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Setting scan frame and resolution

From: Scanning with SilverFast

Video: Setting scan frame and resolution

In this segment, I'd like to talk about matching your scan frame--the red frame that we see here--which defines the area of the image that we're actually going to be scanning, with the output frame or the output dimensions in which you're actually going to be viewing or printing your image. To do this, let's try two different output tasks. Let's start with Presentation first. And notice that Presentation provides us with a couple of different standards: Standard TV, HD Ready, Full HD. Let's go look at those choices. We'll go to Presentation, and we'll click our Start to do our pre-scan.

Setting scan frame and resolution

In this segment, I'd like to talk about matching your scan frame--the red frame that we see here--which defines the area of the image that we're actually going to be scanning, with the output frame or the output dimensions in which you're actually going to be viewing or printing your image. To do this, let's try two different output tasks. Let's start with Presentation first. And notice that Presentation provides us with a couple of different standards: Standard TV, HD Ready, Full HD. Let's go look at those choices. We'll go to Presentation, and we'll click our Start to do our pre-scan.

We don't need to do another. We've already got that done here. And notice when we choose Standard TV it provides us with the frame that has those proportions. When we select either HD Ready or Full HD, there's different numbers of pixels that will be selected, but the dimensional proportions are the same. Notice that it gets narrower. Let's just take a quick look. There is Standard TV, which is 4x3 format, and then the HD Ready that you see here. And by scanning for a particular output device--which is what we're doing here-- this is very handy, you can see that this image doesn't match up very well with a particular format.

So in this case, if you knew you were going to a high definition TV with this image, we would take the frame--and remember when we check this check box on, whenever we adjust our scan frame, the proportions remain the same. So if we were to scan this image for viewing on HD TV, that would be it. That's the dimension that we can actually capture for that image. So it's very, very handy to be able to that. Notice if we were going to view this on a standard TV, we can actually probably see a little bit more of the image when we enlarge it like this.

Now, if you indeed wanted to see the entire image on one of these formats, what you'd have to do is scan more of the background in order to fit more of that image in there. And you could plan to do that and then add more to the background later on if you wanted to, but it's very handy to have the proportions of the output device that you're going to. This has been a continual problem historically, for instance, when we work with print. Let's back up and let's go to our Print output task and let's restart the process.

And notice that what we get down here is some other presets. And let's choose the 5.0" x 7.0", for instance, and we'll fix the scan frame to the output. And we see that in this case the 5.0" x 7.0" works pretty well, because this is indeed a 5.0" x 7.0" image. So we could scan a 5.0" x 7.0" and print a 5.0" x 7.0", no problem. But what if we intended to output this at 4.0" x 6.00" instead of 5.0" x 7.00"? It's going to be card size. Now, again, if we have our check box checked on, that means that our proportions are going to remain the same, the 4.0" x 6.00" proportions.

Then this allows us to adjust our scan frame to match exactly that 4.0" x 6.0". So instead of having the edge of her face cut off, for instance, we can move this over to make sure we get all of her face and most of her hair. We can choose what we want to lose, a little bit of the hat or a little bit of her neck, we'd probably want to do something like this. So that way we know that all of what's going to be in that scan frame is actually going to print when we finally go to our final print output devices. So there is very often a disparity between what the dimensions of our original image is and the output dimensions and proportions of our final output device.

We run into this in photography all the time, because a standard photographic camera uses a 4x3 capture frame, but we output to all sorts of different proportions and dimensions, so we often end up having to crop our images. Here we can actually pre-crop during the scan. So this is a very useful feature to be able to do this. And at any rate, you'll always want to keep that in mind whenever you're capturing image, whether it's with the scanner or a digital camera, to always capture enough of the image if you know that you're going to have to crop going to your final output device. So there's matching your scan frame on input to your print or viewing frame for output.

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This video is part of

Image for Scanning with SilverFast
Scanning with SilverFast

52 video lessons · 4160 viewers

Taz Tally
Author

 
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  1. 5m 19s
    1. Welcome
      58s
    2. What you should know before watching this course
      43s
    3. Taking the Tazmanian Oath
      3m 38s
  2. 19m 14s
    1. Launching SilverFast
      4m 2s
    2. Touring the SilverFast interface
      3m 35s
    3. Understanding SilverFast's scanning workflows
      4m 28s
    4. Using automated vs. manual scanning
      4m 31s
    5. Getting help as you use SilverFast
      2m 38s
  3. 32m 46s
    1. Touring the SilverFast 8 automatic scanning tools
      6m 7s
    2. Preparing for automatic scanning
      4m 6s
    3. Arranging your workspace
      4m 23s
    4. Setting up color management
      4m 43s
    5. Setting scan frame and resolution
      3m 55s
    6. Adjusting, naming, formatting, and locating an image
      8m 24s
    7. Previewing scan settings with the info tool
      1m 8s
  4. 1h 7m
    1. Scanning simple line art
      8m 6s
    2. Scanning detailed line art
      8m 9s
    3. Scanning grayscale photos
      11m 43s
    4. Scanning color photos
      11m 17s
    5. Scanning a color photo as a grayscale image
      12m 15s
    6. Scanning a positive piece of film
      6m 52s
    7. Scanning a negative piece of film
      8m 39s
  5. 26m 1s
    1. Touring the manual scanning tools
      7m 19s
    2. Setting preferences for manual scanning
      10m 0s
    3. Calibrating your scanner
      3m 40s
    4. Arranging your workspace
      5m 2s
  6. 1h 35m
    1. Scanning simple line art and changing it into vectors
      7m 38s
    2. Scanning simple line art and keeping it as pixels
      5m 41s
    3. Scanning detailed line art
      8m 18s
    4. Scanning grayscale photos
      14m 5s
    5. Scanning landscape color photos
      15m 51s
    6. Scanning color portrait photos
      13m 56s
    7. Scanning color product shots
      9m 29s
    8. Scanning a color photo as a grayscale image
      4m 31s
    9. Scanning a piece of positive color film
      5m 52s
    10. Scanning a piece of negative color film
      9m 56s
  7. 1h 0m
    1. Should I use SilverFast or Photoshop?
      4m 9s
    2. Making global color corrections
      4m 37s
    3. Bringing out shadow details
      4m 28s
    4. Making a selective color replacement
      3m 21s
    5. Sharpening in SilverFast
      7m 15s
    6. Working with target-based corrections
      4m 55s
    7. Color correcting with neutrals
      10m 19s
    8. Exploring automatic color correction in manual mode
      3m 35s
    9. Scanning a printed image
      5m 49s
    10. High-bit-depth and HDR scanning
      5m 28s
    11. Removing noise and patterns
      3m 32s
    12. Removing dust and scratches
      3m 30s
  8. 7m 2s
    1. Batch scanning images
      1m 28s
    2. Using the JobManager
      4m 16s
    3. Exploring SilverFast 8 shortcuts and tips
      1m 18s
  9. 1m 29s
    1. Goodbye
      1m 29s

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