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Photoshop PSD Template for Canon K (Pixma Pro-10) CD/DVD Label Tray

Having recently upgraded from an MG 5420 (it lasted four years and still works fine) to a Pixma Pro-10 I found myself once again needing a Photoshop PSD template for the CD tray. I was surprised to learn that it is still the case Canon only officially supports printing from their shitty program, even on a “professional” printer. 

This one took a little more work than the J tray I made previously; it looks like Canon flipped the orientation and everything needed a few rounds of small adjustments.

On OSX, you’ll first need to install Canon’s drivers/IJ Network tool. When you print, select “Disc tray K” as the source.

Template_CanonKTray.psd

Like before, the template was created with the help of this guide. I got pretty close by measuring the paper size (5.95 x 12.60in), Offset A (81mm) and Offset B (207mm) and then rotating the whole thing 180 degrees to match Canon’s new orientation after it printed directly on the opposite side of my tray (doh). From there I had to make some small adjustments just eyeballing it. Your printer may need small adjustments as well. Enjoy!

Photoshop PSD Template for Canon J (MG 5420) CD/DVD Label Tray

I recently decided to move from printing sticky labels on a laserjet to actually printing directly onto DVD’s with the Canon MG 5420. It’s better than sticky labels in pretty much every way. Although I’ve never had an issue with sticky labels peeling off and damaging DVD drives (even from jobs over 5 years old) the laserjet just didn’t look very good, I’d always see the DVD-R logo beneath the thin label, and the toner would rub off unless I dried the sheets for several days.

Enter the Canon MG 5420, a lowcost inkjet ($90 at Officemax) with a CD/DVD tray. However it does not come with templates of any sort and you must use their “EZ Print ABC 123” whatever it is software, which is extremely limiting. I created my own PSD template for the “J” type tray using these instructions as a starting point. Please see the below link to download my PSD template (for Photoshop CC). If you are interested in creating your own template for the J tray in another application, see the above linked instructions and simply use these measurements:

Page Length: 224mm

Page Width: 130mm

Offset A: 65mm

Offset B: 120mm

Canon J Tray PSD Template

As you can see from the image, you have to correctly set the paper size when printing from Photoshop, otherwise it assumes you are printing on 8.5×11″ paper. To set the paper size, hit Print and then “Print Settings”. Under the Paper Size dropdown, select “Manage custom sizes” and create a new custom size that matches the Page Width and Length measurements for the tray (in this case, because it needs to be inches for some reason, use 5.12 x 8.82″). Then hit OK, and be sure the Tray is selected as the source under the Quality & Media tab (on OSX, not sure what the Windows equivalent is).

Happy printing!

ProRes 4444 and Alpha Channels

Quicktime Rage Face!

As much as I complain about Apple codecs and Adobe products, occasionally a bug comes up that is truly mind boggling. Take Prores 4444 and alphas: “if the first frame has no alpha, then nothing passed it will have an alpha either”. Thanks, Apple and Adobe!

This problem was solved in After Effects by creating a 1×1 pixel mask on the first frame of everything rendered using Prores 4444. The mask moved out of the way after the first frame, and the alpha channels rendered intact for the rest of the sequence. It’s all voodoo, voodoo I tell you!

This bug was reported May of 2011 and nothing has been done yet (most likely because Adobe engineers threw up their hands and blamed Apple).

On a side note, this is frustrating because I like to use Prores 4444 to convert EXR sequences after rendering but before compositing (if the EXR’s only contain rgba information). Taking 70gb of EXR’s down to one 2gb nearly-lossless Quicktime file is a pretty good trade off. Except when the Alpha doesn’t render.

16mm vs Digital Comparisons

Film

Film

Digital

Digital

On The Magic of Film, Alex shot with his 16mm camera on black and white reversal, in addition to shooting on the Canon 5D Mk II. The film wasn’t developed in time for the bumper contest, but it came in recently and I decided to put together a cut using only the film footage.

The differences are pretty clear. This particular 16mm stock isn’t really supposed to be scanned at 1920×1080, so it’s a little soft, but it still holds up fairly well. The flashes of light from (what I assume are) exposure artifacts and spill, when they don’t ruin a shot, are quite charming.

Digital

Digital

Film

Film

Some of the film takes weren’t usable, and there was no way of knowing on set if the take worked – but on the 5D, because I was able to review the shots instantly, I found that I got more of what I needed. The film cut had to be fudged a bit in editing, and doesn’t work as well as the digital cut. The film cut does, however, feel more visually unified.

Flash Video

Watch the 16mm Cut

Unfortunately, in addition to not coming in on time, the lab that scanned the film telecine’d the output file, creating interlacing and pulldowns and a whole bunch of other garbage. They probably thought it was shot at 24fps, because telecine is a process used to convert 24fps to 30fps for television viewing. They told me to reverse-telecine the file, which would have removed a pulldown, except for the fact that the film was shot at 30fps to begin with, not 24, so now it’s completely mucked, plus the interlacing problems. It would really have been easier to just have gotten progressive tiff files for each frame, then I could have played it back at whatever speed I wanted without dealing with pulldowns. That’s just a whole lot of unnecessary steps. In the movie below, the interpolated frames are visible especially in the motion blur. I ran a deinterlacing process, the artifacts of which are visible on some of the edges. I may try to correct the whole thing eventually, but don’t have the time now.

In any case, the whole processes was quite an experience. It was really exciting to have my production shot on an older film camera side-by-side with the Canon 5D Mk II, very much the bleeding edge in digital video. What the original digital cut here! Don’t forget to VOTE for the bumper!