used, and also the version being used, one has a limit on the size of the Still Image, that can be Imported. For a along time, Premiere (both flavors) had a limit of 4096 x 4096 total pixels. Later versions allow for larger Imported Still Images, but there is still the overhead to process the pixels, so I suggest removing any, that will NOT be used, in say the Pan, or perhaps a Title Roll - use just what you need, and discard the rest.
If one has the need for very, very large Images, say a very long Pan on a horizontal panorama Image, or multiple large Images for a "photowall," then After Effects is the better program, as it handles the pixels differently, and also allows for extremely large Images to be used, without issue.
I hope that this helps answer your questions.
117. Re: Large Still Images into PE - One WorkflowMatt Dubuque Jan 31, 2013 6:16 PM (in response to the_wine_snob)
Thanks Bill, I've archived this!
I was also wondering, I recall you stating that one way you coped with the substantially increased overhead associated with very large photos by not inserting them into the timeline until as late as possible.
Instead, you simply put black video "placeholders" where the very large images would go and only replaced those placeholders on the timeline with the actual large fotos at the last possible moment.
Is my recollection about that correct?
thanks, as always, for your world class help and I hope your team does well in the Super Bowl.... matt
118. Re: Large Still Images into PE - One Workflowthe_wine_snob Feb 1, 2013 4:56 PM (in response to Matt Dubuque)
I recall you stating that one way you coped with the substantially increased overhead associated with very large photos by not inserting them into the timeline until as late as possible.
I don't recall any of my workflows, that accommodated that, but might be forgetting. I try to get my Still Images to the Timeline, as quickly, as I can, especially as I often have animation. For me, the Scaling is just an early part of my workflow, often even before I begin an actual Project in Premiere.
Maybe someone else had such a workflow with "place holders," but I do not recall that post - or, at my advanced age, maybe I am just "mis-remembering" things? Happens all too often nowadays.
119. Re: Large Still Images into PE - One WorkflowMatt Dubuque Feb 4, 2013 8:04 AM (in response to the_wine_snob)
Thanks Bill, as always!
Sorry for the delay in responding, I've simply been incorporating the large images into my workflows as you typically do and so far everything seems OK. I just now had a chance to circle back.
Hope all is well in your neck of the woods.


text:
posted by Thom Holwerda on Thu 13th Apr 2006 17:45 UTC, submitted by Paul J. Beel
The AROS Show has an interview with AROS Developer Hogne T. "AROS Native gives me no troubles with compiling anything. I use it for the whole development process. I do not even run Linux Hosted at the moment. AROS Native with SFS has some problems with unix ported apps, and I have to compile in RAM:, but other than that, I use Native without any problems." Screenshots included.


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Fairchild, Ian J and Smith, Claire L and Baker, Andy and Fuller, Lisa and Spotl, Christoph and Mattey, Dave and McDermott, Frank (2006) Modification and preservation of environmental signals in speleothems. Earth Science Reviews. ISSN 0012-8252


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|2005-12-30, 23:02
|Link #41
priest of skuld & ichijou
oh thank you very much.
and sorry to touble but I have one last ichijou request.
this one is pani poni dash episode 9 7:40 to 7:44 (ichijou putting away her little sister.)
thanks again.
Last edited by Lord cirex; 2005-12-30 at 23:22.
|2005-12-31, 03:14
|Link #43
♪~ Daydreaming ~♪
Graphic Designer
Join Date: Dec 2005
Location: Italy
Last edited by Pellissier; 2005-12-31 at 11:18.
|2005-12-31, 20:24
|Link #44
Junior Member
Join Date: Dec 2005
Anime : Blood+
Ep: Any will do
sequence: I know i'm supposed to list something specific here, but really anything will do.
Character :Haji
I would just love to have any closeups of Haji, anywhere from 1sec to 3 sec is fine.
I thank you so very much in advance , and apologize for the generalization of my request.
Thank You!
|2006-01-01, 05:03
|Link #45
♪~ Daydreaming ~♪
Graphic Designer
Join Date: Dec 2005
Location: Italy
I'm currently working on Lord Cirex's last request. I should be able to post it soon.
Last edited by Pellissier; 2006-01-03 at 05:01. Reason: broken link adjusted
|2006-01-01, 05:44
|Link #47
♪~ Daydreaming ~♪
Graphic Designer
Join Date: Dec 2005
Location: Italy
The scene is long, has a brief change of setting (when the sister is "flying") which makes the cropping kinda hard. Plus, a lot of frames.
I had to lower down the quality much in order to make a forum friendly version:
Instead, the next one is the NON Forum Friendly version (please don't use this one as avatar, since it exceeds the limits).
As you can see, there's more harmony on the animation, and the pic just look cleaner.. but.. it costs when it comes to Kb.
I've also done a modify to the second Ichijo avatar I previously made for you: added some frames so now Ichijo is actually chewing the note ^^
Please feel free to use whichever you prefere
Last edited by Pellissier; 2006-01-03 at 04:57. Reason: bad links updated ~
|2006-01-01, 06:31
|Link #48
Junior Member
Join Date: Dec 2005
uhm...I have another couple requests.. i would be sooo much obliged if you could capture the following
Anime : blood+
Ep &character : Episode 7 , Haji (i can't help it, i'm in love with this fellow )
posistion/s : 10:32-33
(the part where he is playing the cello, showing finger movements, was hoping to see if you could do it so that it looked as though his fingers were just on a continuous loop, playing the instrument?)
posistion : 13:23 - 25 (blade in front of his face, he lifts it up and shows a face closeup, possibly just show it to where it lifts and lowers fluidly?
posistion : 13:42 - 43(ish) not sure how good this will look as a gif, he's doing a sword kata and its a closeup on his face, if this one ends up to messy don't worry about it, the two above are the ones i would like most if you can, please?
Thank you SO very much, you are a dream for doing these *hug*
|2006-01-01, 07:07
|Link #49
♪~ Daydreaming ~♪
Graphic Designer
Join Date: Dec 2005
Location: Italy
Could this be how you meant it?
Anyway, thanks for the praises, too generous =^_^=
For the other 2 requests you made, I have no time left at the moment but probably I will check them this evening (italian time)
EDIT: Actually, caused by very bad weather, I do have time.
So it's a 100x75, beside this I followed your instructions.
Anyway, I tried to make it look the most natural I could, with the few frames I had at my disposition.
If you dislike this, nevermind, just think of it as an experiment
Last edited by Pellissier; 2006-01-03 at 05:00. Reason: broken links adjusted
|2006-01-08, 08:18
|Link #53
♪~ Daydreaming ~♪
Graphic Designer
Join Date: Dec 2005
Location: Italy
Anyway, since I'm not finding it around here, I've done a personal version of the scene
|2006-01-09, 15:23
|Link #55
'Kon'nichi wa
Join Date: Dec 2005
What do you think of my second Avatar I made ^.^ ? I love it : http://img209.imageshack.us/img209/7067/ruffy24sb.gif ^.^ .
Can someone make an Forum-Version of it ?
|2006-01-10, 06:01
|Link #56
♪~ Daydreaming ~♪
Graphic Designer
Join Date: Dec 2005
Location: Italy
You used 25 frames, which sound like a bit too much to me (for such a kind of image, I wouldn't go over 16-17), so there would be to get rid of some of them, but since I didn't really get what you meant to do with this gif, I don't know how to help you
You probably took off the double frames, it's ok, but at that rate you should also have resetted the timing for the ones you kept. IE you tear away a frame which repeated three times? It's ok, keep one and set its time to 0.06 or 0.07 and so on (consider a frame taken off as 0.03 of time to add).
Having this one you provided, I don't have a clue on right timesetting thus it's impossible for me to create anything smoothly.
On last istance, this very specific thread is more for gif-making than for gif-modding. So you could try also at the Workshop Thread
|2006-01-10, 09:20
|Link #57
'Kon'nichi wa
Join Date: Dec 2005
I can give you the frames . And I erased the double Frames
or make me these :
Anime : OnePiece
Episode : 182
Timeframe : 15.29 - 15.31
Action : Luffy is running
Anime : Onepiece
Episode : 183
Action : Ruffy is punching wild against the wall ( dont know the timeframe. It was in the TV )
Last edited by Ichigo-Kun; 2006-01-10 at 09:41.
|2006-01-10, 16:10
|Link #58
♪~ Daydreaming ~♪
Graphic Designer
Join Date: Dec 2005
Location: Italy
By the way, I tried working up a bit on the big gif you posted and, even if cutting a lot here and there, I think to having came up with a decent result.
Please consider that you gave me to start with a 190 kb gif with 25 frames and with no timing. Now it's 45,5 Kb x 10 frames and timed.
It's not a perfect looping, but that background is kinda tricky, if combined with the movements..
Alternatives (different looping):
Hope you like it.
|2006-01-10, 18:41
|Link #59
Join Date: Dec 2005
Location: Wells
Age: 29
Right now I'm looking for exact times for the coolest bits in episode five of FMP...
You know another scene which I think would make a really good GIF? Back in the first series, when the SRT hold a party to celebrate the first birthday of TDD-1, I believe Kurz sings kareoke. (It's certainly in the trailer). A 100x100 loop of him grinning and waving his alcohol about in that scene would look good I think, or anything where he sings in that episode that's easy to loop. I don't have the DVD anymore, and it wouldn't play properly on my computer, so I can't give you times or even the episode number I'm afraid, but I figured if there were any die-hard FMP fans making GIFs then this might just be a possibility.
|Thread Tools


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