ADR to match outdoor dialogue

We added some ADR to our outdoor dialogue for our short film. The problem is the ADR sounds too clean. What filters can I use to give the dialogue a more outdoor organic feel?
thanks,
Topler

Using the EQ right? I will try that first.
thanks,

Similar Messages

Photoshop uses JavaScript to load open documents into the Match Color command

Hello,
I am a production artist and I make use of the Match Color command quite a lot in my work. I often have 6-10 Photoshop documents open and one of them is designated as my master document. With this document active, I launch the Match Color command. Inside the Match Color dialogue, I load one of the other open documents into the Source drop-down menu under Image Statistics. I click Ok, and save the master document under a new name. I have to repeat this for all other open documents. Needless to say, it gets tedious.
I started to write a script to automate this, but I cannot find the syntax for the Match Color. I have the Adobe Photoshop Cs6 Javascript Scripting Reference but have been unable to locate it in this PDF. I tried looking online, but no luck. Does anyone know what syntax to use as well as associated properties / methods?
Thanks for any assistance.

What we do is we make seamless images from product photos supplied by retailers in the flooring industry (carpet, tiles, etc). The seamless image gets loaded into a virtual room scene powered by Adobe Scene7. Scene7 takes the seamless image and duplicates it horizontally and vertically, in 3D perspective, so the final rendering looks like one continuous product image. Check this link to see an example: http://sitesetup.creatingyourspace.com/wlhhbw4/designcenter/vrddesign.aspx?room=2854 The thumbnails on the left side are seamless images. click on one and it will load into the virtual room.
When I make seamless I may encounter 20-50 images of the same product, but different colors. Rather than spend 10-15 minutes per seamless, I make one and then let Match Color do the rest. Match Color is a great tool for this application. If destructive editing were an issue, the layer could simply made into a smart object, but we're not concerned about that.
I did try the javaScript listener. Below is the code it generated. I'm new to JS so I don't understand all of the syntax.
// =======================================================
var idmatchColor = stringIDToTypeID( "matchColor" );
    var desc7 = new ActionDescriptor();
    var idLght = charIDToTypeID( "Lght" );
    desc7.putInteger( idLght, 100 );
    var idClrR = charIDToTypeID( "ClrR" );
    desc7.putInteger( idClrR, 100 );
    var idFade = charIDToTypeID( "Fade" );
    desc7.putInteger( idFade, 0 );
    var idfsel = charIDToTypeID( "fsel" );
    desc7.putBoolean( idfsel, true );
    var idSrce = charIDToTypeID( "Srce" );
        var ref5 = new ActionReference();
        var idLyr = charIDToTypeID( "Lyr " );
        var idBckg = charIDToTypeID( "Bckg" );
        ref5.putProperty( idLyr, idBckg );
        var idDcmn = charIDToTypeID( "Dcmn" );
        ref5.putName( idDcmn, "4167_13828.jpg" );
    desc7.putReference( idSrce, ref5 );
executeAction( idmatchColor, desc7, DialogModes.NO );

Tests with Speech-to-Text transcription in PPro CS5

As a follow up to my earlier thread about the apparently reworked or, at least, enhanced speech transcription capability in PPro CS5, I just conducted a few tests to see if it is indeed any better than what we had come to expect of it from CS4. The results are, well, encouraging...
QUICK BACKGROUND: I have an approximately two-minute long voiceover, verbatim from a script, professionally recorded, that was originally delivered to me as a 192kbps, 44.1kHz MP3. Since transcription won't work on MPEG assets (at least, not in the trial which is what I'm using--the files import, but the transcription "analyze" button is grayed out), I used Soundbooth to convert it to a 48kHz, 32-bit floating point WAV. I created a couple of copies, so that each one would have its own transcription metadata. I always used the High quality (slower) option.
I ran the test four times, as follows:
Just the WAV, without a reference script
The WAV with a verbatim reference script as a text document (.txt), with "Script Text Matches Recorded Dialogue" option checked
The WAV with a verbatim reference script as an Adobe Story script document (.astx), with "Script Text Matches Recorded Dialogue" option checked
The original MP3 in Soundbooth CS4
I've linked to a text document with the results of these tests (no editing), along with the original text from the script, if you're interested in seeing how they stack up: right-click and save as.
As one would imagine, #1 (no script) was... not perfect. However, I think it did a decent enough job for most purposes. Granted, this was a professionally-recorded voiceover, with not competing background noise, but it was still marginally useful. What's funny to note is that the transcription process seems to trip up every now and again and then it seems to lose its momentum for awhile. It'll bobble a "difficult" word, and then for half-a-dozen words following, it's all over the place. Once it regains its footing, though, it'll be pretty much spot on for a sentence or so. Unfortunately, this repeats, but again I think you could make use of it.
For #2, the transcription was LEAGUES better... but still not perfect. That part is bewildering to me. The transcription generated a couple weird passages--for example "Enjoy" became "and Gillian"--which I could understand if there was NO reference script. However, my impression of how the reference script should work--particularly if the "Script Text Matches Recorded Dialogue" option is activated--is that the transcription should basically copy and paste the reference script into the metadata, NOT invent words and phrases that don't exist in either the script or the dialogue/speech. This process actually preserved capitalization (though punctuation was discarded), so that means it is definitely using that reference script; there is no way to discern capitalization from the spoken word.
I thought that maybe, just maybe, I could eliminate the anomalies by using Adobe's own script format, generated by the new Adobe Story--hence test #3. I copied and pasted the text into a new Story script, downloaded the ASTX file, and used that as a reference script as above. Unfortunately, it fared no better than the text document (I suppose this makes sense, but I was hoping...), but it was still about 98+% accurate. I'm reasonably satisfied.
For giggles, I tried test #4, where I used Soundbooth CS4 to transcribe the original MP3 file. Since CS4 doesn't have the reference script capability, this would more or less pit the transcription engine in CS4 against that in CS5. As expected, it turn the dialogue into textual chop suey, BUT... it actually did BETTER than CS5 sans reference script did on some phrases! Observe:
Original script: Our Club is YOUR CLUB.
CS5, no script: our love is your laugh
CS4, no script: our club is your class
Mish-mash that only Mad Libs could love! For the record, the tests that used the reference scripts were spot-on, capitalization included.
So, I'm feeling better about using this for the massive documentary and archival project I'm about to embark upon. I have human-typed transcripts for most of the interviews in this project--over 100 interviews, constituting some 200-plus hours--and keeping that text with the footage is going to be a great thing. There are some flaky things--I wish the punctuation could be preserved--but all in all, the reference script addition seems to make this feature much more plausible in a working production environment.

Did you link the Adobe story script through OnLocation? For some reason this is required (to my knowledge) to do an exact match.
When you import an adobe story script into OnLocation; it creates a shot list that is linked to the script. You then either shoot footage ot fill the shot list; OR link existing assetts to the shot list. This creates the linkage between the adobe story script and the shot list.
If you just add itin premire; I think it is the same as just linking a text file. But if you have ONE assett to ONE script; perhaps you will get the same results anyway. In Onlocation you can link multiple assets to one script.
Then all this metadata come in to Pr script attached.
Some more details pasted from Help:
Improve speech analysis with Adobe Story, OnLocation, and Adobe Premiere Pro
You can use Adobe Story, OnLocation, and Adobe Premiere Pro to create the most accurate speech analysis. Import a script written in Adobe Story into OnLocation. OnLocation produces a list of shot placeholders for each scene. Either record these shots using OnLocation during production, or link the placeholder shots to their respective video files when you import the video files into OnLocation. In either case, OnLocation embeds the text for each shot from the original script into the metadata of the shot.
When you import the clips into Adobe Premiere Pro, it automatically uses the Adobe Story script as a reference script. When Adobe Premiere Pro finds enough matches with the embedded script, Adobe Premiere Pro replaces the analyzed speech text with the embedded script text. Adobe Premiere Pro carries over correct spelling, proper names, and punctuation from the reference script, benefits that standard speech analysis cannot provide.
The closeness of the match between the embedded script text and the recorded dialog determines the accuracy of matched-script text. If 100% accuracy is important, edit and revise the script text first. Ensure that the script matches the recorded dialog before using it as a reference script.

Gutenprint - how to use to install a printer?

The instructions in the supplied doc and the instructions in the apple docs here do not match the dialogues I am being offered.
Presumably updates have superceded the docs.
I can see the PSC 1300, but I cannot see how to assign Gutenprint to it (which I have installed).
Help?
Anthony

To add a USB printer, Tiger (OS X 10.4.x) users should open the Printer Setup Utility and click on the Add icon at the top of the Printer List window. A new window will open. In that window, click the Default Browser icon at the top left. Highlight your printer in the section below. Use the "Print Using" pop-up menu near the bottom of the window to select the correct PPD for your printer and click Add.
Matt
Mac Mini G4; B&W G3/300

Help! difficulties in using colorimeter

I have a 24 inch Imac
Recently purchased over the net from Adorama the eye-one display 2 colorimeter.
The first time I used it, no difficulties, but now very frustrated.
I have even uninstalled the software and re-installed hoping the problem would rectify.
The difficulty is that within the wizard interface of Eye-One match, the dialogue box is greyed out - thus I am unable to proceed in producing a profile .
Hopefully a eye-one display 2 owner can assist with some advice -
The reason why I bought a colorimeter is that SuperCal is for reason providing me with green looking print outs of information and tutorials from my computer ( have not as yet dared to print my photos ) - would someone have an answer for this as well?
All round I seem to be having no luck.
I would be very grateful if somebody can solve my difficulties.
thank you
Sue

Hullo Marco
I am unsure what you mean by tossing the file ( by the way it is now called X-Rite and not gretmagmacbeth.
By the way according to instructions on the CD I installed files in applications folders of Mac.
1" Eye-One Diagnostics;
2. Eye-One Match and
3. folder Eye-one Match 3
Below I found these within folder " Eye-One Match 3" in my applications.
Testcharts
Scan Tiffs
Reference.txt
Reference Files
pushbutton_monitor.pdf
old_ruler.pdf
MonitorValidator
Measurement data
lab_test_image.tif
Installer Log File
Help
Edits
Please advise
regards
Sue

HVX200 -- Mixed Timeline - Converting 720p30 -- 720p24

Shouting out to the PROs for this one. Just completed a shoot with the HVX200. Goal was to shoot all takes using 720p24 (not 24pn) mode (DVCPROHD of course). Turns out that the camera reset it's shoot settings when turned off so several of our takes ended up being shot at 720p30.
I'm working sequences individually (the 720p24's and the 720p30's) but need to assemble them back for final show. Knowing that I cannot placed mixed time-code based nests on a master 720p24 timeline, I figured the best way was to copy/paste my individuals into the master and then just re-render the "bad" 720p30's on the master timeline.
But as I expected, I get some strobing with that 720p30 footage on the 720p24 timeline.
Looking for some helpful hints in minimizing that "damage" of strobing. (frame rate conversion utilities, etc.)
Thinking of sending the 720p30 stuff to After Effects to do the conversion but kind of a hassle.
My thanks for all positive suggestions.
cheers
Software Spec: FCS2 6.05 with all the trimmings.
Message was edited by: David Jolosky

Okay, now you've got me thinking. My editing timebase is 23.98 but yes footage is 24p running at 59.94.
I let Final Cut determine my sequence settings upon dropping the first clip on to the sequence (the "do you want final cut to change sequence settings to match footage dialogue" box), and just began editing from there.
When viewing my sequence settings on the different sequences
my 720p24 stuff reads with the DVCPROHD720p60 with editing time base of 23.98
my 720p30 stuff reads with the DVCPROHD720p60 with editing time base of 29.97
This is a timebase thing isn't it. I shouldn't let FCP choose my timebase right?
Am I tracking your statement correctly?
Should I be editing either of my two different format(s) footage in a DVCPROHD720P60 Timeline wiht an editing time base of 59.94?
sheesh, am I a pain in the _____?

Erro on opning Webi report.

Post Author: sunchega
CA Forum: WebIntelligence Reporting
Hi Friends,
I am using IE 6.0 for WebI reporting.I am able to modify/view the report using the "modify" link available at the bottom of the report name. But when I click on the Report name link DIRECTLY for viewing the report, it does not display the report instead gives me an error (Error on Page) on the status bar of IE.

Hi Dennis,
Thank you! My issue was to find the "change data source" button and then to swap the datasources. I can also confirm that you can change the connection from an MDX universe to a BICS connection on top of a BEx query and vice versa. The typical "match object" dialogue window appears and you can match your objects from the current to the new data source easily. Very sleek indeed!
Cheers
Sven

Looking for "Color Matching" in Tiger Printer dialogue box

Hello,
I'm in transition from using Photoshop 7 in Classic to Photoshop CS in Tiger. I built a printer profile in ProfileMaker 5.xx that I would attach to the Printer Dialogue box in Classic under "Color Matching." Thus my prints would pretty much match my monitor. Using Photoshop CS I don't see "Color Matching" option. Do I convert the file to the printer color space and then use "No color Adjustment?"
Any ideas?

Bought the HP Color LaserJet 1312nfi for 399.99.

OSX Print dialogue's Color Matching "Automatic" option - what's it actually doing?

I'm trying to understand OSX's colour management options clearer. It seems that the Print dialogue's default option for Color Matching is set to "Automatic". Is this as good as no colour management, because a specific profile isn't selected or is it actually using a default profile?
To stop the OSX driver from colour correcting my file and leave it to the printer manufacturer's driver you should set it to the other option (eg. eg. “Vendor Matching” (10.5) and “In Printer” (10.6) - or depends on what printer you have chosen) and then save a preset. Not everyone thinks to do this so that's why I'm interested in knowing exactly what the "Automatic" option is doing.
Your help is most appreciated!
Cheers,
Cojcolds

I understood your note to say that when "Color Matching" is set to ColorSync: Automatic the images in the file will first be converted through the monitor profile (in my case I'm currently using the "canned" LCD Display profile), then through the printer's profile (I have a desktop Fuji Xerox DocuPrint C1110B), correct?
Correct. Let's say you're using the working RGB color space of Adobe RGB in Photoshop. At all times, that color is being translated to the monitor color space by ColorSync for the rendition that is actually displayed. The file itself remains Adobe RGB, but that's not your monitor's profile, so it needs to be continuously converted for display.
When you print the image, the first thing ColorSync does is convert the color space from Adobe RGB to your monitor profile (all with temporary data, not to the original). Now the image is in the color space you were viewing, which is where is needs to be since the idea is for the print to match the monitor color you are looking at. But the printer is not a monitor, so the monitor profile color space the data is currently in is not correct for printing. So it goes through a second conversion from the monitor color space to the printer profile's color space. That is what finally gets sent to the printer.
This is where any automatic color correction must be off. You've already told ColorSync to use the proper profiles to achieve a print that will match the monitor as closely as possible. This assumes of course you have accurate profiles for both your monitor, and the printer with the paper being used.
As a further test, I then ColorSync to the AdobeRGB(1998) profile and made a new ps file. The RGB values in the distilled PDF were still the same as the Word doc.
That's what throws people off. An RGB value isn't a specific color. It's a representation of where that RGB value falls in relation to *L*A*B. So a fully saturated red of 255,0,0 will look different in a short color space as opposed to a larger space. Here's an example (see image below). I have two different profiles overlapping each other. The red point circled in green is the most saturated red that can be attained in relation to *L*A*B in that smaller color space. The point circled in yellow is that larger space's most saturated red. In both cases (the confusing aspect), both will assign 255,0,0 to that point, but one would obviously be a richer red than the other. Think of it this way. 255,0,0 is the maximum color space that particular color space (profile) can handle within *L*A*B. It's not necessarily the maximum red we can see in the visible color spectrum.
So, your converted files look the same because ColorSync is generating the color based on your monitor profile for display. Since that's always the same, the color will look the same, regardless of the input RGB profile. At least as long as you don't use a really small RGB space as an assigned color space and squeeze it down to some noticeably dull color.
I'm a trainer for Fuji Xerox and am writing a course for our Mac users on Colour Management (in particular for our high-end production RIPs (Fiery/Creo/FreeFlow) with serious colour management being applied).
Fun! I've been doing prepress work as as in-home business for quite a few years now, but worked in a couple of different high end print shops for many years. Last thing I used on that end was a Scitex Brisque RIP. As I'm sure you know, Creo bought out Scitex. I'm sure RIPs have changed a lot since I last looked at one.
I only discovered the other day that the Mac OS has the "Color Matching" option and wondered if the OS was in any way bending the colour values before our RIPs have a chance to properly manage the colours. So far it looks like the setting is not having any impact.
It all depends on where your settings are on both the Mac and at the RIP. Too long of an explanation to go into here I think.
As a further note, I even tried setting ColorSync to the "Generic CMYK" profile and the distilled PDF still showed the correct RGB values. So, maybe the print to PDF option is ignoring the Color Matching settings or something else is at play but this setting is still a mystery to me...
ColorSync will only apply matching profiles on the fly. So something would already have to by CMYK before it would apply the Generic CMYK profile. Which no one in their right mind would ever use. It's the flattest, ugliest CMYK profile you will ever see.

"Color Matching" option in print dialogue box...

Hello,
I've upgraded to 10.5 (printing from latest Adobe CS3 Photoshop and InDesign) to an Epson R2400 (with the latest 10.5 drivers from Epson). I let Photoshop/InDesign handle color management (rather than the printer).
Once I hit "print" from the application I'm sent to the OS X print dialogue box. From here I select my Epson settings as I always have (including turning off Epson Color Management) but now, within 10.5, there's a new OS X specific printing option listed as "Color Matching". When I select this I'm giving the options for "ColorSync" (from which I can then choose "automatic" or choose a specific printing profile — though, when I try to select one, I always get a warning saying I'll get undesirable results, and it only goes away when I select "automatic") or "Epson Color Management" (or something like that).
I do not have an option to turn these "off", I have to select one or the other.
Now, what exactly is going on here?
Which do I want to select?
I assume I would leave it to "ColorSync" since I know I don't want the printer to manage the color, but I'm just confused as to what these settings do since I'm supposed to be managing the color via Photoshop.
Can anyone shed some light onto this new option under 10.5?
Thanks!
Kristin.

Yes, very strange. If you see a few posts up I actually did get it to work the way I need it to. I called Epson and they had ne reset the printer settings through the system preferences. On my first try this did NOT work, however everything worked as it should in Preview (another image program) and since it did work there the Epson tech basically siad then it's not their problem - most likely adobe.
However just for the hell of it after I hung up, I tried resetting the printer settings again and sure enough it worked. I was able to change the color settings while using Photoshop to manage colors - namely I needed to print a B&W through the Advanced B&W setting. When they are grayed out I can't do this. But even while doing color I don't like that it's grayed out. I've been printing both color and B&W for the last 5-7 years with photosjop manageing colors. I know about double profiling and how to avoid it.
If this was by design from adobe, it deosn't make sense that I was able to access it a few weeks ago after resetting the printer settings. And if this was the case when did Adobe supposedly make the change?
I don't know what's different now, the only thing I can figure is that I had this issue sometime after I installed the lastest Epson print driver - hence the call to Epson... Maybe it's snow leopard weirdness, but I had snow leopard on my laptop and was always able to print sucessfully, but have not tried it since I got the new Mac Pro.
And the strange thing it works fine on other programs. I can have photoshop manage colors and they are not grayed out. Strange and frustrating. Time to set up the DR.
I guess I shoud uninstall PS and then try re-installing it.
thanks...

ITunes Match keeps repeating and Sonos Play 5!

So this note has two pieces to it, one related to iTunes Match and the other is Sonos Play 5. First an observation about the iTunes Match repeating problem. I wanted to start using iTunes Match for a couple of reasons so I started to run it. It went through Step 1 and Step 2, started Step 3, stopped and restarted on Step 1.
So I was reading trying to find a solution in the Apple Support Community. Some suggested that there was a corrupted song in the library so I went back to watch to see if I could catch when it left Step 3 to go back to Step 1. I was not really able to see exactly were it was reverting back to Step 1.
I then discovered ajlewis1851 note about reset Match, Store and the computer (https://discussions.apple.com/message/20530276#20530276)
I also discovered a song that was not in my library so I deleted that from the library as well. Neither of these seemed to work and it was back repeating itself.
I left Match running while I was doing more searching and I discovered the thread about gating the upload speed as the upload speed might be the problem. Well I spent a long time trying to figure out how to slow my Airport Extreme Base Station down and then I noticed that Match was uploading between 2-15 files before it would kick back to the beginning and the total number of files to be uploaded was slowly decreasing.
Low and behold after quite some time, Match finally finished and said it was done! This has to be some serious bug in Match, but eventually it got done. Not sure whether the two steps before helped or not.
Now to the beginning of the story. I started down this path because I was setting up a new iPod Touch to serve as controller for my new Sonos Play 5 system. Everything seemed to work fine with Pandora and I was very excited. Synced a few playlist from my iTunes library and for many of the songs there was the dreaded ‘unplayable icon”-circle with a line through it! Did some additional searching and discovered that the iPod Touch to Sonos Play 5 was only possible with DRM songs.
This is an aside. It is necessary to place this discovery against my experience of playing my iPod thru a Sonos iPod Dock without having to worry about the DRM status of the music. My disappointment was nearly overwhelming.
But Sonos recommended a strategy of iTunes Match to remove the DRM from the songs in my library. Hence, my need for iTunes Match from the beginning of this story. But this is not a very clean solution. Even after one has done the iTunes Match, it is necessary to find all of the ‘Protected AAC audio files’ in your library, delete them and then download the ‘Purchased AAC audio files’ from the cloud. (https://sonos.custhelp.com/app/answers/detail/a_id/626) and Apples directions (http://support.apple.com/kb/ht1711)
There are of tricks in doing this ‘Protected’ to ‘Purchased’ transition. When you select Music in your library, and then right click on the top bar above the music you can select additional columns to be shown. Select ‘Kind’ and you can see which music is protected vs purchased. You can sort this column, thus bring all of the ‘Protected’ files together, select them all and with one right click delete them! (I very very strongly recommended you have a couple of backups of your library, just in case and there is a small box in the dialogue about deleting them from the Cloud as well---MAKE SURE THIS BOX IS NOT SELECTED). Much to my delight, in the ‘Cloud’ column, you are presented with the choice to download the ‘Cloud’ version (now DRM free). As best as I can tell, one has to download each song from the Cloud individually. My fingers were very tired after millions of clicks. I did a few at a time so it took me the better part of a day to accomplish.
I was very excited because I now had DRM free music in my library (I figured this would solve the problem). I connected the iPod Touch to the library, choose not to sync my playlist so all the playlists from the iPod Touch were removed and then reselected the playlists of interest and had them placed back on the iPod. I ejected the iPod and tested the playlist on the Sonos. Much to my surprise, the unplayable songs were still unplayable!!!
I deleted the Sonos App and reinstalled it (Did not work).
I deleted the playlist from the iPod Touch, and resync it to my library (You really don’t want to do this as it also deleted the playlist from my library!) Fortunately, I had one of those backups.
I then sync another playlist to the iPod Touch. This second playlist was the complete album from which two songs were placed in the original problem playlist. Much to my surprise, all of the songs from the album were fine, EXCEPT, the two songs that were unplayable in the original playlist.
I finally came to the conclusion that something had been stored on the iPod during the initial sync with the DRM containing music that prevented the non-DRM music from working properly. With a deep breath, and only after I disable the iPod Touch connection to iCloud (in a couple different places), I then went to Settings > General > Reset > Erase All Content and Settings and ran it to restore original factory settings. It was plugged into a power source.
After setting the iPod Touch up again, I reconnected it to my iTunes library and moved the problem playlist over that contained several unplayable songs. IT WORKED! All the songs were playable.
LESSONS:
1. If iTunes Match keeps repeating steps 1 and 2 watch carefully to see if the number of songs to be processed is changing for the better. If yes, at least in my situation, it completed the process, but it took much longer than I believe it should have.
2. My suspicion is that if you have installed DRM protected songs on an iPod Touch, the Sonos recommended solution will not work as stated. Interestingly, it did seem work on my iPad and 4G iPhone.
Addendum: I have discovered a few songs where the Sonos recommended solution did not work on the iPad and iPhone as well. Several are from the Madonna.

Well.....It is now working....... Including converting locked tracks located on the IPad library into unlocked 256kbps tracks playable by Sonos...
Used these steps:
Signed up for ITunes Match using ITunes on a Windows PC
Let Match do it's thing with 700 or so tracks
Followed the procedure in the link above to create a smart playlist of tracks with bit rates less than 256kbps
Using the smart playlist as a guide, I deleted or download tracks not appearing in Sonos on the PC. Then, refreshed the Sonos music library and confirmed these tracks now available and playable by Sonos
On the IPad, for tracks that were grayed out in Sonos, I deleted and re-downloaded the tracks using the Music app (swipe right to left on a track to delete it)... then got into Sonos on the IPad to confirm the tracks no longer grayed out.
So... I'm now happy.... I like the Sono system of WIFI streaming which is very flexible and produces decent sound quality, but did not realize until after buying the Sonos bridge and two Sonos speakers that older ITunes songs would not play in Sonos due to DRM locking. So, will now work through the library of locked tracks converting and re-downloading.
Thanks again for the pointers on this question.

Matching Color Between 2 Images

Selective Color Matching
Open the image with color you like.
Make sure your Info Palette is visible.
Select the Eyedropper Tool.
Look at the Options Bar, and set the sample size to 5 x 5. This will give you a good average color from a sample size larger than just one individual pixel.
Hold the Shift key, and you'll see that the cursor changes. This signifies that you're ready to lay down a Color Sampler. Find a good spot to sample the color you want, and click there. You may lay down up to 4 Color Samplers in each image.
Look at your Info Palette and you'll see that it has expanded to now include a pane (or panes) that display(s) the color component make-up of the spot (or spots) where you dropped a Color Sampler (or Samplers). In that pane you'll see a tiny little eyedropper icon, right below the "#1". Click and hold for a drop-down menu. Change the read-out to CMYK. This won't change the color-mode of your image, so don't worry about that. It just makes the following steps more intuitive.
Write down the values for C, M, Y, and K.
Open the second image in which you want to match the color to a similar color in the first.
Now, for one of the most important parts of the process:
Make an accurate selection of the areas you want to adjust. Save it as an Alpha Channel (Select---»Save Selection...New Channel) just to be on the safe side, and save your changes to the document.
Using the Eyedropper again, Shift-Click to drop a Color Sampler in the new image, in an area that is similar in brightness as the sampler in Image 1.
Change the readout of this new sampler to CMYK.
With your object still selected, go to "Image---»Adjustments---»Selective Color..."
Choose a color in the drop-down menu that is as close as possible to the color of the area you want to adjust.
Now, while you keep an eye on the Color Sampler pane in the Info Palette, adjust the sliders in the Selective Color dialogue. You'll see the numbers change in the Info Palette. The numbers to the left of the slashes (/) are the "before" readouts, the numbers to the right of the slashes are the "After" readouts.
Play around adjusting these Selective Color sliders until the "After" numbers for the second image Color Sampler match (or get really close to) the C, M, Y and K values you wrote down for the Color Sampler in the first image.
Sometimes you'll need to work the sliders for more than one of the Selective Color drop-down menu colors. I usually start with the drop-down choice of "Neutrals," because it often allows me to do most of the correction there...lots of bang-for-the-buck. Also, you may need to make Selective Color adjustments, hit "OK" and then call the Selective Color dialogue up a secondperhaps even a thirdtime.
Just match the "After" numbers for Image 2 to the Before numbers that you wrote down for Image 1.
There are other methods for doing this, but this is one of the easiest ways.
Keep in mind that the changes you make are destructive (i.e.: not reversible after you save and close the document). Because I trust my abilities, I know what I can get away with, and I'm usually satisfied with the results. If you have any worries about making permanent changes, just duplicate the layer you want to work on so you can go back to the original color if you need to.
When you're finished, you remove the Color Samplers by again selecting the Eyedropper tool and (Shift+Option) [Shift+ALT] clicking (see the scissors cursor?) on the Color Sampler icon (s) in the image window.

interesting,

Software Updates ADR Issue: "Failed to download the update from the internet. Error = 5"

"Failed to download the update from internet. Error = 5"
The above is the error I am getting when running any ADR. The error is quite clear software updates are failing to download and Error = 5 being a permissions error its clear that the downloads are failing due to incorrect permissions applied to the download
path.
Here is the last bit of my ruleengine.log, everything above is the same except for the update trying to be downloaded of course:
Failed to download the update from internet. Error = 5
SMS_RULE_ENGINE 6/26/2014 9:21:59 AM
5148 (0x141C)
Failed to download ContentID 16860969 for UpdateID 16857152. Error code = 5
SMS_RULE_ENGINE 6/26/2014 9:21:59 AM
5148 (0x141C)
Downloading contents (count = 1) for UpdateID 16857255
SMS_RULE_ENGINE 6/26/2014 9:21:59 AM
5148 (0x141C)
List of update content(s) which match the content rule criteria = {16861141}
SMS_RULE_ENGINE 6/26/2014 9:21:59 AM
5148 (0x141C)
Downloading content with ID 16861141 in the package
SMS_RULE_ENGINE 6/26/2014 9:21:59 AM
5148 (0x141C)
Failed to download the update from internet. Error = 5
SMS_RULE_ENGINE 6/26/2014 9:22:00 AM
5148 (0x141C)
Failed to download ContentID 16861141 for UpdateID 16857255. Error code = 5
SMS_RULE_ENGINE 6/26/2014 9:22:00 AM
5148 (0x141C)
Failed to download any update SMS_RULE_ENGINE
6/26/2014 9:22:00 AM 5148 (0x141C)
Failed to download update contents. SMS_RULE_ENGINE
6/26/2014 9:22:00 AM 5148 (0x141C)
No new update was added to the package. Package "SCP0008A" would not be updated.
SMS_RULE_ENGINE 6/26/2014 9:22:00 AM
5148 (0x141C)
Failed to run the DownloadAction for the AutoDeployment.
SMS_RULE_ENGINE 6/26/2014 9:22:00 AM
5148 (0x141C)
STATMSG: ID=8706 SEV=E LEV=M SOURCE="SMS Server" COMP="SMS_RULE_ENGINE" SYS=SCCM-MPS.DSCICORP.COM SITE=SCP PID=2376 TID=5148 GMTDATE=Thu Jun 26 13:22:00.164 2014 ISTR0="SMS Rule Engine" ISTR1="Failed to download one or more
content files" ISTR2="" ISTR3="" ISTR4="" ISTR5="" ISTR6="" ISTR7="" ISTR8="" ISTR9="" NUMATTRS=0
SMS_RULE_ENGINE 6/26/2014 9:22:00 AM
5148 (0x141C)
Enforcing Create Deployment Action SMS_RULE_ENGINE
6/26/2014 9:22:00 AM 5148 (0x141C)
Create Deployment Rule Action XML is: <DeploymentCreationActionXML xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xmlns:xsd="http://www.w3.org/2001/XMLSchema"><CollectionId>SCP00055</CollectionId><IncludeSub>true</IncludeSub><Utc>false</Utc><Duration>0</Duration><DurationUnits>Hours</DurationUnits><AvailableDeltaDuration>0</AvailableDeltaDuration><AvailableDeltaDurationUnits>Hours</AvailableDeltaDurationUnits><SuppressServers>Checked</SuppressServers><SuppressWorkstations>Unchecked</SuppressWorkstations><PersistOnWriteFilterDevices>Unchecked</PersistOnWriteFilterDevices><AllowRestart>true</AllowRestart><DisableMomAlert>false</DisableMomAlert><GenerateMomAlert>false</GenerateMomAlert><UseRemoteDP>true</UseRemoteDP><UseUnprotectedDP>true</UseUnprotectedDP><UseBranchCache>true</UseBranchCache><EnableDeployment>true</EnableDeployment><EnableWakeOnLan>true</EnableWakeOnLan><AllowDownloadOutSW>false</AllowDownloadOutSW><AllowInstallOutSW>true</AllowInstallOutSW><EnableAlert>true</EnableAlert><AlertThresholdPercentage>90</AlertThresholdPercentage><AlertDuration>7</AlertDuration><AlertDurationUnits>Days</AlertDurationUnits><EnableNAPEnforcement>false</EnableNAPEnforcement><UserNotificationOption>DisplaySoftwareCenterOnly</UserNotificationOption><LimitStateMessageVerbosity>false</LimitStateMessageVerbosity><StateMessageVerbosity>10</StateMessageVerbosity><AllowWUMU>true</AllowWUMU><AllowUseMeteredNetwork>true</AllowUseMeteredNetwork></DeploymentCreationActionXML>
SMS_RULE_ENGINE 6/26/2014 9:22:00 AM
5148 (0x141C)
Rule XML is: <AutoDeploymentRule xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xmlns:xsd="http://www.w3.org/2001/XMLSchema"><DeploymentName>Test ADR</DeploymentName><DeploymentDescription>Test ADR</DeploymentDescription><LocaleId>1033</LocaleId><UseSameDeployment>false</UseSameDeployment><EnableAfterCreate>true</EnableAfterCreate><NoEULAUpdates>false</NoEULAUpdates><AlignWithSyncSchedule>false</AlignWithSyncSchedule><ScopeIDs><ScopeID>SMS00UNA</ScopeID></ScopeIDs></AutoDeploymentRule>
SMS_RULE_ENGINE 6/26/2014 9:22:00 AM
5148 (0x141C)
Criteria Filter Result XML is: <AutoDeploymentRule xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xmlns:xsd="http://www.w3.org/2001/XMLSchema"><DeploymentName>Test ADR</DeploymentName><DeploymentDescription>Test
ADR</DeploymentDescription><LocaleId>1033</LocaleId><UseSameDeployment>false</UseSameDeployment><EnableAfterCreate>true</EnableAfterCreate><NoEULAUpdates>false</NoEULAUpdates><AlignWithSyncSchedule>false</AlignWithSyncSchedule><ScopeIDs><ScopeID>SMS00UNA</ScopeID></ScopeIDs></AutoDeploymentRule>
SMS_RULE_ENGINE 6/26/2014 9:22:00 AM
5148 (0x141C)
Parsing Deployment Action XML...
SMS_RULE_ENGINE 6/26/2014 9:22:00 AM
5148 (0x141C)
Parsing Rule XML... SMS_RULE_ENGINE
6/26/2014 9:22:00 AM 5148 (0x141C)
Could not find element DeploymentId SMS_RULE_ENGINE
6/26/2014 9:22:00 AM 5148 (0x141C)
Could not find element UpdateGroupId SMS_RULE_ENGINE
6/26/2014 9:22:00 AM 5148 (0x141C)
Could not find element UpdateGroupName SMS_RULE_ENGINE
6/26/2014 9:22:00 AM 5148 (0x141C)
SQL is: select cis.CI_ID from vCI_ConfigurationItems cis join vProvisionedCIs pci on cis.CI_ID = pci.CI_ID where cis.CI_ID in (16793068, 16793070, 16793441, 16793445, 16793531, 16793686, 16793688, 16794597, 16794600, 16794602, 16794604, 16795443,
16795445, 16795709, 16795711, 16796210, 16796222, 16796292, 16796298, 16799495, 16799503, 16799602, 16799700, 16799703, 16799705, 16799712, 16799718, 16800300, 16800302, 16800367, 16800369, 16800371, 16800375, 16801224, 16801227, 16801237, 16801239, 16801287,
16801289, 16801559, 16801566, 16801996, 16802034, 16802839, 16802841, 16803306, 16803310, 16803420, 16803422, 16806477, 16806479, 16809354, 16809360, 16809393, 16809397, 16809774, 16809786, 16809792, 16813338, 16813348, 16813636, 16813638, 16814948, 16814950,
16815151, 16815153, 16817088, 16817102, 16817108, 16817398, 16817400, 16818677, 16818691, 16825397, 16840448, 16840458, 16840460, 16840462, 16840690, 16840700, 16840702, 16840710, 16840824, 16840826, 16842640, 16842641, 16842802, 16842803, 16842841, 16842870,
16842871, 16842896, 16842917, 16843017, 16843042, 16843049, 16843051, 16845981, 16846404, 16846751, 16846757, 16848017, 16848021, 16848664, 16848687, 16849383, 16849385, 16852506, 16852514, 16852516, 16855484, 16857102, 16857151, 16857152, 16857255) order
by cis.CI_ID SMS_RULE_ENGINE
6/26/2014 9:22:00 AM 5148 (0x141C)
0 of 115 updates are downloaded and will be added to the Deployment.
SMS_RULE_ENGINE 6/26/2014 9:22:00 AM
5148 (0x141C)
The rule resulted in no updates being found. Skip deployment creation or update...
SMS_RULE_ENGINE 6/26/2014 9:22:00 AM
5148 (0x141C)
CRuleHandler: Enforcing Actions for Rule 16777228 failed!
SMS_RULE_ENGINE 6/26/2014 9:22:00 AM
5148 (0x141C)
CRuleHandler: ResetRulesAndCleanUp() SMS_RULE_ENGINE
6/26/2014 9:22:00 AM 5148 (0x141C)
Updated Failure Information for Rule: 16777228
SMS_RULE_ENGINE 6/26/2014 9:22:00 AM
5148 (0x141C)
CRuleHandler: Deleting Rule 16777228 SMS_RULE_ENGINE
6/26/2014 9:22:00 AM 5148 (0x141C)
Found notification file C:\Program Files\Microsoft Configuration Manager\inboxes\RuleEngine.box\16777228.RUL
SMS_RULE_ENGINE 6/26/2014 9:22:10 AM
5148 (0x141C)
RuleSchedulerThred: Change in Rules Object Signalled.
SMS_RULE_ENGINE 6/26/2014 9:22:10 AM
5228 (0x146C)
Refreshed ScheduleList instance for Rule (16777228) from schedule string () with next occurence (12/31/1969 7:00:00 PM)
SMS_RULE_ENGINE 6/26/2014 9:22:10 AM
5228 (0x146C)
FindNextEventTime found next event for RuleID 0 as :1/1/2038 12:00:00 AM
SMS_RULE_ENGINE 6/26/2014 9:22:10 AM
5228 (0x146C)
RuleEngine: Got next rule execution time successfully. Next event is in 12369097 minutes
SMS_RULE_ENGINE 6/26/2014 9:22:10 AM
5228 (0x146C)
Sleeping for 15 minutes SMS_RULE_ENGINE
6/26/2014 9:22:10 AM 5228 (0x146C)
Also, I do not have a patchdownloader.log anywhere, Ive checked all aforementioned locations from various sources and it just simply does not exist on my SCCM server. Here is my setup:
Server1: Primary server with all roles installed locally except the site database is on its own server. WSUS is installed locally here and DB is stored here.
Server2: SQL DB for Primary site DB
Server3: Secondary remote site running MP, DP, SUP. DB is SQL Express local.
So the SUP role was installed successfully on both server1 first and server 2 second with the site servers accounts. The SUP Synchronizes successfully and I can see a large list of updates available for use but not downloaded of course. I have set WSUS option
to store updates locally and have plenty of space at the target destination.
So here is my issue, I have been working on this issue for the better part of a week and understand the error code from the ruleengine.log to be a permissions issue. I have also proved this out but creating a test ADR with minimal updates and applied NTFS perms
to the target path for Modify with the everyone group (testing purposes only). The updates downloaded successfully. So this puts me right back to where I was, knowing its a permissions issue but not understanding what permissions are needed. Let me explain
further.
The best way to start is to show what perms I have to the target location for downloads/wsus/sup anything:
Path: \\Server1\UpdatesAndDefinitions (permissions being applied to the UpdatesAndDefinitions root folder)
SCCMAdmin (account used for most SCCM tasks except for NA) / Modify / Share and NTFS
Server1$ (primary site server) / Modify / NTFS
Everyone / read and execute / NTFS and Share
There are other system generated perms but the above three are the important ones. So hence my confusion I know that the SCCMAdmin account or the Server its self has to be accessing the target directory so why is it failing with a permissions issue?
My next step was to enable Auditing on the target path. Doing so revealed just what I thought and through me into further frustration:
A network share object was accessed.
Subject:
Security ID:
SYSTEM
Account Name:
SCCM-MPS$
Account Domain:
DSCI
Logon ID:
0x3e7
Network Information:
Source Address:
fe80::306a:8827:8672:3ba5
Source Port:
50329
Share Name: \\*\UpdatesAndDefinitions
A handle to an object was requested.
Subject:
Security ID:
DSCI\sccmadmin
Account Name:
sccmadmin
Account Domain:
DSCI
Logon ID:
0xad903c
Object:
Object Server:
Security
Object Type:
File
Object Name:
F:\UpdatesAndDefinitions
Handle ID:
0xf5c
Process Information:
Process ID:
0x10cc
Process Name:
C:\Windows\explorer.exe
Access Request Information:
Transaction ID:
{00000000-0000-0000-0000-000000000000}
Accesses:
READ_CONTROL
ReadAttributes
Access Mask:
0x20080
Privileges Used for Access Check:
Restricted SID Count:
0
Now I may not be the best I traversing through the mess of audit entry's and translating them, but from what I can see the two accounts that have the proper share and ntsf perms ive listed above are indeed the ones accessing the target location and the audit
code is success. I filter for failures and found no audits for failures whatsoever yet my downloads still fail religiously, unless of course I open myself up with the everyone group.
So next... I tried adding in the Network Service account with proper permissions, the Local Service Account, my user account, and all no go's.
Next... I remove the SUP roles from SCCM checked the logs for deinstall confirmations, and reinstalled these roles. No Go!
If anyone can assist I would be in your debt and very grateful.
Oh last note, but very important note I'm running SCCM 2012 SP1 CU4
Thanks,
Michael
MichaelSpaulding

I just tested with the everyone group further; I added everyone with modify for ntfs and just read only for share and downloads failed!
I then changed the share perms for everyone to change and the ntfs to read/execute and poof downloads complete! Obviously change share perms for everyone leaves me open which Id like to prevent, so finding what account is being used is crucial.
I have already tried adding all of the SCCM accounts I use and the servers themselves as change perms to share and ntfs and have not had any luck.
MichaelSpaulding

How do I match a clip to sequence settings and sequence presets?

I'm getting the warning: Attention - This clip does not match this sequence's settings or any or our sequence presets.
I'm trying to figure out how to set things up in Compressor so that my clips do match my sequence settings and presets. The issue seems to be with the audio not matching.
Here are the sequence settings:
Audio-2 Outputs
Frame Size- 1920x1080
Vid Rate-24fps
Compressor-Apple ProRes 422 (proxy)
Aud Rate 48.0 KHz
Aud Format 32-bit floating Point
I shot all the footage with a Canon 5D Mark II. I'm using Compressor to convert all my original clips. The only thing I don't seem to be able to match is the Audio. I can't find any way in Compressor to encode clips that have "two outputs" in the Audio column.
The dialogue box for "Sound Settings" in Compressor doesn't offer any sort of options, that I can find anyway, to generate clips with "two outputs."

These are the Compressor settings:
Description: Apple ProRes 422 10-bit video with audio pass-through. Settings based off the source resolution and frame-rate.
File Extension: mov
Estimated size: 16.36 GB/hour of source
Audio Encoder
Apple Lossless, Stereo (L R), 48.000 kHz
Video Encoder
Format: QT
Width: (100% of source)
Height: (100% of source)
Selected: 1920 x 1080
Pixel aspect ratio: Square
Crop: None
Padding: None
Frame rate: (100% of source)
Selected: 24
Frame Controls: Automatically selected: Off
Codec Type: Apple ProRes 422 (Proxy)
Multi-pass: Off, frame reorder: Off
Automatic gamma correction
Progressive
Pixel depth: 24
Spatial quality: 50
Min. Spatial quality: 0
Temporal quality: 0
Min. temporal quality: 0
These are the sequence settings:
Frame Size: 1920 x 1080
Editing Timebase: 24fps
Field Dominance: None
Pixel Aspect Ration: Square
Anamorphic 16:9: Off
Video Processing YUV allowed (8-bit)
Compressor: Apple ProRes 422 (Proxy)
Millions of Colors (24 bit)
No Data Rate Limit
No Keyframes Set
Quality: 100
Audio Settings:
16-bit 48.000 kHz Stereo
I made screen shots, but don't see how to paste them into this post.

How to Delete imported JPEGS after matching RAW files are imported as masters

Using a 5D Mark III and shoot JPEG (SD) and RAW (CF).
Aperture 3.5.1, using a managed library
Perviously, using a 7D so new to shooting JPEG and RAWs from an aperture Aperture workflow standpoint.
I know that i can import the JPEGs > delete images that do not make the cut > then import the matching RAW files in the import dialogue that correspond to the JPEGs in the Aperture Library.
I use the RAW files as my Camera Master images and once the RAW files are imported, the smaller resolution JPEGs are no longer needed or viewed in my normal edit workflow. I only need the JPEGs to quickly go through the images to find out which RAW files i need to import at a later time to increase the speed of import > edit > deliver.
My Assumptions:
1. Logic would lead me to believe that after import the user should see a stack like image representation with whatever file type is considered Master to be on top and the viewable secondary file type on the bottom. clicking on the image stack should allow you to see both file types as you would normally see with image stacks with the same files types. This is not the case... What am i missing here?
2. Logic again would lead me to believe that when i have the ability to delete one of the 2 image types as i do not need both in the end. After the import process is complete and RAWs are backed up, I want to delete the JPEG files as they are just taking up more space on my DAS drive array... There is no need to keep a duplicate of every file in both JPEG and RAW format. This is not the case as when i delete the JPEG or RAW, both files formats are deleted simultaneously. What am i missing here?
Problems: (correspond to Assumptions above)
1. I do not seem to have access to both images (JPEG & RAW) in a stack where i can expand and close the stack to see both? It seems like i only have access to the image type i have selected as Master? This seems counter intuitive to what the workflow should be as why would aperture 'lock the secondary file types away' so you can't easily view both file types as the same time for comparison?
2a. Reality seems to be that i do not have access to the JPEG and RAW image files. I can only see one at a time by selecting the images and choosing 'make JPEG master’ and then respectively... 'make RAW master', but you can't see both at the same time for file comparison.
2b. Also, I can't find a way to delete the JPEG images after the RAW files have been imported. I would presume most professional photographers shoot RAW and do not shoot JPEG as their camera master or editing master images. I do not understand why aperture has captured both as a pair in the library that does not allow me to delete the JPEG (in this case) as i have selected the RAW as my master.
If someone can please help... The function seems like either i am missing something obvious or that the implemented function of using RAW + JPEGs files for import is broken from a real world workflow standpoint.

leonie...
thank you for clearing that up for me.
I think that at this point it is silly to use the JPEG+RAW import functionality as it seems that it takes longer to do the above steps than to just import only the RAW files and press on from there.
I seems what i have done in the past of only importing the RAW files and then using the quick preview functionality to reduce image load times is the best thing in can come up with without keeping 'duplicates' in the database.
That really baffels me that there is no built in functionality to remove the JPEG from a RAW+JPEG pair and i wonder how the real world photographers who help Apple test and implement software to solve real world workflow problems thought the JPEG+RAW import was going to be used.
I do understand that i can use a smaller JPEG file size to reduce the bloat of the database, but used over hundreds of thousands of images is certainly going to make a dent in my total aperture database size and therefore storage needs down the road.
If you have any other workflow thoughts, or know of a 3rd party plugin/ etc... to fix this obvious shortcoming then i am all ears..
thank you again Leonie and have a great week

ADR to match outdoor dialogue

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