Blurring in Color

I did do some checking and a few other folks were having the same issue....blurring of DV footage when Round Tripping between FCP6 and Color. This is happening to me also. I can "kick" a SD video clip (DV-NTSC) to Color, make some color adjustments trip back and I noticed the clip was a little blurry. Any idea what may be causing this?? Since I am new to Color, am I missing a setting someplace that is causing the clip to blur for some reason??
Thanks!! Other than the blurring issue, Color seem to be a great addition but if all my clips blur....Not much use then.
Sky.....

I do all my color correction in the Color FX room. The first two rooms seem to me to be more for... conventional and literal color "correction"
I'm giving my film soft looks and putting color in places it never was, and all sorts of unconventional stuff. Plus I need to add the exact same correction over every shot in the same location, so making the Color FX template is great for me.
Unless- I'm mistaken? does the primary and secondary room have more to offer than the Color FX room? I'm a Shake guy so I immediately jumped on the node system, all I see when I look at the primary and secondary rooms are FCP's three-way color corrector.

Similar Messages

Turning off "Chroma Blur" introducing color artifacts? (Aperture 1.5)

I seeing what appears to be color artifacts being introduced when turning OFF chroma blur. I have two images posted here that you can use to see what I'm talking about. They're both crops of the same image with and without chroma blur (looks specifically in the text written on the side of the plane - you might have to zoom in to see the "magenta" colors bleeding between the letters on the version without chroma blur). If I view the original raw file in "Preview" the image is clean and looks like the one with Chroma Blur turned on. Is this a known issue?
Images: http://johnterrell.smugmug.com/gallery/1968434/1/100160466
(The keywords below the image will tell you the one with and without chroma blur)
Thoughts?

I seeing what appears to be color artifacts being
introduced when turning OFF chroma blur. > blur).... If I view the original > raw file in "Preview"
the image is clean and looks like the one with Chroma
Blur turned on. Is this a known issue?
Certain features you are only going to see when the image is viewed within Aperture at 100%. This is similar to ACR, DPP and Lightroom.
You need to view the image at 100% to see the effect of noise reduction. So, it's not an issue, it's just the way the program works.
Chroma Blur eliminates or lessens chroma noise so it makes sense that turning it off would lead to noise and artifacts in images.

Photoshop 6 blurred mis colored images

I have Windows 7 and photo shop 6, when I try loading pictures on to Ebay they look miscolored like there from the black lights of the 70s. Tried IE and Mozilla clearing Cashe and cookies and most of time they look ok until I upload them into an ad

What color space do you edit in and did you use save for web and use its convert to sRGB option. Some web browsers are not color managed image you put on the web should have sRGB colors... However if the images are blurred somewhere you image are being modified.

Fonts look blurred in COLOR

Why do the fonts in COLOR look so bad? I can hardly read them! All other apps are ok. The fonts look blurred. Anyone got this?

If you're anything like me, you're using Color on a monitor smaller than what Apple recommends. In Color 1.0, the scale of the user interface was not flexible. On my 15" MBP, the interface was flying off the side of the screen, and I couldn't see all of the buttons. In Color 1.0.1, it scales the user interface if your monitor is too small. On my screen, this results in somewhat blurry text across the interface, but at least I can see all of it.

I go on-line and the typing is blurring (different colors) had this before.

Had this problem before, and was instructed to delete a certain update, and it worked, but now it's starting to come back, not as bad, but will it get worse? the letters are different colors, and blurry.

Earlier this year there was a problem update that affected fonts in Vista but not Windows 7.
There was a Windows update a couple years ago that caused font display problems in Firefox on Windows 7 ([http://www.infoworld.com/article/2614344/microsoft-windows/windows-7-patch-kb-2670838-fries-firefox-fonts.html Windows 7 patch KB 2670838 fries Firefox fonts | InfoWorld]). Does that sound like what you might have uninstalled before? I'm not sure whether that is still a problem or whether Mozilla updated Firefox to work around it.

How to avoid darker color behind a gaussian blur effect?

I have used the effect gaussian blur with black text on top to make a logo.
My problem occures when I try to place the file on a coloured background e.g. a photo and print it. A darker colored area appears behind the gaussian blur. The logo is to be used by others and hence I would like to keep it a vector/illustrator file (not a pixelated photoshop file).
- I have saved it as an ai
- I have all the artwork in one layer
- I have tried object > flatten transparency (but then the area turns white)
- I have tried effect > Document raster effects settings (resolution 1200 dpi / add 35,28 mm around object)

- I use Illustrator CC v. 17.1.0. 64-bit
- the file is cmyk and I only use process colors
- the line is 8 pt and effect is applied with 8 px blur
- everything else in the document is outlines and some text and lines are crossing the blurred object
- color settings: European coated offset ECI
I hope I haven't missed anything. The logo is not launched, but I have enclosed I photo file that is similar and where the same problem occur. The file is placed in InDesign on a blue square and printed from InDesign to a OKIC8660 laser printer.
The light blue to the left is the correct color. The darker blue is not supposed to happen. The yellow is where the gaussian blur is applied.

ITunes 9 grid view background color?

It seems iTunes 9 has changed the background color of grid view from black to white. How can I change it back? I can't find anything in preferences or the iTunes help manual. Thank you for the help

Andreas Bauer wrote:
*Thank you Apple* for bringing the *Dark Grid View Background* back!
I'm all for change if it improves things. But I'm not sure the latest iTunes look change is all for the better.
The dark Grid View background was just one thing.
The new iTunes store look doesn't do it for me either. It's just a sea of icons on white background. Everything drowns in a blur of color specks...
tell Apple via iTunes feedback

Color 1.0.4 FCP= Corrupt timeline??

Ever since the Color 1.0.4 / 2008-005 update, I'm finding that every time I export my sequence back to Final Cut Pro from Color, The video clips are completely distorted beyond all recognition in the newly created color timeline. All that you can see is a blur or color stripes that once made up the video image. This was happening to every single clip on the timeline.
The wireframe borders seem to go on forever in the north & south direction. I attempted to try to grab the frames to resize them back to normal. But after a few minutes of dragging on my first clip, I never made it to the top of the image....
The workaround I figured out is that I have to reveal all the color-rendered files from finder, import into my FCP file browser, and then from there drag them into the timeline again. They now will appear fine. I tried this when looking at the source clips in QuickTIme displayed properly. So i think the problem lies within the XML tradeoff??
Needless to say this really stinks. I tried to download the previous Pro Apps update to revert back to 2008-004. But that direct link off apple's downloads page for FCP shoots you right to the newest update with no archive to be found. The "old" 004 update is nowhere else on the www either.
It would be nice if we could get to archive versions of these updates. Since I haven't seen any other posts on the subject, it leads me to doubt that the update is the cause. But its the last thing I did before working on this project. So It would be great to be able to test it out.
It was time to clock out before I could do any more hunting around.
Just thought I'd throw this out there to see if I'm not the only one. And maybe there's a fix i just couldn't find in the forums.... I did look. Thanks!
10.5.6 FCS2
Mac Pro First Gen 8-Core 3.0GHZ
16GB RAM
ATI Radeon X1900 (Actually the profiler states it as "ATY" lol. )

ScarCrow28 wrote:
Looks as though there is something strange going on with that specific project. haven't quite > figured it out yet. But I think I can rule out the update as the cause.
This is about the smartest thing that has been said here in a while. It's all too common for an user to blame the hardware, blame the software, blame the manufacturer.
I just had a project in DVD SP go belly up the other day. I simply can't figure it out either as the media is still fine. The closest thing I can figure out is it had a problem with an asset file name and what's weirder is that that file name had been totally cool with DVD SP for over 2 weeks. No updates were done on my computer, zilcho, no nothing. But what was also strange is that in those two weeks of no updates or installations, Font Book had found a duplicate font.
Here's another tool for your troubleshooting tool kit, boys and girls; duplicate fonts can bring your machine to a grinding halt. Font Book does a great job of finding this naughty items and punishing them. Open up Font Book, peruse the user guide with a cuppa joe.
At any rate, I'm amazed all the computer mojo works as well as it does. I had a timeline navigation bug in Color 1.0.2 that I couldn't fix for anything. Nothing was said about it on any other board although Mr. Owens could duplicate the same problems. Color 1.0.3 fixed those right up for me and it's been the most stable version of Color that I've experienced.
Sometimes a project goes corrupt for who knows why.

Gaussian blur and Colour Adjust Hue/Saturation cause freeze-up

After using PS Elements 9 for a year, it has started to give me problems, and I can't find a fix for it online. Choosing Gaussian Blur, or Color - Adjust Hue/Saturation causes PSE 9 to freeze up and stop responding. This just started today, and I'm baffled. Some of the other filters have stopped working, but they don't cause a freeze-up. I've done a disk clean and defrag, but I haven't done anything different to my computer in a long time. I can try to uninstall/reinstall, but I'd rather not if there's a simpler solution. I'm on a Toshiba Satelite Notebook, i5 processor, 64-Bit OS Windows Home Premium. I'd appreciate any insight into this issue.

The editor saved prefs often get corrupted. You may need to rebuild the editor preferences to resolve any conflicts.
Hold down the Ctrl+Shift+Alt keys and simultaneously click on the Edit button on the welcome screen. Release the three keys and look behind the welcome screen by closing it. Or hold down the keys whilst double clicking on PhotoshopElementsEditor.exe (in Program Files x86\Adobe)
You should see a pop up box with the words: Delete Adobe Photoshop Elements Settings File?
Click on Yes
Then wait whilst Elements rebuilds the preferences.

AE CS4 on OSX 10.5 Very Slow, Makes System Unresponsive

This is very frustrating, our company has been fighting this problem since we upgraded. I work for a major broadcaster which uses AE for all our motion graphics work. Since upgrading to CS4 we've experienced a team wide decrease in productivity. AE CS4 renders slower than CS3 and in some cases will completely lock up the computer when rendering, making it impossible to do any sort of simple multitasking. Even switching to the Finder and moving around windows is very slow. Let alone try to use Safari or type into a TextEdit document. We've tried everything, but details first.
We're running on last-gen 8-core 3.2GHz Mac Pro's. Each has 10GB of ram and 1TB of HD space (mostly empty). NVidia GeForce 8800 GT video card. Runing AE 9.0.2.42)
We realize that 10GB is not enough ram to use all 8 processors at full speed. So AE is set to use multiprocessing with a max of 3 cores with 2GB minimum with 2 GB in reserve for other applications. All the work we do is with HD footage. All footage is delivered in Apple Prores. Any comp of medium or greater complexity will completely slow down the system. When comparing CS3 rendering time to CS4, CS4 seems about 30-40% slower. When rendering CS4 will also completely lock up the system, switching windows is a complete pain. We've tried turing on and off OpenGL in AE, but no change. We're tried every combination of settings we can think of. Rendering without multiprocessing is even slower and still locks up the system. Also in Activity Monitor is will often show only limited CPU useage (see attached screen). You can see I'm running multiple aeselflink instances, but each one is no where near 100 and the system is still unresponsive!
Outside of rendering CS4 also is much more unresponsive when just working (not rendering). Moving clips around in the composition window and navigating the timeline are sometimes a chore, with lots of 1-2 second delays before taking the action. Or slow screen updates.
Any ideas what is happening here? If is something with the change from 32-bit to 64-bit. Will more ram fix it or is there something else going on? This is becoming a very frustrating situations where we have to completely restart the computer and make sure no other apps are running before even trying to render our anything. CS3 did not seem to have these problems, even with multiprocessing turned on at it's default settings. We like many of the new features in CS4 and are practically required to use it because we get a lot of projects from vendors, but it's proving very slow to work in.

I don't know how complex your comps are, but our are usually pretty complex. Simple comps with just text and 1-2 layers of video usually go pretty quick, but as soon as you ramp up complexity it slows way down. I somehow don't think that our graphics card is the problem. Most of the plugins we use do not see any benefit from OpenGL and we don't use that many 3D layers. In general we haven't seen a big boost in AE performance with OpenGL on or off. All our footage sits on a super fast Terrablock system with at least 300-400mb/s sequential read speeds. Then again it could be that AE just runs poorly on Macs.
Adolfo - we have done some quite extensive benchmarks with all our machines here. Configuring both 10GB and 16GB versions (we have not tried higher memory yet). We tested the same comp in both CS3 and CS$ with various multiprocessor settings. Our test file's complexity was indicative of the kind of projects we do. Around 30 layers, a mix of TGA sequences with alpha, QuickTimes with alpha (animation) and ProRes footage. Many layers with ReelSmart Motion Blur. A Knoll Light Factory lens flare. A mix of layers with various blurs and color correction and some transfer modes.
As you can see CS3 was much, much quicker at rendering the project. In some cases almost twice as fast as CS4. Also, strangely CS3 ran better limited to 4 processors in both the 10GB and 16GB configurations.
Benchmark Test File
CS3 Benchmarks
[note - CS3 has no options in the app for adjusting multi-processor settings. All edits had to be made in the pref file.]
10GB System -----------------
AE CS3
10GB
4 Processors
12m 43s
[note - This was the most optimized setting for CS3 which gave the best performance for us.]
AE CS3
10BG
8 Processors
24m 8s
[note - Default setting in AE CS3 for multiprocessor. System is completely unusable during render.]
16GB System -----------------
AE CS3
16GB
4 Processors
11m 54s
[note - This was the optimized setting for CS3 which gave the best performance. Each instance of the program was using 150-180 CPU in the activity monitor so it must be using more that 4 processors with this setting. Each processor used more memory than in the 10GB config.]
AE CS3
16GB
7 Processors
16m 15s
AE CS3
16BG
8 Processors
20m 13s
[note - Default setting in AE CS3 for multiprocessor. System is completely unusable during render.]
CS4 Benchmarks
In general CS4 is about half the speed of an optimized CS3. Going from 10GB to 16GB of memory gained us about 33% performance increase in the most optimized setting (4-6 processors at 2GB+ per processor).
10GB System -----------------
AE CS4
10GB total RAM
8GB reserved for AE (2GB reserved for OS)
3 Processors (2GB per processor)
24m 7s
[note - Computer response pretty slow]
AE CS4
10GB total RAM
8GB reserved for AE (2GB reserved for OS)
7 Processors (.9GB per processor)
28m 10s
[note - Computer completely unusable while rendering]
16GB System -----------------
AE CS4
16GB total RAM
8GB reserved for AE (8GB reserved for OS)
3 Processors (2GB per processor)
22m 57s
AE CS4
16GB total RAM
13GB reserved for AE (3GB reserved for OS)
4 Processors (2.33+ GB per processor)
18m 7s
AE CS4
16GB total RAM
13GB reserved for AE (3GB reserved for OS)
6 Processors (2.09 GB/Processor)
19m 1s
AE CS4
16GB total RAM
14GB reserved for AE (2GB reserved for OS)
7 Processors (1.85GB/Processor)
23m 4s
[note - This config made system very slow, left very little memory for the system.]
AE CS4
16GB total RAM
13GB reserved for AE (3GB reserved for OS)
7 Processors (1.59GB/Processor)
25m 50s

Looking for a reference manual that actually describes in detail all attributes for a command

I am using CS5. I am teaching myself Photoshop using their book, "Classroom in a book".
Thought the lessons, they will suggest specific setting for command attributes without describing exacting what these values mean.. For example, on page 88 they give the student specific settings for the Refine Edge dialog bog under the Quick Selection tool. They say, "To prepare the edge for a drop shadow, set Smooth to 24, Feather to 0.5, Contrast to 12, and Shift Edge to -21". Note: I am calling things like Smooth, Feather, Contrast, etc command attributes.
My question is not about this specific example, but all these attribute values for all the commands. For example, what does Shift Edge really do when negative or positive. My question is: does a reference, either a book, pdf, or a non-Adobe product (probably a book) exist that actually explains when each attribute actually does for every command? Basically looking for a boring detailed reference guide so when I am using a specific command, I can read about the attributes for the specific command and understand what the values really mean and not guess my trial and error.
Thanks in Advance,
LouF

Lou Fuchs wrote:
For example, I just happen to have my book open to page 113 and it is showing me (at the bottom of the page) the dialog box for Layer Style. I was hoping for a reference manual that explains every option in the that dialog box in detail and tells you what each option means and how it effects the image.
I hope this clarifies what I am looking for.
Here's a little snippet from the info about Layer Styles in the Adobe manual.
Layer style options
To the top
Altitude For the Bevel and Emboss effect, sets the height of the light source. A setting of 0 is equivalent to ground level, 90 is directly above the layer. Angle Determines the lighting angle at which the effect is applied to the layer. You can drag in the document window to adjust the angle of a Drop Shadow, Inner Shadow, or Satin effect.
Anti-alias Blends the edge pixels of a contour or gloss contour. This option is most useful on small shadows with complicated contours. Blend Mode Determines how the layer style blends with the underlying layers, which may or may not include the active layer. For example, an inner shadow blends with the active layer because the effect is drawn on top of that layer, but a drop shadow blends only with the layers beneath the active layer. In most cases, the default mode for each effect produces the best results. See Blending modes. Choke Shrinks the boundaries of the matte of an Inner Shadow or Inner Glow prior to blurring. Color Specifies the color of a shadow, glow, or highlight. You can click the color box and choose a color. Contour With solid-color glows, Contour allows you to create rings of transparency. With gradient-filled glows, Contour allows you to create variations in the repetition of the gradient color and opacity. In beveling and embossing, Contour allows you to sculpt the ridges, valleys, and bumps that are shaded in the embossing process. With shadows, Contour allows you to specify the fade. For more information, see Modify layer effects with contours. Distance Specifies the offset distance for a shadow or satin effect. You can drag in the document window to adjust the offset distance. Depth Specifies the depth of a bevel. It also specifies the depth of a pattern. Use Global Light This setting allows you to set one “master” lighting angle that is then available in all the layer effects that use shading: Drop Shadow, Inner Shadow, and Bevel and Emboss. In any of these effects, if Use Global Light is selected and you set a lighting angle, that angle becomes the global lighting angle. Any other effect that has Use Global Light selected automatically inherits the same angle setting. If Use Global Light is deselected, the lighting angle you set is “local” and applies only to that effect. You can also set the global lighting angle by choosing Layer Style > Global Light. Gloss Contour Creates a glossy, metallic appearance. Gloss Contour is applied after shading a bevel or emboss. Gradient Specifies the gradient of a layer effect. Click the gradient to display the Gradient Editor, or click the inverted arrow and choose a gradient from the pop-up panel. You can edit a gradient or create a new gradient using the Gradient Editor. You can edit the color or opacity in the Gradient Overlay panel the same way you edit them in the Gradient Editor. For some effects, you can specify additional gradient options. Reverse flips the orientation of the gradient, Align With Layer uses the bounding box of the layer to calculate the gradient fill, and Scale scales the application of the gradient. You can also move the center of the gradient by clicking and dragging in the image window. Style specifies the shape of the gradient. Highlight or Shadow Mode Specifies the blending mode of a bevel or emboss highlight or shadow. Jitter Varies the application of a gradient’s color and opacity. Layer Knocks Out Drop Shadow Controls the drop shadow’s visibility in a semitransparent layer. Noise Specifies the number of random elements in the opacity of a glow or shadow. Enter a value or drag the slider. Opacity Sets the opacity of the layer effect. Enter a value or drag the slider. Pattern Specifies the pattern of a layer effect. Click the pop-up panel and choose a pattern. Click the New Preset button to create a new preset pattern based on the current settings. Click Snap To Origin to make the origin of the pattern the same as the origin of the document (when Link With Layer is selected), or to place the origin at the upper-left corner of the layer (if Link With Layer is deselected). Select Link With Layer if you want the pattern to move along with the layer as the layer moves. Drag the Scale slider or enter a value to specify the size of the pattern. Drag a pattern to position it in the layer; reset the position by using the Snap To Origin button. The Pattern option is not available if no patterns are loaded. Position Specifies the position of a stroke effect as Outside, Inside, or Center. Range Controls which portion or range of the glow is targeted for the contour. Size Specifies the radius and size of blur or the size of the shadow. Soften Blurs the results of shading to reduce unwanted artifacts. Source Specifies the source for an inner glow. Choose Center to apply a glow that emanates from the center of the layer’s content, or Edge toapply a glow that emanates from the inside edges of the layer’s content. Spread Expands the boundaries of the matte prior to blurring.
Style Specifies the style of a bevel: Inner Bevel creates a bevel on the inside edges of the layer contents; Outer Bevel creates a bevel on the outside edges of the layer contents; Emboss simulates the effect of embossing the layer contents against the underlying layers; Pillow Emboss simulates the effect of stamping the edges of the layer contents into the underlying layers; and Stroke Emboss confines embossing to the boundaries of a stroke effect applied to the layer. (The Stroke Emboss effect is not visible if no stroke is applied to the layer.)
Technique Smooth, Chisel Hard, and Chisel Soft are available for bevel and emboss effects; Softer and Precise apply to Inner Glow and Outer Glow effects.
Smooth Blurs the edges of a matte slightly and is useful for all types of mattes, whether their edges are soft or hard. It does not preserve detailed features at larger sizes. Chisel Hard Uses a distance measurement technique and is primarily useful on hard-edged mattes from anti-aliased shapes such as type. It preserves detailed features better than the Smooth technique.
Chisel Soft Uses a modified distance measurement technique and, although not as accurate as Chisel Hard, is more useful on a larger range of mattes. It preserves features better than the Smooth technique. Softer Applies a blur and is useful on all types of mattes, whether their edges are soft or hard. At larger sizes, Softer does not preserve detailed features.
Precise Uses a distance measurement technique to create a glow and is primarily useful on hard-edged mattes from anti-aliased shapes
such as type. It preserves features better than the Softer technique. Texture Applies a texture. Use Scale to scale the size of the texture. Select Link With Layer if you want the texture to move along with the layer as the layer moves. Invert inverts the texture. Depth varies the degree and direction (up/down) to which the texturing is applied. Snap To Origin makes the origin of the pattern the same as the origin of the document (if Link With Layer is deselected) or places the origin in the upper-left corner of the layer (if Link With Layer is selected). Drag the texture to position it in the layer.

Problems with Samsung Monitor/Tv

I've just bought Samsung Tv/Monitor SyncMaster T24B530, but when I connect it to muy MacBook Pro it doesn't look nice. It looks Blurred and color isn't right at all. Does anyone knows how to set it up or calibrate so as to fix this?

First go to system preferences>displays, display tab and try different resolutions to see what looks best 1024X768 (probably 1280X800) and up. then go to color, unclick show profiles for this display (that is the built in display on your mac) you want to adjust the settings on your tv. Open color profile click in the display profile, select Color LCD for start click calibrate, then try other profile settings following the same procedure, as this seems to be a European model and I was not able to find any info in english. Please be sure to read your TV manual carefully. So I gave you some starting points. Hope this helps.

Server side script not running on stand-alone XE

Hello,
In my application I created a Server side script (AJAX) which presents a select-list based on other fields on the page. The very same application runs on a 10g+APEX3.0.1 database AND on a standard XE+APEX2.1 database, which are both accessed via a HTTP-server. The application with the script runs fine on this platform (XP).
I have two other XP-machines on which I also installed XE+APEX2.1. Both are stand-alone versions NOT accessed via a HTTP-server. I installed exactly the same application which runs on the platform with HTTP server on both of the machines. While testing the correct functioning, I noticed that everything works ok, EXCEPT the server side script which gives me a better select list. Instead of this I get the old-fashioned version of the select-list which is not able to use the value elsewhere on the page.
I found a similar problem on the XE forum (Re: Server side scripts features ) but it doesn't answer my question how to get the script working on a standalone version of XE (= without access via a HTTP-server).
Can anybody please help me?
Thanks & regards,
Jan.
Message was edited by: Jan
J. Hulsing

Carl,
Thanks for your suggestion to install FireFox and the Firebug tool (which I wasn't aware of).
After having looked at the problem for hours, I found what I think is the problem: the htmldb_html_elements.js script.
As already mentioned, the properly functioning XE on my local PC is accessed via a HTTP-server, as well as the 10gR2+APEX3.0.1 version also running on that PC.
On the laptop, not running HTTP-server, I get the message: 
$x is not defined 
 f_21_select_kpn(input#P21_GBREKNR 405, "P21_KOSTENPOST") 
onblur(blur )
 
That is in the 'Console' of Firebug.
When changing to Script I do see a remarkable difference.
On the PC there the following text is found in the first lines of htmldb_html_elements.js:
/*htmld_elements will contain the lower level html access js*/ 
var gDebug = true; 
var gkeyPressTime; 
var gLastTab=false; 
var gRegex=false; 
var ie=(document.all)?true:false; 
if(ie){document.expando=true;} 
var gDebugWindow = false; 
/* 
$x functions have to do with either single elements or array of elements 
$v functions have to have to do with manipulating values or interaction based off a value 
$xml function have to do with manipulating xml values 
$a functions are based on ajax 
$d functions are specific dhtml constructs 
*/ 
/* begin $x functions */ 
function $x(pNd){ 
try{ 
var node; 
... 
On the laptop however the first few lines are: 
/*htmld_elements will contain the lower level html access js*/ 
 
var gDebug = true; 
var gkeyPressTime; 
var gLastTab=false; 
var gRegex=false; 
if(document.all){document.expando = true;} 
// Elements // 
 
function html_GetElement(pNd){ 
try{ 
var node; 
switch(typeof (pNd)){ 
... 
I think that the difference is in these two scripts.
But why are the scripts different: it is the same XE that is installed on the laptop and the PC. The answer I found in the images/javascript directory of APEX3.0.1 which is located in the APACHE directory-tree (you have to copy the images to APACHE when you use the HTTP-server). And indeed: the htmldb_html_elements.js has exactly the same text as what I see in Firebug on the PC. So XE on the PC is using the javascripts in the image-directory of APACHE on the PC and not the XE-version of the scripts, embedded in XE.
 
So the answer seems to be: copy the APEX3.0.1 versions of the script over to the PC and try to get them into the database. Or...???
 
Can it be loaded into the database? Will XE accept it?
 
Would be nice to have answers if the conclusion I found is the right one and if it can be fixed by loading the js into XE.
 
Best regards and thanks for your help so far.
 
Jan.

Fire effect in after effects

alright i saw this video and im not sure how to do this i was trying and i can't really get close this is all in after effects no stock footage or anything
http://www.youtube.com/watch?v=xqXrSiQxuSE

The fire effect that I created in the example was
A 32 Bit Project
A solid with Fractal Noise pre-composed
The pre-Comp with Colorama and turbulent displace
Another nested comp with Fractal noise used as a displacement map
A duplicate of the nested comp with blur and Colorama
The footage of a very small flame with a huge blur overlaid using the add mode to give flickering color values to the fire
A little more blur and Colorama, hue/saturation, Tri-Tone and probably some other color effects on other layers
Pre-composed all of the above and then duplicated the footage layer, but the fire pre-comp in between the copies.
Roto the boy walking in on the top copy of the footage layers
Some light wrap generated with the alpha from the roto, some blur and some more layers.
Manipulation of opacity blurs and color.
A bunch of other masks and color effects on duplicates of the fire, the footage and the light wrap layers to complete the effect.
I don't have the file in front of me but this is a fairly good representation of the 12 step and probably 15 or 20 layer comp it took to pull off the final fire effect. The shot as you see it was then further color graded to enhance the believability of the shot. As Mylenium said fire is not a single click magic button effect even if you pay for a plug-in that specifically was designed to create fire.
To tell you the truth, even compositing footage of real fire in a scene is a lot more than just a couple of layers and a matte. I've also done that on several projects and it always involved 8 or 10 layers to make it look 'real' to my standard of production.

Still getting blocked shadows and posterization from Canon 1Ds raw

I was so excited and hopeful that the RAW adjustments Apple made would solve the problem I'm seeing in many of my RAW files of shadows lacking detail and posterizing into transition areas, but I have seen no improvement (yes, I did use thenew RAW HUD and set it to 1.1 RAW). I don't have this problem with other raw processors (Camera Raw, DPP, C1 Pro, etc) so I'm sure it is fixable. I was really hoping that they would give us some means to control the shadows more, but it doesn't appear to be the case

Using a Canon 20D and I used to have the same problem.
Here's how I processed .... really still testing and noodling.
Set the RAW filter to 1.1, as you seem to have done.
Then start playing with the sliders. As soon as you touch any one, the profile will change from "Apple" to "Custom." I haven't bothered saving and reusing my "Custom" settings as yet .... playtime!!!
Dep. on the photo(s), setting Intensity higher, Edge to zero or near zero and Chroma Blur towards a higher setting gave me improvements. I tried Auto Noise on and off, but didn't see much impact (though I haven't played around with the slider settings on different photos).
I was concerned about losing sharpness, but I noticed negligible reduction in sharpness. I suspect luminance is holding that together for me.
Overall, I achieved a much better result than 1.0/1.0.1 could deliver from the parquet floor effect. There is still some artifacting, but I balanced that against too much blur, less color saturation and more noise. I haven't compared a 1.1 RAW output to ACR as yet, but I'm happy with the results at 200%. I suspect I'll see differences to ACR, but I'm clearly in the realm of stylistic taste vs. acrymony.
Unsure if this helps, as I've found different ISO settings and lighting conditions require me to change the settings ..... but that's not really any different to ACR.
WAY, WAY better Aperture team! Still some more scope for tweaking of the algorithms passed to Core Image I suspect (or Core Image itself), but this is now solid for me. Speed is acceptable on my G4 PB as well, and my Quad hammers through 235Mb scans. (I'll neve say no to more speed imrpovements though )

Blurring in Color

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